Happy Death Day 2U (2019)

Christopher Landon

Jessica Rothe - Theresa “Tree” Gelbman
Israel Broussard - Carter Davis
Phi Vu - Ryan Phan
Suraj Sharma - Samar Ghosh
Sarah Yarkin - Dre Morgan
Ruby Modine - Lori Spengler
Rachel Matthews - Danielle Bouseman
Steve Zissis - Dean Bronson

Genre - Horror/Comedy/Science Fiction/Slasher

Running Time - 100 Minutes

The day after the events of HAPPY DEATH DAY, Carter’s (Israel Broussard) roommate Ryan (Phi Vu) [the dude who kept barging into the room at the start of each time loop] experiences his own deja vu as he keeps reliving the same day over and over until he’s murdered by a similarly dressed killer. Ryan, unable to handle what’s going on, decides to confide in Carter and girlfriend Tree (Jessica Rothe), who relays her own experience with the loop. Through their conversation, Tree learns that Ryan has been building a machine called “Sissy” - an invention that has the ability to mess with the aspects of time. Upset by this information, Tree demands Ryan and his friends (Suraj Sharma and Sarah Bennani) to fix this mess so time is back to normal.

As Ryan tries to fix the time stream, something goes wrong. It sends Tree back to her birthday, where she experiences the same loop she lived in the first film. However, things have changed - as the people in her life are now experiencing different lives and different relationships than what she’s familiar with. Will Tree want to live in this new reality, or will Tree help Ryan fix this mess and go back to her old reality?

Making $125.5 million on a $4.8 million budget, 2017’s HAPPY DEATH DAY was a surprise success considering it was a PG-13 slasher. It also proved what a force Blumhouse is, as it continued its reputation as the biggest force in the horror movie industry at the moment. HAPPY DEATH DAY was a really fun film that proved that PG-13 slasher films can work if they’re marketed and executed well. However, I never wanted or expected a sequel to the film, as the GROUNDHOG DAY aspect is a great plot device for one film. When I learned that this was being released and seeing trailers for HAPPY DEATH DAY 2U, I wasn’t sure what to expect. It was presented in the same fashion as the first film, almost looking like a carbon copy but with a few differences. There was no way Blumhouse was doing an actual remake of a film that was barely two years old, right? Luckily, the sequel manages to be its own thing while using familiar aspects of the original film, making HAPPY DEATH DAY 2U worthy of a look if you enjoyed the first film.

Instead of original writer Scott Lobdell working on the script, returning director Christopher Landon steps up to grab the reins. I feel Landon’s approach to the sequel will either turn original fans away, or make current fans hungry for more. While the GROUNDHOG DAY plot device is still in play, it’s not really the focus this time around. Instead, Landon has gone for a more sci-fi approach in terms of quantum leaps, multiverses, and alternate realities affecting the characters this time around. While Tree is still suffering from a time loop, it takes place in alternate reality where the people she knows aren’t the same people from her original reality. And some people who weren’t present in her old one are now present in her new one, making her struggle with the decision to either go back to her old time, or just let things play out - both options causing her to make a huge sacrifice in the process. HAPPY DEATH DAY 2U plays with the whole BACK TO THE FUTURE PART II and SLIDING DOORS idea of different realities being created due to the choices that are made. And it does it for laughs as it tries to explain why Tree is stuck in this loop to begin with.

And don’t get me wrong - HAPPY DEATH DAY 2U is definitely a funny film that totally embraces the silliness and comedic aspects of its story. It feels like those 80s sci-fi comedies, like WEIRD SCIENCE, where the science aspect is played for laughs while trying to build a universe for the franchise to stand on for multiple sequels [it’s gonna happen so don’t roll your eyes]. Watching Tree suffer through different loops is hilarious, as she’s obviously grown tired of this whole deal and just wants to move on with her life. While her personality doesn’t change like it does in the first film, her struggle with dealing with the new reality thrusted upon her makes her mature as well. Unfortunately I don’t think it’s done as strongly as in the first film, but it’s there to see and understand if you’re a fan of the first film. The funniest moments [and moments that may trigger some people] are when Tree decides that she’s tired of being murdered, instead committing suicide in various ways that result in pretty cool visual transitions back to Carter’s bed. And there’s a lot of slapstick comedy, especially during the last act, where our characters try and pull off a heist against the Dean of the college. It’s done really well and I laughed at the silliness of it all. I also liked the emotional moments as well, where Tree doesn’t know whether she wants to keep living in the past or get rid of her fear of facing an unpredictable future. It’s mainly due to the strong writing for these moments and Jessica Rothe’s performance, managing to bring some gravitas to a sequel that surprisingly earns it. The writing isn’t as good as the first film, to be honest, but when it works, it really works.

I think the story fails when it comes to the horror aspect of the film. If you’re expecting a slasher film like the last movie, you’ll be seriously disappointed. I don’t mind that the focus is more on the comedy and science fiction aspect of the story, since it gives the sequel a different feel [which is the right move]. But it sort of starts as a slasher film, quickly forgets that there’s even a killer around, and then decides to go back to the slasher aspect. It makes the film feel disjointed, as the horror stuff feels forced in because that’s how the film was marketed and that’s probably what fans of the first film expected. The new killer is easy to predict as well, sort of playing homage to SCREAM in a way. But the mystery didn’t really work for me like it did in the first film, making me wish there wasn’t a killer at all. HAPPY DEATH DAY 2U could have focused on the science aspect and giving us a commentary on how technology and playing God leads to mischief and trouble and I don't think I would have had much of an issue. I feel this is why some haven’t been too kind to this sequel, as they expected something similar to the first film. I’m happy for the differences in storytelling and tone, but don’t shoehorn in an aspect you don’t plan on developing to please everyone. It usually never works.

I did enjoy how the time loops were used though. I don’t think the events of the first film really needed an explanation, but I thought the sequel did a decent job giving us a reason why Tree was suffering for so long. It was a great use of the budget in recreating scenes from the first film, but making them feel different and giving Tree reasons to keep ending her life in order to save people, or figure out which timeline she wanted to stay in or return to. The new science characters added a lot of charm and humor to the whole film, making the sci-fi stuff easy to swallow and enjoy. I look forward to what the next film [hopefully they make one] has in store, judging by that cute mid-credits sequence that will focus on another supporting character rather than Tree this time around. Should be fun if the film does well enough.

The direction by Christopher Landon isn’t as focused as it was in the first film, but Landon still manages to visually please the audience with funny montages and decent special effects that add to the sequel’s charm. When the comedic tone is at play, it really works due to the film’s flow and colorful visuals. Landon also recreates the original scenes excellently, changing subtle things when you least expect it. Landon really makes HAPPY DEATH DAY 2U feel like a seamless continuation for a movie that didn’t need one, making a guarantee that you’ll need to watch both films to get the whole story. The only time the film doesn’t work is when the tone shifts into slasher mode. There are no tense moments or even scary ones. I felt the pacing in the final act that involved the horror aspect lacked, and felt forced and rushed. I appreciate that Landon wanted to broaden the franchise’s horizons and not contain these characters within a single genre. But I would have preferred if this sequel was either a sci-fi comedy or a straight up slasher film. The slasher aspect really worked in the first film, while it feels like an afterthought here. I felt that Landon had a lot of ambitious ideas that worked eighty-percent of the time.

The acting is just as good in HAPPY DEATH DAY 2U as it was in the first film. Jessica Rothe, once again, carries the film incredibly on her back as Tree. While her character doesn’t have as much growth in terms of maturity like in the first film, Rothe still manages to give more depth to a character that we’ve really grown to love over these two films. Rothe has a knack for comedy, hilariously showing frustration over having to repeat herself again in the time loop. She shares amazing chemistry with her co-stars and even gets to do some real emotional acting in the new timeline. She’s really become an actress to watch out for and is the main reason to watch both of these movies. The only other actress who really stood out is Rachel Matthews as Danielle. While playing the stereotypical snotty bitch in the first film, Matthews has more to do in the sequel. She has a great moment of comedy in the final act that felt kind of inappropriate, but I couldn’t help but giggle at the entire thing. Plus, she still excels at being a snob that you can’t help but feel charmed by. The other actors, especially the returning Israel Broussard, Phi Vu, and Ruby Modine do well with the differences they’re given, showing us new aspects of their characters that will probably continue in the next film [if it happens].

While not as fresh or focused as the first film, HAPPY DEATH DAY 2U manages to be a surprisingly fun sequel that’s probably worth watching if you enjoyed the first movie. Jessica Rothe continues to carry the franchise well on her shoulders, showing us that she’s able to charm audiences no matter what genre of film she’s in. The 80s sci-fi comedic vibe gives the franchise a fresh coat of paint that no one was really expecting or asking for, yet it works for the most part by embracing the silliness of the film’s premise. The sequel, however, lacks a focus the first film had - especially with the horror aspect that feels shoehorned to please fans of the first film. If you’re looking for a slasher mystery, you’ll be seriously disappointed. While not as strong of a film as its predecessor, HAPPY DEATH DAY 2U has to be respected for thinking outside of the box and going into a new direction. I went in expecting a rehash of the first film and ended up getting something completely different, which I really admired about this sequel. Fans of the first film should give HAPPY DEATH 2U a shot. It may not work completely for everyone, but you have to respect the direction this franchise wants to go. 

3 Howls Outta 4


Brain Damage (1988)

Frank Henenlotter

Rick Hearst - Brian
John Zacherie - Aylmer (voice)
Gordon MacDonald - Mike
Jennifer Lowry - Barbara
Theo Barnes - Morris
Lucille Saint Peter - Martha
Kevin Van Hentenryck - Man with Basket

Genre - Horror/Comedy/B-Movie

Running Time - 86 Minutes (Director’s Cut)

While he does have a cult following, Frank Henenlotter isn’t a name many horror circles talk about a whole lot. He’s not as crisp of a filmmaker as John Carpenter. He didn’t bring the genre back into the mainstream like Wes Craven. And he didn’t shock people in a polarizing way like Eli Roth, James Wan, and Rob Zombie. Whenever Henenlotter is mentioned, it’s usually concerns 1982’s BASKET CASE, an insane low-budget horror film involving a twisted tale of conjoined twins on a quest for revenge. It’s considered a horror classic by many and one of the many inspirations for low-budget horror directors quickly after [along with Sam Raimi’s THE EVIL DEAD]. Others mention 1990’s FRANKENHOOKER due to its clever name and content. 

But rarely does 1988’s BRAIN DAMAGE gain the same kind of attention. Maybe it’s because it feels like the middle child between two big cult films. Maybe it’s because horror fans weren’t too fond of the film at the time, due to how much the MPAA had butchered it before its release. Thankfully, an uncut version was finally released in the late ‘90s. And while BRAIN DAMAGE has gained a good cult following since its release, it’s usually mentioned third after BASKET CASE and FRANKENHOOKER in some circles. I find it strange, since BRAIN DAMAGE is probably the best of Henenlotter’s films and worthy of more attention than it usually gets.

Brian (Rick Hearst) wakes up to find out that some sentient wormlike parasite called Aylmer (voiced by John Zacherie) has decided to burrow itself in his neck and effect his brain functions. Brian quickly realizes that Aylmer needs to survive on a constant diet of human brains and wants to control Brian to find victims. Usually Brian would be against this, but he relishes the feeling of Aylmer injecting a highly addictive blue fluid into his brain that fogs his memory and makes him hallucinate really strange things. Due to these events, Brian has neglected his girlfriend Barbara (Jennifer Lowry) to the point that she runs into the arms of Brian’s brother (Gordon McDonald). As Brian realizes Aylmer is doing more harm than good, he does all he can to make sure both his brother and girlfriend don’t become victims themselves.

It had been many years since I last watched BRAIN DAMAGE, forgetting all about the film until I saw someone mention it on social media due to a gorgeous blu-ray that was released recently. I decided to sit down and check it out, forgetting how great this horror-comedy is, while carrying a strong anti-addiction message that deserves more respect and recognition. Don’t get me wrong - I absolutely love BASKET CASE, as it never fails to entertain me. But let’s be realistic - BRAIN DAMAGE takes the similar concept presented in the previously mentioned film and does it ten times better due to its strong storytelling and unique visual presentation.

BRAIN DAMAGE reels me in due to its story and how well written it is. Henenlotter loves using the theme of symbiotic relationships between a man and some freak of nature that only he understands. And while it’s presented as more of a creepy mystery in BASKET CASE to shock audiences, BRAIN DAMAGE uses the same concept to tell its audience a strong message about addiction. It’s sort of the B-movie equivalent of those drug commercials with that frying egg on the hot pan. Drugs will fry your brain, just like how Aylmer fries Brian’s brain. Even though Brian knows this worm creature isn’t totally on the up and up, the high he receives each time Aylmer attaches himself to Brian is a pretty accurate depiction of an addict. There’s even a scene where Brian tries to do cold turkey away from Aylmer, only for the creature to smugly mock him and force Brian to beg for his help. This is a common story with addicts, who believe they can hear their addictions talking to them as if they’re the only friend they’ll need. Even Brian’s relationships with people in his life and the world around him deteriorate quite fast, due to his willingness to please only Aylmer and the high he feeds Brian. For a silly creature feature, it takes a serious subject [that was extremely topical at the time] and portrays it excellently. BRAIN DAMAGE is never subtle about it, but it never really forces it on you either. 

The characters aren’t deep or anything, but they’re not unlikeable or hard to relate to. We barely know who Brian is before he succumbs to his addiction, since Aylmer possesses him right from the start without any sort of backstory. In a way, it’s as if this creature has raped Brian in his sleep and Brian suffers from some sort of Stockholm Syndrome to maintain the pleasant feeling he receives from Aylmer. It could also be a clue that Brian was weak-willed to start with, and Aylmer took advantage of that vulnerability. Brian does seem to have a decent relationship with Barbara, who adores her boyfriend in an almost obsessive way. It’s like she’s addicted for Brian’s affections towards her! Brian also shares a weird relationship with his brother Mike, who loves Brian so much that he’ll take the first chance to bang Barbara. There’s also this strange fantasy where Brian hallucinates having a threesome with Barbara and Mike, almost insinuating some sort of creepy incest element that doesn’t get fleshed out thankfully. There seems to be something going on with Brian that the film never fully develops, but BRAIN DAMAGE doesn’t really need to. The fact that he takes to Aylmer so quickly and decides to deal with his nonsense for a quick fix proves that Brian is a victim mentally and emotionally.

Speaking of Aylmer, he’s obviously a smart villain that has no problem taking advantage of people weaker than him to get what he wants - which are human brains that he enjoys feasting on. He’s apparently been around for centuries, attaching himself to others to do his dirty work. He’s also quite the charming wormlike fellow, making us see why Brian [or anyone else] finds him alluring. Plus, he has an interesting visual design with his tiny eyes and weird needle-like teeth. Plus, he has a great singing voice. Why wouldn’t anyone allow him to eat their brain?

Frank Henenlotter and the special effects team do a really great job on a small budget, even though I believe BRAIN DAMAGE cost more money to make than what was used to film BASKET CASE. It’s a more ambitious film than BASKET CASE for sure, which shows the growth of confidence Henenlotter achieved between the two films. The hallucination, trip out scenes are done really well with neon colors that pop out and make you experience the high Brian is feeling. The camera moves smoothly, giving us great angles and shots that build tension and reveal a lot about the characters and the setting of New York City in the late 1980s. Henenlotter also relies a lot on the color blue. Aylmer’s hallucinogen is a blue fluid, while a lot of the scenes where Brian is high are shot with blue hues that add a ton of atmosphere. I especially love the first hallucination sequence where Brian is submerged into the blue fluid. My only minor issue is the repetitiveness of Aylmer shooting his fluid to get Brian high, which is done like four or five times. But overall, it’s beautiful filmmaking from a man you wouldn’t expect that from.

As for the special effects and gore, you won’t be disappointed here. You get a lot of stop-motion sequences, along with multiple moments of Aylmer burrowing himself inside people’s skulls to eat brains. Aylmer, himself, looks quite silly but you get over it due to how he’s portrayed and the voice acting. There’s a creepy moment where Brian pulls his brain out of his ear in a blood-soaked scene that would make Sam Raimi proud. And probably the reason for the uncut version of this film - a very memorable scene of fellatio gone bad where Aylmer enters the mouth of a woman as she gives Brian oral stimulation. It’s gross, shocking, and one-hundred percent funny. BRAIN DAMAGE definitely uses its budget well.

The acting isn’t really much to write home about. But it’s definitely an upgrade of the campiness of BASKET CASE, which wouldn’t work for this film at all. Future soap opera actor Rick Hearst does really well as Brian, convincingly playing an addict who happens to be addicted to a puppet. Considering the type of film he was in, Hearst took it entirely seriously and made Brian as fully a fleshed-out character that the script would allow. I’m not surprised he went on to work on multiple television shows. He has the chops. Gordon MacDonald and Jennifer Lowry were okay as Mike and Barbara. They didn’t really get a whole lot to do but played their supporting roles well enough to make the premise work. And I can’t end this review without mentioning former television horror host and singer John Zacherle. He gives Aylmer so much personality just with his voice, bringing the character to life and making you forget you’re watching a silly looking puppet destroy a young man’s life. I think he was the perfect voice for the character and I loved his singing voice during the cold turkey scene. Just great stuff.

Plus, we get a cool cameo from a familiar guy carrying a basket on the subway.


  • This older couple destroyed their apartment looking for an escaped Aylmer. There are easier ways to get on Property Brothers on HGTV.

  • As Brian hallucinated in his bedroom, his ceiling lamp turned into a giant eye in the sky. The Alan Parsons Project approves of this film. 

  • While high, Brian acted silly in a junkyard at night. He better be careful. He might believe that he’s really watching a dog pee fire to resurrect Freddy Krueger. Nothing stupid like that would ever happen. Oh wait…

  • Brian sat in a bathtub for three hours. Maybe he’s having a Daryl Hannah SPLASH phase. Don’t judge!

  • While high, Brian saw his spaghetti and meatballs transform into throbbing brains. That’s the last time I eat at Olive Garden.

  • Brian slowly pulled his brain out of his ear, tearing his ear off in the process. I imagine this would have been a trick Vincent Van Gogh would have pulled if he had become a magician rather than an artist.

  • Brian caught his brother boning his girlfriend, while fantasizing that he was having a threesome with the both of them in incestuous fashion. This is some Jerry Springer shit!

I'm very happy that I decided to revisit BRAIN DAMAGE after not having watched it in many, many years. It’s one of the finest anti-drug films and a clever low-budget film by Frank Henenlotter that proves how good of a horror filmmaker he is. The film has a message that’s presented well, solid acting by the two leads, slick direction, and pretty cool special effects considering its budget. BRAIN DAMAGE is smart, clever, funny, creepy, and satisfying for anyone looking for blood and guts. If you enjoy BASKET CASE and/or FRANKENHOOKER, I have no doubt BRAIN DAMAGE will be up your alley. Definitely recommended, but be careful - you may gain an addiction from the film’s awesomeness.

4 Howls Outta 4


Inferno (1980)

Dario Argento

Irene Miracle - Rose Elliott
Leigh McCloskey - Mark Elliott
Eleonora Giorgi - Sara
Daria Nicolodi - Elise De Longvalle Adler
Sasha Pitoeff - Kazanian
Alida Valli - Carol
Feodor Chaliapin Jr. - Varelli
Veronica Lazar - The Nurse
Gabriele Lavia - Carlo
Ania Pieroni - Music Student

Genre - Horror/Supernatural/Witchcraft

Running Time - 107 Minutes

In New York City, Rose Elliott (Irene Miracle) buys a book called The Three Mothers - a book that details how the author (Feodor Chaliapin Jr.) built houses for three powerful witches known as The Three Mothers. One of these houses was created for Mater Suspiriorum [The Mother of Sighs] in Germany, seen in 1977’s SUSPIRIA. After reading and figuring out the clues, Rose realizes that her apartment is a building built for Mater Tenebrarum [The Mother of Darkness]. Her knowledge, unfortunately, leads to her death by a mysterious person.

Before Rose’s death, however, she wrote and sent a letter to her brother Mark (Leigh Mccloskey), who is studying abroad in Rome. Realizing that his sister is missing and in trouble, Mark arrives in New York to investigate. What he encounters are a series of supernatural events that lead to a bunch of murders within or around the apartment building that may make him a victim of The Three Mothers.

In the 1970s, Italian maestro Dario Argento could do no wrong. Films like THE BIRD WITH THE CRYSTAL PLUMAGE, DEEP RED, and especially 1977’s SUSPIRIA brought a lot of attention to Italian horror from all over the world. The success of SUSPIRIA in the US market inspired Argento to quickly capitalize on it with a sequel titled INFERNO, the second part of a proposed trilogy that would showcase each of the Three Mothers. 20th Century Fox, riding high from SUSPIRIA, quickly offered to co-finance the production [along with Italian and German consortia] with a budget of $3 million. Co-writer, actress, and then-Argento flame Daria Nicolodi was inspired by her stay at Central Park for the film’s main setting, while legendary Italian horror director Mario Bava, Lamberto Bava, and William Lustig helped fill in during production to create a good atmosphere and finish shooting scenes when Argento fell ill during production.

INFERNO was released in 1980 in the United States in a very limited theatrical release, which was the total opposite of SUSPIRIA’s release. Apparently, Fox had a change of management at the time, leaving INFERNO’s fate in limbo. The film, outside of Italy, was pretty much unseen until 1985, where it finally went straight to video. The reception at the time wasn’t all that positive, leading to Argento waiting to finish the trilogy in 2007 with THE MOTHER OF TEARS. While the reception of INFERNO has grown more positive over the years, it’s easy to see why this sequel isn’t as beloved as SUSPIRIA. It’s also not as strong as Argento’s earlier films, or later works, such as 1982’s TENEBRE, 1985’s PHENOMENA [aka CREEPERS] and 1986’s OPERA.

That’s not to say that INFERNO doesn’t have great things going for it. The direction, mostly by Dario Argento, is fairly solid and what you would expect from the Italian maestro. If you loved the style of SUSPIRIA, INFERNO will be right up your alley. Like the previous film, the lighting and colors pop extremely well, with many scenes shot in vibrant reds, blues, and greens. In fact, several scenes seem to have been taken right from SUSPIRIA, just with different actors involved. One example is Eleonora Giorgi sitting in a cab as the rain downpours around her, shot in red and blue lighting. It’s totally reminiscent of Jessica Harper’s Suzy at the beginning of SUSPIRIA. It’s a nice throwback that fans will pick up. Same with the film’s final act, which is a shorter play at SUSPIRIA’s ending, but still very effective and fun to watch. Like with many of Argento’s works, the direction comes across as surreal, elegant, and awkwardly titillating when you least expect it. That being said, one of the film’s best scenes wasn’t even directed by Argento. The gorgeous opening sequence involving Irene Miracle diving into a water hole in a cellar, leading to a corpse floating right by to frighten her, was shot by Mario Bava after Argento had fallen ill with hepatitis. It’s well crafted, as the scene slowly builds to that reveal for our first scare. Regardless of who directed what, INFERNO is visually stylish as one would expect.

Adding to the awesome visual presentation are the perverse death sequences that only Argento could picture in his head. The guillotine death, with the use of a window being slammed over a victim’s throat, is pretty brutal. Another person gets stabbed viciously before being mauled to death by a group of cats. And probably my favorite kill - a crippled man falling into water by a sewer [in order to drown cats in a bag], only to get attacked by hungry rats before getting stabbed in the neck multiple times. It may be overkill, but it’s pure Argento and I love it. We also get bizarre imagery, like women hanging, paper dolls getting decapitated, and beautiful women creating a wind and sound distraction in a lecture room. None of these things seem to connect to anything, but the imagery is bizarre and somewhat creepy. Honestly, the direction and visual presentation for INFERNO are the best things about the film.

Another highlight is the musical score. Unlike many of Argento’s other films, INFERNO is not scored by Claudio Simonetti of Goblin fame. Instead, the musical duties were given to Keith Emerson of prog rock group Emerson, Lake, and Palmer. While not as memorable as Simonetti’s themes, Emerson provides a nice rock and synthesizer score that reflects the turn of the decade from the 1970s to the 1980s. I do think that the music wasn’t used in the proper moments in some cases, creating a jarring effect that hurt these scenes more than help them. Watching a woman sit in a taxi shouldn’t have an upbeat, high-energy rockin’ tune going with it, especially when it hasn’t earned that and only makes the moment silly rather than poignant. And some of the suites are a bit hokey at times. But for the most part, the score works and I liked it. It’s one of the few things that set it apart from SUSPIRIA, so I’m okay with it.

The acting is pretty okay as well. I thought Daria Nicolodi did a good job as Elise, a tenant inside the cursed building that Mater Tenebrarum controls. She’s obviously comfortable working for Argento due to their personal relationship. Plus, she co-wrote the film and knows where her character is coming from. She doesn’t get a whole lot to do, but she’s always a welcome presence. Sasha Pitoeff is also fun to watch as Kazanian, the bookstore owner. His hatred of cats and how it ended up leading to his fate was handled well, and Pitoeff is great through it all. I also thought Feodor Chaliapin Jr. was great in his short role as Varelli, the author of The Three Mothers. I did feel that Leigh McCloskey wasn’t the most captivating male lead in the world and he doesn’t even get to do a whole lot until the film’s final act. His performance was kind of bland in my opinion, but it’s not a performance that ruins a film. I think the acting is much stronger in other popular Argento films, but it’s still pretty good for the most part.

My real issue with INFERNO is the film’s story. Argento’s films have always been more style than substance, even with his classic gialli and supernatural films having flawed storytelling that you can forgive because it’s a fun ride getting to the film’s conclusion. Unfortunately, INFERNO can be a bit of a chore to sit through at times because the way the plot is presented is really disjoined. The film takes place at multiple locations, going back and forth between them as the narrative plays out until the film’s final reveal. There’s nothing wrong with this - that is if we had characters we could care about. Besides Mark, Rose and Sara, the other characters appear in and out without much character development. Some of them just seem to be in the film in order to die a vicious death. That’s great for a slasher film, but not for a supernatural movie that’s the sequel to a classic. In fact, we’re not even really sure why Mater Tenebrarum would even want to deal with these unlikeable people. What’s her purpose? It’s not like killing these people adds to anything she may be planning. When she finally appears, it doesn’t make much of an impression because the storytelling is all over the place. The mystery and the journey solving it should have been stronger. Maybe it’s because Argento fell ill during the production, or because he felt pressure in topping SUSPIRIA. But INFERNO could, and should, have been better than it is if there was more going on in the narrative. There’s definitely an interesting idea underneath INFERNO and it presents itself during the film’s best moments. It’s just a shame it’s not expressed better. I think even if it had a wider release back in 1980, fans probably would have left wanting more.

While not as strong of a film as SUSPIRIA, INFERNO still manages to be a good watch for anyone who is into Italian horror. It’s also a decent continuation of The Three Mothers trilogy started in SUSPIRIA. The film has a lot going for it - great kills, that beautiful Argento visual style, and cool music by Keith Emerson that probably could have been used better at certain points in the film. Unfortunately, the story is all over the place. The characters are weak and things seem to happen in order to fill a gap needed to move the story along. That being said, INFERNO has a ton of atmosphere and a vibe that is sometimes missing in horror films. INFERNO is a classic Argento film that works more than it doesn’t, making it worth a look if you’re a fan of the man’s work.

3 Howls Outta 4


Midnight Confessions 2018 Reunion Special: Halloween (2018)

A Midnight Confessions reunion! Reverend Phantom, Moronic Mark and myself recently got together and talked about the new HALLOWEEN movie and more! Check it out!


Venom (2018)

Ruben Fleischer

Tom Hardy - Eddie Brock/Venom
Michelle Williams - Anne Weying
Riz Ahmed - Carlton Drake/Riot
Jenny Slate - Dr. Dora Skirth
Reid Scott - Dr. Dan Lewis

Genre - Action/Horror/Sci-Fi/Comic Books

Running Time - 112 Minutes

When Eddie Brock (Tom Hardy) acquires the powers of a symbiote, he will have to release his alter-ego “Venom” to save his life.

Even after the terrible usage in SPIDER-MAN 3 and the licensing of Spider-Man from their studio to the Marvel Cinematic Universe, Sony decided to continue with their “Spidey-Verse” with the release of VENOM - a solo venture featuring one of Spider-Man’s more famous foes and resident anti-hero of the Marvel Universe in general. While the lack of Spider-Man involved in Venom’s origin left me feeling less than motivated to watch, the casting of Tom Hardy as Eddie Brock did leave me intrigued as I’m a fan of his work. But you know me - I’m going to watch any comic book related movie in a theater, so VENOM was always going to be on my radar. I wasn’t expecting much out of the film and the bad reviews didn’t help to persuade me that I was going to waste my money watching this. And while VENOM is definitely mediocre and forced at times at what it’s trying to accomplish, I couldn’t help but enjoy myself throughout. It definitely has serious issues, but I thought VENOM was more fun than it had any right to be.

The main reason VENOM may be worth a recommendation for superhero genre fans is for Tom Hardy as Eddie Brock. Hardy seems to be really enjoying himself in the role, acting like a schizophrenic with an alien voice in his head while doing some cool stunt work. He also plays Eddie like a human being, flawed and all, wanting the big scoops as an investigative reporter that end up costing him not only his job, but the love of his life in the process. The human moments for the character seem to be where Hardy thrives the best, creating a three-dimensional character that we can identify with and support throughout the film. And when he actually becomes Venom, his behavior becomes more erratic and he has hilarious dialogue with his alien counterpart. Hardy could have phoned it in for a paycheck, but you can tell he’s one-hundred percent invested in giving us a great performance and to lead a franchise. He definitely made me forget about Topher Grace’s unfortunate performance from eleven years ago.

And while the screenplay isn’t anything to write home about and the direction as generic as they come when it comes to this genre, at least both aspects are memorable enough to be entertaining. Whether it’s in a good or a bad way, that’s up to the viewer. But I friggin’ had a blast at the cheesy dialogue, the silly action sequences, the better-than-expected special effects [Venom and the symbiotes looked cool], and the hammy acting by everyone involved. It felt like a B-movie from a different era and I was more than okay with that. Sometimes I don’t want to think while watching a film, and VENOM allows that in spades.

VENOM is nowhere close to perfect though. The story itself is totally contrived and cliche, the dialogue is ridiculous a lot of the time, and the villain is stereotypical as hell [the idea to recreate the world in his own image like a God] even though he starts off more interesting than he how he ends off. Things just randomly happen without explanation, leaving one feel that there was more to this film but was edited off for some reason. As I later learned, over 40 minutes of footage was cut - I guess to save later for a blu-ray release. You can really tell, since VENOM does feel disjointed every now and then, making for a strange pace that still kind of works for some reason. And the final act is pretty weak to be honest, even if the action element was pretty okay.

I also thought some of the actors, especially Michelle Williams, seemed to be forcing her performance. I didn’t really buy her all that much and seemed to try too hard. She didn’t feel like a real character to me, but rather an archetype of the love interest that had to be inserted to give Eddie Brock some motivation. She’s definitely a better actress than what she portrays in VENOM, as she seems to having trouble trying to keep up with the comedy and with Tom Hardy. Maybe it was the material she was given. Maybe she just did the film for a paycheck. Either way, she stood out a bit because I don’t think she took the role seriously enough for most of the movie. Some of the other actors had a similar issue to varying degrees, but Williams was the most high profile.

Even with its issues, VENOM turned out better than it had any right to be. Yes, it’s not a good movie. Yes, the story is cliche, predictable, and really dumb. The obvious edits create some pacing issues and most of the actors seem to be forcing it and trying too hard. And it’s weird not having Spider-Man be part of the character’s origin, as he should be honestly. However, VENOM still manages to be an entertaining film that never bores you, regardless of its problems. And Tom Hardy is excellent as Eddie Brock, finally giving the character the portrayal we all wanted since 2007. It looks and feels like a B-movie and I had fun with it. And with the $200 million-plus worldwide gross the film has already received, we’re definitely getting more of this universe - with a long anticipated villain that will hopefully be done justice to. Not the superhero film of the year, but still worth a watch if you want something silly and dumb for two hours.

2.5 Howls Outta 4


Catch Up Reviews: Mandy (2018), Terrifier (2017) & Summer of '84 (2018)

Panos Cosmatos

Nicolas Cage - Red Miller
Andrea Riseborough - Mandy Bloom
Linus Roache - Jeremiah Sand
Bill Duke - Caruthers
Richard Brake - The Chemist
Ned Dennehy - Brother Swan
Olwen Fouere - Mother Marlene

Genre - Horror/Action/Supernatural

Running Time - 121 Minutes

PLOT (from IMDB):
Taking place in 1983, Red (Nicolas Cage) is a lumberjack who lives in a secluded cabin in the woods. His artist girlfriend Mandy (Andrea Riseborough) spends her days reading fantasy paperbacks. Then one day, she catches the eye of a crazed cult leader (Linus Roache), who conjures a group of motorcycle-riding demons to kidnap her. Red, armed with a crossbow and custom Axe, stops at nothing to get her back, leaving a bloody, brutal pile of bodies in his wake.

Following his cult 2010 arthouse horror film BEYOND THE BLACK RAINBOW, Panos Cosmatos returns with MANDY - another surreal and arthouse horror film that takes elements of rape-revenge and exploitation films to create a memorable, even if unoriginal, story. In a lot of ways, MANDY is a love-letter to late-70s/early-80s horror and exploitation. We get elements of HELLRAISER [Satanic Cenobite looking bikers], MAD MAX, PHANTASM, FRIDAY THE 13TH [Crystal Lake reference], THE TEXAS CHAINSAW MASSACRE II [chainsaw battle], and so on. And the visuals are definitely inspired by works of Mario Bava and Dario Argento, with the film’s rich reds, blues, and greens that infiltrate the more dream-like scenes. The film isn’t for everyone and may test some with its slow burn first half, which leads into a crazy second half. And while unoriginal and sometimes cliche at times, MANDY still manages to leave an impression on you once its over, making this surreal nightmare resonate and leave you wanting more.

MANDY really works due to its performances, especially that of Nicolas Cage. Cage hasn’t made the best impression as an actor for a while now, but 2018 seems to be the year of his critically acclaimed comeback with both this and MOM & DAD [a film I hope to watch soon]. Cage was born to play a role like Red - a peaceful man turned crazy vengeful when his love is taken away from him in a violent way. Cage manages to do a wonderful job from going to normally subtle to batshit over-the-top - having chainsaw battles, snorting drugs, slicing throats and getting bled on like Ash from THE EVIL DEAD - Cage is in his element here. And even though Cage can be a bit much at times, it’s convincing here considering all the crap he goes through along his way towards vengeance. Andrea Riseborough is also fantastic as Mandy, giving a quiet performance that relies more on her facial expressions and body language rather than the words she says. She has a Sissy Spacek quality about her, making her a compelling presence. Linus Roache is also pretty great as cult leader Jeremiah Sand, managing to be creepy without doing a whole lot. Takes balls [pun intended] to show your pecker out there and then get laughed at, so kudos to him on his bravery and intensity. Also nice to see Bill Duke and Richard Brake make small supporting roles.

And even though it’s only a short segment, that Cheddar Goblin is truly a bizarre character. I’d like to know what drugs I need to take to create something so strange, yet memorably appealing at the same time. With the fandom it has gained, I could see this character make another appearance in another Cosmatos film. 

And any film that uses King Crimson’s “Starless” during its opening credits automatically gets approval from me. Such a wonderful song and used in the right type of film.

MANDY isn’t for everyone, so it’s a hard film to recommend to mainstream audiences. If you’re not into Lynchian storytelling and arthouse style that is inspired by Italian horror and other genre films, then this film isn’t for you. But if you want to see a pretty great Nicolas Cage performance, some trippy filmmaking in terms of visuals and storytelling, and violence shot beautifully, then MANDY may be for you. Sometimes, I feel a film like this can come across as pretty pretentious, turning me off from it. But something about MANDY had me invested from beginning to end, leaving me still thinking about it days after watching it. It’s not a perfect film, but I absolutely loved it. One of the most interesting films I’ve seen in 2018 by far and worth a look if you go into it with an open mind. The less you know about it, the better. It may surprise you.

4 Howls Outta 4

Damien Leone

Jenna Kanell - Tara
Samantha Scaffidi - Victoria
David Howard Thornton - Art the Clown
Catherine Corcoran - Dawn
Pooya Mohseni - Cat Lady
Matt McAllister - Mike the Exterminator

Genre - Horror/Slasher

Running Time - 86 Minutes

A maniacal clown (David Howard Thornton) terrorizes three young women (Jenna Kanell, Samantha Scaffidi and Catherine Corcoran) on Halloween night and everyone else who stands in his way.

With all the talk and hype about this one, TERRIFIER was a film that was majorly on my radar from the moment I heard about it. You know me - I love slasher films and I wasn’t going to miss this one as long as it was streaming on Netflix for the time being. With a cool looking killer and word-of-mouth claiming that this film was a “nod to ‘80s slashers”, I was expecting a fun nostalgic trip with TERRIFIER. And while it does have some cool moments, I felt that the hype didn’t match with TERRIFIER.

The best things about the film are, without a doubt, the gore effects and death scenes. A slasher film needs memorable and sometimes gruesome deaths, and TERRIFIER meets that requirement. The violence is pretty nasty in this film, feeling more like SAW and HOSTEL at times rather than an 80s slasher. But these effects are the highlight of TERRIFIER. We get people getting shot, slashed, stabbed through the skull, decapitations, hammers to the head - nothing all that inventive but still cool to watch unfold. And the best part is that most, if not all, of the effects are practical rather than CGI. I thought they were all done really well. Damien Leone directed a decent little slasher here that doesn’t succeed in tone, but succeeds in spirit. It’s also perfectly paced at less than 90 minutes too. Gorehounds will love the effects.

The other highlight of TERRIFIER is the film’s villain. Art the Clown, who was also featured in 2013’s ALL HALLOW’S EVE, is pretty great and extremely memorable. Never uttering a word, actor David Howard Thornton uses body language and facial expressions to convey Art’s creepy and psychotic personality. Art acts like a mime and moves around as if he was Buster Keaton or Charlie Chaplin. He stalks and stares at his victims with a glare that could send chills up and down your spine. And Art is pretty handy with weapons, making you aware that his targets don’t have much of a chance. A lot of slasher filmmakers try to create a villain that could eventually star in their own franchise, losing sight of crafting a standalone horror film just to make a business decision that could either be successful or a total failure. And while TERRIFIER isn’t a complete success, at least Damien Leone managed to create a villain that many horror fans will remember and want to see more of. I wouldn’t mind a sequel or a spinoff to TERRIFIER, as long as Art the Clown is doing his thing.

I wish I could say that I loved the other characters as much as I did the film’s villain. But when I’m indifferent to the protagonists and feel more for the killer, that’s a problem I can’t overlook. Even in those franchise with the classic horror villains, you still had heroes that you could root for and identify with. I was unable to do that with TERRIFIER. The characters have no depth. They’re not even archetypes of any kind. People just randomly show up, just to be murdered. Honestly, TERRIFIER doesn’t even have a story. There’s sort of a premise here and it tries to follow slasher film 101. But things just happen for the sake of happening. Maybe it was designed to be one of those stories where it’s just a “moment in time” rather than a character arc that has a beginning, middle, and end. But none of these characters made a lasting impression on me. I felt bad for the actors because they do a good job with what they’re given, which isn’t a whole lot.

TERRIFIER got a lot of hype for a film that probably didn’t deserve it. Sure, it has great special FX [the death scenes are pretty damn awesome] and a memorable villain in Art the Clown [David Howard Thornton is more than solid and could probably carry a franchise as this character]. But with lack of story and characters that are paper-thin and unremarkable, I can’t justify myself watching this again for a long time. Decent for what it is, but I was expecting a whole lot more than what I got. 

2.5 Howls Outta 4

François Simard
Anouk Whissell
Yoann-Karl Whissell

Graham Verchere - Davey Armstrong
Judah Lewis - Tommy “Eats” Eaton
Caleb Emery - Dale “Woody” Woodworth
Cory Gruter-Andrew - Curtis Farraday
Tiera Skovbye - Nikki Kaszuba
Rich Sommer - Wayne Mackey
Jason Gray-Stanford - Randall Armstrong

Genre - Horror/Drama/Mystery

Running Time - 105 Minutes

After suspecting that their police officer neighbor (Rich Sommer) is a serial killer, a group of teenage friends (Graham Verchere, Judah Lewis, Caleb Emery, Corey Gruter-Andrew) spend their summer spying on him and gathering evidence, but as they get closer to discovering the truth, things get dangerous.

As a sucker for anything from or inspired by the decade of excess, SUMMER OF ’84 seemed like an easy choice to watch and talk about. My eagerness to watch the film was also helped by the fact that the people behind 2015’s awesome TURBO KID were also behind this film. While not as fun and colorful as TURBO KID, SUMMER OF ’84 is a more mature and grounded entry in the filmography of Simard, Whissell, and Whissell. I don’t think it’s as good or memorable as the earlier film, but still a worthy watch nonetheless.

My issues with SUMMER OF ’84 really stems from the film’s pacing. I enjoy a slow burn, but SUMMER OF ’84 really does take a while to get going. But when it does, it’s great - in particular, the final act is well-done and surprising at points. But I felt that nostalgia weighed the film down in the first hour. Instead of really moving the story along, SUMMER OF ’84 was more focused on sharing its inspirations. I’m always down for a film that’s a little bit of STAND BY ME, THE ‘BURBS, THE GOONIES, and any other ‘80s film that dealt with children living in the suburbs and suspecting evil people and things happening right under their noses. But you also have to keep the audience interested by telling a story that moves along faster than a snails pace. I almost fell asleep during this one at one point because there was too much nostalgia and dialogue-heavy moments, when I wanted more mystery and investigation over whether the neighbor really was a serial killer or not. Maybe I was looking for something different in the film than some others, but too much character development can be a bad thing as well.

I will say that when the film focuses on the investigation by the teenagers in the neighborhood, SUMMER OF ’84 is a lot of fun and downright creepy at times. The mystery isn’t so much of a mystery, but a case of whether Officer Wayne Mackey is a serial killer or not. Through REAR WINDOW spying and breaking into Mackey’s home, we slowly learn the truth. And this is where the film shines, as it’s a simple investigation that allows character growth and a mystery to be answered in a really dark manner. All of the characters are well defined and share realistic relationships with each other and the neighborhood. In a lot of ways, the protagonists seem to be majorly inspired by Stephen King’s Loser Club from the novel “It”. You have the brave leader, the smart one, the overweight one, the outsider, and the girl-next-door who comes from a broken family and finds a new one with the mentioned teenage boys. The characters are fleshed out and you care about them as they struggle with the idea that someone in their neighborhood could be a wolf in sheep’s clothing. Even the adults are well fleshed out, including our suspect. He’s a well respected cop in the neighborhood and seems like a great guy. But is he really? And watching the kids get spooked by the strange things he does also makes the viewer wonder if the kids are on to something, or if they’re just paranoid. And with a chaotic final act and an ending that could possibly justify a sequel of some sort, SUMMER OF ’84 has things going for it - even if it takes its sweet time getting there.

The direction by Simard, Whissell, and Whissell captures the time frame very well, wearing the inspirations on the film’s sleeve. While a slow burn, the film never feels longer than it is and keeps you interested in the end result. Unlike TURBO KID, SUMMER OF ’84 is a more muted and grounded affair - yet still trying to maintain a level of lost innocence that will never return. As someone raised in a metropolis, I can’t really identify with suburban life. But I’m sure those who do will compare the neighborhood to their own when they were the characters’ ages.

The acting is also well done. Graham Verchere is an excellent lead, capturing the portrait of a young teen struggling with the idea that his life-long neighbor could be harboring a secret that’s threatening not only other children, but himself as well. Verchere is confident, brave, smart, and truly feels like a curious teenager that may end up in more trouble than its worth. Tiera Skovbye, best known as Betty Cooper’s sister Polly on Riverdale, is also very good as Nikki - the troubled girl-next-door. While a bit older than Verchere, the two have good chemistry with each other even if it starts a bit awkwardly. The other actor to really mention is Rich Sommer, of Mad Men and GLOW fame. He’s perfectly cast as the suspected serial killer since he has such a baby face and nice guy demeanor. He carries his end extremely well and enjoyed all facets of his character arc.

SUMMER OF ’84 is a good film that captures the mid-80s suburban life really well, wearing its inspirations with pride while trying to create its own identity. While I think the film takes way too long to get to where it needs to go and maybe relies on the nostalgia love a bit too much at times, the mystery aspect is done well enough where you want to see how it all ends. The acting is wonderful and the characters are fleshed out enough for us to care about what happens to them. If you like films like THE ‘BURBS, STAND BY ME, REAR WINDOW and THE GOONIES, SUMMER OF ’84 probably deserves your attention.

3 Howls Outta 4

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