The Devil All The Time (2020) - Movie Review

This film came recommended to me by a Twitter mutual as a palate cleanser for having sat through Hillbilly Elegy. Have to admit, this film’s been on my radar for a little while now because of just how packed its cast is (up to and including my celebrity crush Tom Holland), and while just about anything would’ve been palatable compared to whatever the hell Ron Howard was thinking, I guess this is the push I need to finally check this flick out.

Serenity (2019) - Movie Review

I’m not going to beat around the bush on this one: This film is fucking insane. I see no point in writing a poncy introduction to lead into that simple fact because this is an oh-so-very special kind of insane. The kind that only comes into being through just the right mixture of all the wrong elements in all the right places. The kind that makes the audience just how much of the film is meant to be taken seriously, if it’s meant to be taken seriously at all. The kind that turns a merely bad film into the stuff of bad film legend. It is the frontrunner for Best Worst Movie Of 2019, and if something else comes out that can challenge it, I fear I might end up in a padded cell just for looking at it.

Pet Sematary (2019) - Movie Review

While it didn’t get a lot of love back in the day (and judging by reactions to today’s film, that feeling persists), Mary Lambert’s Pet Sematary is a fucking great horror flick and one of the better Stephen King adaptations. Having King himself penning the screenplay certainly helped, but as a look at how people react to grief and why it is vitally important to come to terms with that grief, it is a seriously intense ride, if an occasionally goofy one.

I’d argue the point in remaking the story in the first place, but considering the recent crop of King adaptations and their combined consistency, I’m not entirely against the idea. Hell, this one has an uncredited David Kajganich working on the script, and given how well he did with last year’s remake of Suspiria, this could turn out good. However, as I’m about to get into, this film ends up being a mish-mash of underperforming, overperforming and just outweirding the original and not all in good ways.

Winchester (2018) - Movie Review

The plot: Sarah Winchester (Helen Mirren), after the death of her husband, has inherited his firearms company. She has become convinced that the victims of her husband's weapons are now haunting her, building expansions to her already-illustrious estate house in order to capture them. As her fellow employers start to wonder about her sanity, they send in doctor Eric Price (Jason Clarke) to assess her mental state and whether she is fit to continue running the company. However, soon after arriving, it seems that things aren't so simple as just declaring her insane.

Everest (2015) - Movie Review

Way back when, long before YouTube put Andy Warhol’s words to their most logical extreme, great feats of physical endurance were usually carried out with some reward of societal achievement backing it: Swimming unfathomably long stretches of water, navigating ungodly deserts and scaling unimaginably high mountains; history has put a lot of weight behind the people who did these things first. Now, humanity seems to have stopped caring as much about discovering new frontiers to conquer (on Earth, at least) and now want to share the experience as much as possible. It could be argued that this idea of hosting events where these previously-superhuman feats are available to the everyman cheapen the challenge of the event itself, but there is a feeling of bringing the world closer together through collective experience that gives it some urgency. This is why the idea of scaling Mt. Everest, barring my own aversion to physical exercise, is weirdly appealing despite the very clear danger involved. Something tells me that the idea is going to be substantially less appealing after sitting through today’s subject.

Terminator: Genisys (2015) - Movie Review

Back in the tail-end of May of this year, I looked at the latest instalment of the sand-encrusted cult series Mad Max with Fury Road, a surprisingly amazing offering. Then, a little while ago, we had Jurassic World, a mildly entertaining but ultimately pointless addition to the already flagging franchise. Today, we conclude this look into how Hollywood today deals with reviving older sci-fi series with a reboot of the Terminator series. Terminator undoubtedly has the strongest footing of the three series for a follow-up, regardless of how my opinion of Mad Max differs from the norm: The first film is a seminal classic of neo-noir and sci-fi in general, and Judgment Day is the epitome of the ‘perfect sequel’, along with being one of the greatest films in any genre without question. Then came Rise Of The Machines which, through a baffling mixture of self-parody, re-hashing of the second film and just plain disrespect for the series mythos as a whole, heavily contrasted what came before it by being one of the worst sequels ever, not to mention a pretty atrocious film in its own right. Salvation had its fair share of issues, but it was nevertheless a fun watch. Yeah, lots of baggage behind this one even without getting into its core theme of bending the space-time continuum over every table. So, how does this work as a means to reboot the series?