Written and directed by Jennifer Phillips with story editor Emily Schooley, Blood Child is based on a true story, but how much of it is left here is not easily found with a quick Google search. Here the story is taken in a very supernatural way so the belief in whether or not it’s fully based on a true story will depend on the viewer’s level of belief in the supernatural. Nonetheless, the story is well written and takes the beliefs it plays with seriously while also adapting them to the screen. The characters feel like they are perhaps not developed at their best or the performances for them is what causes this lack of care for them from the viewer. The lead is interesting, but her husband comes off as unlikable, her best friend comes off bitchy, while the housekeeper comes off as a cliché complete with an accent that can only be fake (and if it is not, apologies to the actress).
Since we’re all slowly and inexorably heading into the last day of the month of October, I’ve gotten to thinking about the perfect film to watch on Halloween. The sort of film where, to properly experience it, you have to turn off all the lights in your living room and surround yourself with friends or family, put a huge bowl of freshly made popcorn on the table to get that smell of hot butter in the air, and then cower together to scream and laugh while lit only by the glow of the television. We’ve all done it at least once, and it’s always fun, but it can be unforgettable if you pick just the exact right thing to watch.
This, in turn, got me to thinking about John Carpenter. Because, as you all remember, he just happened to make a little obscure flick called “Halloween”. Which, coincidentally, is why my own personal recommendation for the perfect film to watch on Halloween is “The Fog.”
“Ghostbusters” was a superb one and done premise that worked because it had such regular men who were called in to confront some spectacular circumstances, and in the end have to figure out how to live in a reality where they’ve essentially proven the existence of the supernatural. It’s surprising that the follow up is so sub-par and often monotonous as it almost has nothing to do with the original concept. It kind of goes through the motions and doesn’t exactly know how to continue building on these originally complex and flawed individuals. They don’t evolve much at all from when we last saw them, and writer Harold Ramis and Dan Akroyd seem to be painted in to a corner by devolving them and building them back up all over again.
“Blood & Iron” is a stellar sequel to the entertaining and raucous “Sword of Storms,” and it’s a yet another faithful adaptation that emphasizes the lore and world of the BPRD. The animated follow ups to the movie, set somewhere between the movies, have been worthy of the time spent with excellent animation, and a compelling narrative, overall. The idea bout the audience watching outcasts defend our Earth and realm is continuously fascinating, and the cast bring their A game.
For folks that appreciated the subversive artistic style that launched Mike Mignola into stardom, “Sword of Storms” practices a lot of the grit and indie flavor, along with much of what made Del Toro’s films so stellar. There’s even voice work from the original films’ stars including Ron Perlman, Selma Blair, John Hurt, and Doug Jones, all of whom are about as fun as ever. Directors Phil Weinstein and Tad Stones’ animated movie is set between the live action installments, channeling creator Mike Mignola with dark and often grim animation, with the back drop of an exciting narrative that never trails from its original source material.
Jessica Loren is new on the job; her first shift is the last shift of a closing, empty station. As her shift rolls on, odd things start happening and she can’t tell if they are real, imagined, or just a prank.
Remember that thing we learned about Samara from “The Ring” and “The Ring Two”? There’s a bit more of the story we didn’t learn about her and we have to sit through a hundred minutes to find it out. Why? All for the sake of a surprise ending that apes James Wan, but packs none of his usual flare. Like, you know… an actual surprise. Truthfully, I saw the surprise twist coming for “Rings” about twenty minutes in to the actual film, and while I appreciate wanting to reboot the series for a new generation that only knows what a VHS or VCR is through history books or novelty articles on Buzzfeed, “Rings” just isn’t a good movie.
After five years on the shelf constantly being rescheduled and postponed, “Amityville: the Awakening” is here and–makes apparent why it was postponed for so long. At ninety minutes, “The Awakening” feels like there are at least twenty minutes of good exposition missing. What we get is a pretty ineffective and monotonous horror film that feels very much like another run of the mill sequel in the oddly long running “Amityville” series. It has a lot of potential to really break out of the doldrums of being just another cash grab, and could have done some great things with its emphases on family, but every time it reaches out to become something different, it inevitably just pulls back again and seems intent on just making it to the end credits with no real effect.