Please Stand By (2017) – Film Review

While in years gone by many films surrounding the subject of autism have been seen as overly simplistic or even offensive, with Hollywood often treating characters with ASD like an immeasurable burden upon their entire family, every now and then we do receive a film which presents its autistic character (or characters) with respect and authenticity alike, with 2017’s ‘Please Stand By’ being one such example. Directed by Ben Lewin (Georgia, The Sessions, Falling for Figaro) and based on the 2008 play of the same name by Michael Golamco, ‘Please Stand By’ may hit many familiar beats for a coming-of-age comedy-drama, but with an excellent cast and a subtle sci-fi twist thanks to its focus around all things ‘Star Trek,’ ‘Please Stand By’ manages to keep its story diverting throughout its brief runtime.

Plot Summary: When ‘Wendy Welcott,’ a young autistic woman with a gift for writing, learns that Paramount Pictures is holding a screenwriting competition to celebrate ‘Star Trek’s 50th anniversary, she swiftly writes her own screenplay for submission. But on account of her condition and a great deal of ignorance from those around her, ‘Wendy’ is unable to submit her screenplay in time. So, seeing no other option, ‘Wendy’ decides to leave her group home in Oakland to travel to Los Angeles and deliver her screenplay in person…

Although the film’s screenplay (which is actually written by Michael Golamco) rarely breaks the mould of your typical coming-of-age narrative, ‘Please Stand By’ still has more than its fair share of heart-warming moments. And whilst some may argue that the film’s continuously upbeat tone robs the story of any real stakes, ‘Please Stand By’ isn’t really a film that aims to paint an incredibly dramatic tale of self-realisation, family, and belonging, but instead a film that effectively balances all of those themes through a charming and light-hearted story of a woman embarking on a journey across California in dedication of her favourite science fiction franchise.

In what would’ve been the film’s most criticised performance should it have been executed poorly, Dakota Fanning’s performance as ‘Wendy’ is one of the more thoughtful and accurate portrayals of on-screen autism in quite some time. From her social awkwardness to her flailing arm movements and stiff dialogue readings, Fanning successfully captures the functional spectrum of autism in a delightful and intriguing expression of independence and passion, as due to ‘Wendy’ having few experiences outside of her sheltered routine, the road-trip she embarks upon makes her feel truly unconstrained for the first time in her entire life, both for better and for worse. Meanwhile, her caregiver and older sister wonderfully portrayed by Toni Collette and Alice Eve respectively, attempt to track her down and bring her home, fearing for her safety and greatly doubting her abilities.

When it comes to visuals, despite the ceaselessly vibrant colour palette, the film’s cinematography by Geoffrey Simpson hardly ever veers away from immobile close-ups and/or mid-shots. But where the camerawork truly shines is during the scenes where the film attempts to recreate shots from classic ‘Star Trek’ episodes, as the Mediterranean climate of Los Angeles is quickly swapped-out for the strange alien worlds of: ‘Wendy’s imagination, all the while we hear ‘Wendy’ as she reads excerpts from her ‘Star Trek’ screenplay through calming voiceover.

In a similar sense to the visuals, the original score by Heitor Pereira rarely does anything exceedingly innovative as far as soundtracks go, with the majority of the runtime relying more on the use of lesser-known indie songs such as: ‘Take Me as I Am,’ ‘All or Nothing,’ and ‘Waves.’ Yet the score once again becomes much more interesting once we are transported into ‘Wendy’s screenplay, as the original score morphs into something that wouldn’t seem out-of-place in an actual ‘Star Trek’ film.

Along with recreating shots, ‘Please Stand By’ also pays homage to ‘Stark Trek’ history in nearly every aspect of its production. Firstly, the name tags of: ‘Wendy’s Cinnabon work collogues use the same font as the opening titles of: ‘Star Trek: The Original Series.’ Moreover, the mountain ranges seen in the background of the screenplay sequence are the Vasquez Rocks located in Agua Dulce, California, this area has been an extensively used location for many ‘Star Trek’ films and series, but most notably, for the 1966 episode: ‘Arena.’ Lastly, the suits worn by ‘Captain Kirk’ and ‘Spock’ during this same sequence are similar to suits worn by the characters in the 1968 episode: ‘The Tholian Web,’ visibly proving that the filmmakers did their research when it came to the franchise and its ardent followers.

Overall, whilst Golamco’s admittedly predictable screenplay does place the film more in the mid-range of coming-of-age comedy-dramas, by letting the talented actors simply do what they do best, director Ben Lewin does make ‘Please Stand By’ palatable even in its most commonplace moments. And although I obviously can’t speak for everyone on how well the film truly portrays autism given my position, in my eyes, this low-budget flick handles the potentially challenging concept adroitly, displaying the challenges of a life with ASD without ever just devolving into a collection of tics, quirks, and spasms or insulting those who may be on the spectrum. Final Rating: 7/10.

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Guns Akimbo (2019) – Film Review

Frenetic to a fault, 2019’s ‘Guns Akimbo’ relishes in its video-game-like violence, utilising its fluid editing, fast-pacing and wild visuals to construct a thrilling action-comedy inspired by riveting 1980s blockbusters like ‘The Terminator’ and ‘The Running Man.’ Yet with all this insanity, it’s inevitable that ‘Guns Akimbo’ will alienate some viewers, especially those hoping for plenty of engrossing commentary concerning televised violence and online culture, but for many others, the film’s super-charged, energetic action sequences along with Daniel Radcliffe’s committed performance will surely hit the spot as an explosive jaunt.

Plot Summary: When ‘Miles Lee Harris,’ a spineless video-game programmer, awakens one morning to discover that his hands have been bloodily bolted to a pair of pistols, ‘Miles’ is forced to use the fused-firearms to his advantage to save his ex-girlfriend from a group of kidnappers working for a criminal organisation named: ‘Skizm,’ which pits maniacal criminals against each other in livestreamed deathmatches…

Written and directed by Jason Lei Howden (Deathgasm), ‘Guns Akimbo’ is in many ways trying to be a satire of the digital age we currently live in, displaying how apps like Instagram and YouTube have made us cynical, and in some instances, even dehumanised us. The problem here being that the film soon becomes exactly what it’s satirising, constantly mocking the online community of: ‘Skizm’ for watching the grisly livestreams even though the film itself is taking just as much pleasure in displaying them to its audience, but considering ‘Guns Akimbo’ is primarily an action flick over anything else, I feel this muddled message is far from the film’s central focus. An issue the film does actually suffer from, however, is its screenplay, as by the time it’s third act arrives, the film is clearly beginning to run out of steam, devolving into essentially just non-stop action with little charm when compared to the first half of the film.

By far one of the film’s best aspects, Daniel Radcliffe’s performance as asthmatic protagonist: ‘Miles Lee Harris’ is both hilarious and manic, as ‘Miles’ is forced to leave his boring life as a programmer for a company whose games are designed to exploit children for micro-transactions, to undertake a whole new identity after unwillingly entering: ‘Skizm’ and their city-wide game of death. And whilst ‘Miles’ continuous moments of cowardice and constant wheedling over his ex-girlfriend could’ve been annoying if they were over-played, Radcliffe portrays the character in such a way where it’s easy for the audience to root for him similar to how ‘Skizm’s online audience do. On the flip side of this matchup there is ‘Nix,’ a cocaine-fuelled killer who relishes in profane one-liners and is brilliantly portrayed by Samara Weaving, being the current reigning champion of: ‘Skizm,’ ‘Nix’ serves her purpose as a baleful adversary to ‘Miles’ in addition to having a surprisingly dramatic backstory.

An utterly merciless blend of: ‘Crank,’ ‘Shoot ‘Em Up,’ and ‘Scott Pilgrim vs. The World,’ the cinematography throughout ‘Guns Akimbo’ never fails to be visually dynamic, as cinematographer Stefan Ciupek aims to make the camera feel completely unrestricted, having it flow freely through a variety of techniques including making superb use of body-rigs and car-mounts alike, which does help to redeem some of the uninspired firefight choreography. Moreover, as ‘Guns Akimbo’ frequently has the appeal of a vibrant graphic novel, the on-screen graphics and highly saturated lighting lend themselves remarkably well, with many of the lighting rigs used also being controlled via an iPad, so they could easily be adjusted to fit with the mood and colour of any scene.

Enis Rotthoff’s original score is just as hyperactive as the rest of the film, as any scenes that aren’t filled with iconic songs such as: ‘We’ll Be Good Friends,’ ‘Super Freak,’ or ‘You Spin Me Round’ are amplified by Rotthoff’s thumping techno soundtrack, with tracks like ‘Neon Grey’ and ‘Playcare’ being perfectly in tune with whatever moment of the story they are a part of.

However, even when keeping all these elements in mind, whether you enjoy ‘Guns Akimbo’ or not will ultimately have to do with whether you find the distinctively zany concept endearing, as the film greatly leans into the comedy of its premise, imagining what it would be like to try and use the bathroom or attempt to call someone when you literally have pistols for hands, which has always been the film’s most notable distinction. In fact, during the film’s pre-production, an image of Daniel Radcliffe holding a pair of pistols, panicking and covered whilst wearing a robe went viral as soon as it surfaced online, creating an aura awareness before the film even had an official trailer.

Overall, ‘Guns Akimbo’ is bloody, brutal, and ballistic, colourful and stylish yet admittedly fairly empty-minded. But for a film like this, I don’t think that’s such a bad thing, as while some may argue the film starts to lose its desirability once you realise it doesn’t have much to offer beyond its high-octane action sequences, ‘Guns Akimbo’ never lies to you about what it is, as the action is every bit as ludicrously over-the-top as it would be in the fictional reality of violent video-games like ‘Grand Theft Auto’ and ‘Doom.’ Final Rating: 7/10.

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Zookeeper (2011) – Film Review

Another lacklustre comedy from the ill-famed Happy Madison Productions, ‘Zookeeper,’ released in 2011, serves as nothing more than a Adam Sandler-perpetrated ego project for Kevin James, as director Frank Coraci (The Wedding Singer, Click, Here Comes the Boom) adds little flair to a sodden screenplay riddled with clichés, overly long scenes and gags inappropriate for the young viewers that would be intrigued by its juvenile storyline. Essentially leaving ‘Zookeeper’ a film that feels as if it was made for no one, despite the film supposedly being a family-comedy.

Plot Summary: When kind-hearted: ‘Griffin Keyes,’ the head zookeeper at the Franklin Park Zoo, considers leaving his profession for a more glamorous career to impress his ex-girlfriend, the animals within the zoo begin to panic at the thought of their favourite zookeeper departing. So, to keep him from leaving, the animals decide to break their code of silence, revealing to ‘Griffin’ their ability to speak and offer to teach him the rules of courtship…

Shockingly, the screenplay for: ‘Zookeeper’ has five credited writers (Kevin James being one of them), and yet the story/dialogue is neither interesting nor memorable, stealing many of its ideas from other live-action animal flicks such as: ‘Dr. Dolittle’ and ‘Marmaduke.’ However, this wouldn’t be so much of an issue if ‘Zookeeper’ was amusing or heart-warming, but unfortunately, the film falls flat in both of these areas, as instead of exploring the life of an animal born in captivity for comedic and sentimental purposes alike, the film lazily relies on montages to establish a tone and suggest a friendship between ‘Griffin’ and the various zoo animals, when he isn’t taking a pounding with pratfalls and bicycle spills, of course, a.k.a. Kevin James’ usual form of comedy.

Speaking of Kevin James, James is truly one of the most notable ‘love him or hate him’ actors in film. Having been in a number of roles as the supposedly loveable all-American hero who relies just as much on his weight as he does his comedic timing to get a laugh out of his audience, its not difficult to see why many don’t enjoy his on-screen presence, myself included. But in ‘Zookeeper,’ James is surprisingly bearable, portraying ‘Griffin’ as a likeable guy who feels more comfortable around animals than people after being dumped by his girlfriend when he proposed to her five-years prior, Rosario Dawson as ‘Kate,’ however, is given very little to work with as ‘Griffin’s work colleague and obvious love interest. The numerous animals within the zoo are also voiced by a star-studded yet ultimately squandered cast, with Nick Nolte, Sylvester Stallone, Cher, Maya Rudolph, Judd Apatow, Jon Favreau, Faizon Love and even Adam Sandler as ‘Donald’ the monkey (whose over-the-top voice is the vocal equivalent of fingernails on a chalkboard), all being heard at one point or another.

Bland and uninspired all around, the film’s cinematography by Michael Barrett rarely attempts anything beyond a simple close-up or mid-shot, with even the film’s wide-shots being few and far between almost as if the production couldn’t afford to feature any sizeable sets, or something of that description. The only visual aspect of the film that is in anyway beguiling is its colour palette, as all of the evening scenes within the zoo are displayed through dark blacks and blues, a dramatic shift in terms of colour from the bright yellows and oranges that represent daytime.

Although composer Rupert Gregson-Williams at least strives to make the score for: ‘Zookeeper’ a little more unique through the use of tropical instruments like bongo drums and maracas, the original score is almost unnoticeable throughout most of the runtime. Alternatively, the film relies on well-known songs for the sake of humour, throwing-in musical hits like ‘I’ll Supply the Love,’ ‘Low,’ ‘Easy,’ and ‘More Than a Feeling’ in a desperate attempt to make the story feel more emotionally investing than it actually is.

Whilst the film’s CG effects have begun to show their age here and there, the majority of the film’s visual effects are serviceable, this is primarily due to the majority of the animals being real with just one or two CG enchantments including mouth movements or being digitally relocated, as opposed to be represented entirely through CGI. Needless to say, this approach still has its issues, as there are many, many shots of animals standing completely alone where were supposed to believe that ‘Griffin’ is standing just out of frame. But when it came to the film’s gorilla: ‘Bernie,’ the filmmakers actually decided to take an old-school approach, placing an actor inside of ape suit, which sadly doesn’t look very convincing, especially when the camera moves closer towards his face, placing full emphasis on the suit’s unnatural movements.

In summary, ‘Zookeeper’ isn’t offensive or convoluted, it’s quite the contrary, its immature and simplistic, far too simplistic, in fact, as while some children may enjoy the slapstick humour that Kevin James excels at, the film’s mass of adult-centric jokes and typical romantic-comedy structure are likely to turn children off. And although ‘Zookeeper’ is far from the worst Happy Madison-penned film, it’s still significantly less enjoyable than many of the other talking animal escapades you could be watching instead. Final Rating: 3/10.

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Pixels (2015) – Film Review

Despite its undeniably promising story and talented supporting cast, 2015’s ‘Pixels’ is sure to greatly disappoint any viewer hoping for a hilarious and nostalgic throwback to 1980s arcade classics. As due to heavy involvement from Adam Sandler and his production company Happy Madison Productions both on and off-screen, ‘Pixels’ massively stumbles in its transition from the low-budget short film it’s originally based on into an explosive blockbuster, losing all of its charm and creative ideas to simply become another Adam Sandler comedy with some inspired visual effects.

Plot Summary: When aliens misinterpret a satellite video feed of 1980s arcade games as a declaration of war, they begin a full-scale invasion of Earth using games like ‘PAC-MAN,’ ‘Donkey Kong,’ ‘Centipede,’ and ‘Space Invaders’ as models for their various assaults. Eventually leading U.S. President: ‘Will Cooper’ to call on his childhood best friend, 80s video-game champion: ‘Sam Brenner,’ to lead a team of old-school arcaders to help defeat the alien invaders and save the planet…

As previously mentioned, ‘Pixels’ is actually based on a 2011 short film of the same name by French director Patrick Jean, which since being uploaded to YouTube has raked in well over two-million views. And whilst I personally believe the short film’s story of video-game characters invading Earth is a superb set-up for sci-fi-comedy, ‘Pixels’ unique plot is quickly butchered by screenwriter Tim Herlihy’s continuous writing fallbacks, as the film is content to stick with the usual Sandler template, using its inventive premise as simply framework to focus on a tired romantic hook-up storyline. Not even director Chris Columbus (Home Alone, Mrs. Doubtfire, Harry Potter and the Philosopher’s Stone) manages to elevate the film’s story when the eight-bit antagonists aren’t on-screen, which is all quite frustrating when considering the film’s enormous budget of over £64 million.

Even though the supporting cast of Peter Dinklage, Brian Cox and Sean Bean do feel as if they are trying their best considering the mélange of underwritten characters and awful dialogue they have to work with. Adam Sandler, Kevin James, Josh Gad, and surprisingly even Michelle Monaghan are all immensely irritating throughout the film, playing into their standard goofball personas without even a single attempt to lean outside of their comfort zones as actors. Josh Gad certainly suffers the worst in this regard, however, as his character: ‘Ludlow Lamonsoff’ serves as the cliché for video-game enthusiasts, portraying ‘Ludlow’ as a loud yet awkward loner who spends all of his time playing games in his room rather than socialising, a gag which gets old after about a minute.

The cinematography by Amir Mokri does allow for a few pleasant shots here and there, but whenever the film focuses more on dialogue than action, the camerawork seemingly takes a swift dive into drabness. Luckily, this is where ‘Pixels’ many, many visual effects shots come into play, adding a great level of colour and 1980s authenticity into the film just as the many arcade cabinets littering the sets do, even if games such as: ‘Asteroids,’ ‘Battle Zone,’ and ‘Gravitar’ did cause issues on set due to them being vector-class games, meaning the camera couldn’t pick-up their gameplay from certain angles without the use of a special monitor.

When it comes to the original score by Henry Jackman, ‘Pixels’ doesn’t improve much here either, as tracks like ‘The Invasion,’ ‘To the White House,’ and ‘Sweet Spot’ only continue to empathise the true extent of the soundtrack’s bland and forgettable nature, and similar to Jackman’s score for: ‘Wreck-It Ralph,’ I couldn’t help but wonder as to why Jackman didn’t go for a more traditional eight-bit approach.

Whilst we never actually see the invader’s true form at any point during the film, ‘Pixel’s CG effects are consistent and by far the film’s finest attribute, as each iconic video-game character is represented exactly as they were in their original game(s), just as colourful and robotic as when they first appeared to gamers during the 80s. And just like the original short film, when destroyed the various characters also explode, bursting into pixels (glowing multi-coloured cubes), before then configuring themselves back together to transform into another instantly recognisable hieroglyph from video gaming’s past, which never fails to look enticing.

Overall, while I, like many others am not a Sandler fanatic, ‘Pixels’ is a film that truly baffles me as to just how far it is from its original inspiration. As even in spite of its annoying cast, childish characters and forced romantic subplot, there could still be a fairly enjoyable throwback to alien invasion flicks and 1980s gaming hidden somewhere within this mess. But when looking at the film head on, I now think it’s just too hard to ignore all its problems, and while most had the common sense to stay clear of this abysmal sci-fi/comedy, I’m still amazed ‘Pixels’ managed to ruin all of its fleeting moments of eight-bit invaders wreaking havoc just to fall into Adam Sandler’s long list of detestable comedies. Final Rating: low 3/10.

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Spree (2020) – Film Review

The world of social-media influencers vying for clicks, likes, views and retweets all to achieve viral fandom is a twisted one, and ‘Spree’ is far from the first film to delve into this subject matter with a satirical lens. What makes the film different is its secondary inspiration, being based on the true story of an Uber driver who went on a killing spree in early 2016, ‘Spree’ has plenty of comically violent scenes to accompany its social-media commentary. Yet even in spite of Joe Keery’s magnetic screen-presence, ‘Spree’ is a film that always feels as if it’s on the verge of being something exceptional, but it’s reach far exceeds its grasp.

Plot Summary: Desperate for an online following, twenty-three-year-old wannabe influencer and rideshare driver: ‘Kurt Kunkle’ devises a malicious scheme to go viral, installing a series of cameras inside his rideshare car in order to film his unsuspecting victims as they meet a gruesome end…

Co-written and directed by Eugene Kotlyarenko (A Wonderful Cloud, Wobble Palace, We Are), ‘Spree’ was initially envisioned as a claustrophobic horror based around the story of the previously mentioned serial killing Uber driver who claimed a “Devil Figure” inside of the rideshare app was controlling his actions. And although this terrifying true story would have certainly provided enough inspiration for an indie horror, Kotlyarenko and co-writer Gene McHugh soon began to swerve more into dark comedy after giving the killer an intense craving for attention. This eventually evolved into the film’s central theme of social-media obsession, which while often used to great effect to mock online influencers, does frequently feel underdeveloped and retracts from the film’s tension, pushing ‘Kurt’s killing spree into the background in exchange for awkward character moments, which will inevitably disappoint those hoping to see plenty of grisly kills.

Joe Keery portrays the film’s psychotic protagonist: ‘Kurt Kunkle,’ who is suitably just as upbeat and inappropriate as many real-world influencers. This realism is most likely a result of Eugene Kotlyarenko and Joe Keery’s research, as the pair watched many cringe compilations of people online without a big following to help create the character, and this comes across through Keery’s body movements and relentless optimism, making for an occasionally irritating yet charismatic protagonist as ‘Kurt’ always remains hopeful his night of murder will increase his follower-count after trying (and failing) for the past decade. It’s just unfortunate that ‘Kurt’ doesn’t receive much development over the course of the runtime aside from one or two scenes, with much of: ‘Kurt’s life outside of the internet being left a mystery.

The cinematography by Jeff Leeds Cohn is obviously in the style of found-footage, but rather than simply having ‘Kurt’ film his every move similar to most found-footage flicks, the camera itself takes on numerous forms as the story is seemingly spliced together through iPhone cameras/screens, dash-cams, bodycams and even CCTV footage. Yet despite this ever-changing camerawork ensuring ‘Spree’s visuals stay varied, there does come a point when it begins to feel as if the film is simply piling on footage, even sometimes having three shots displayed at once through a split-screen effect which does become slightly overwhelming, especially when combined with the film’s rapid-editing.

Whilst there a few found-footage films that have successfully integrated an original score without taking away the sense of realism the subgenre provides, ‘Spree’ is most definitely not one of those films. As although the pulsing electronic score composed by James Ferraro does help to build excitement, the film’s soundtrack often plays over scenes with no clear in-world source, which does greatly dampen the illusion of the film being found-footage.

Of course, with ‘Spree’ having a heavy focus around all things social-media, it would be crucial that the film stays truthful to what the internet is actually like (even through its cynical view). And while the film does have many scenarios that feel as though they lack realism, whether that’s due to incredibly forced dialogue or ‘Kurt’s beyond-moronic actions when trying to avoid the Los Angeles police force, anytime the film displays a phone screen there is a certainty that every app/website will be a real brand and will be overflowing with detail. For example, ‘Kurt’s constant livestreaming never shies away from reality, meaning his stream’s comments are always rapidly unfurling with insults, jokes, and questions all from distinct usernames, which according to Eugene Kotlyarenko, took him over forty-nights to write out.

In short, Joe Keery’s entertaining performance can’t distract from ‘Spree’s shallow critique of social-media. As whilst some may argue the story’s lack of depth is precisely the point, for me the film feels as if its unsure as to what to do with its concept, which is greatly disappointing. As I personally think a dark comedy revolving around the obsessive culture of social-media is ingenious, and films like ‘Ingrid Goes West’ prove this idea can be executed well. ‘Spree,’ however, fails to deliver on this or its even promise of a violent and comedic thrill ride. So, while I do still believe the film will have a niche appeal, ‘Spree’s apparent flaws are likely to stop most from hitting the subscribe button. Final Rating: high 4/10.

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Easy A (2010) – Film Review

Taking inspiration from romantic coming-of-age comedies like ‘Sixteen Candles,’ ‘Clueless,’ and ‘Mean Girls,’ ‘Easy A’ released in 2010, certainly has its ups and downs. As despite Emma Stone leading the film with an extremely lively and charismatic performance, it’s hard to ignore the film’s immensely corny tone and many, many moments of humour that fall completely flat. Still, for those looking for a light-hearted morality tale about how a small lie can ramify out-of-control, ‘Easy A’ should suffice.

Plot Summary: After being prompted by her best friend to spill details of her boring weekend, ‘Olive Penderghast,’ a clean-cut seventeen-year-old high-schooler, decides to spice things-up by telling a little white lie about losing her virginity. But when the high-school busybody overhears their conversation and spreads it all over campus, ‘Olive’ suddenly becomes popular for all the wrong reasons…

Written by Bert V. Royal and directed by Will Gluck (Friends with Benefits, Annie, Peter Rabbit), ‘Easy A’ doesn’t strive too far from what we usually expect to see in our teenage romantic-comedies, taking place primarily in a high-school and focusing on the rippling effects of: ‘Olive’s constant lies and her growing popularity after she fully embraces her new persona as the school tart. And while I wouldn’t call ‘Easy A’s portrayal of an American high-school realistic per-say, many of the teenage characters we meet throughout the story are purposely represented as over-the-top stereotypes or even just one-note jokes through the film’s witty writing, which does vary from being hilarious to tiresome, depending on the scene.

Possibly being the biggest role of her career at the time of the film’s release, Emma Stone’s performance is undoubtedly the film’s finest aspect, as Stone truly brings her all to the role, portraying ‘Olive’ with such self-assurance that she elevates the game of every actor/actress around her. Having perfect comic-timing and a strong yet not irritating playful attitude that ensures ‘Olive’ will remain a likable and intelligent character for viewers to follow. Then there is the supporting cast of Amanda Bynes, Penn Badgley, Stanley Tucci, Patricia Clarkson, Thomas Haden Church, and Lisa Kudrow, who all attain at least one or two amusing moments even if many of their characters serve little-to-no purpose within the actual narrative.

With its story being set in California, ‘Easy A’ does utilise its West Coast setting for a handful of attractive wide-shots. But aside from these few shots, nearly all of the film’s cinematography by Michael Grady fails to display anything overly-interesting or creative. However, with that said, the film does flaunt its opening titles in a pretty imaginative fashion, having every cast/crew credit placed inside the shots themselves, whether that’s on the ground where characters are walking or placed on signs above the character’s heads, which is a fairly inventive way to avoid having each piece of text simply appear at the bottom of the screen.

Although the original score by Brad Segal is barely noticeable, ‘Easy A’ fills a large majority of its short runtime with a huge assortment of various pop songs, from ‘Change of Seasons’ to ‘Cupid Shoot Me,’ ‘Trouble is a Friend,’ ‘Bad Reputation,’ and, of course, ‘Pocketful of Sunshine’ by Natasha Bedingfield, which essentially becomes a running joke within the film as a result of the song’s catchy nature. Yet regardless of how widespread or beloved many of these songs may be, the sheer amount of licensed music that appears in the film is almost overwhelming, and when combined with the film’s editing, soon begins to feel quite choppy when rushing from song-to-song.

While the plot of: ‘Easy A’ does parallel the romantic novel: ‘The Scarlet Letter’ in more ways than one, ‘Easy A’ isn’t exactly a film that’s subtle about its influences. So, just as the film embraces its similarities to that story with ‘Olive’ continuously mentioning both the novel and film in addition to wearing the scarlet letter ‘A’ on her clothes, ‘Easy A’ also takes clips from many of the films its directly inspired by. In particular, when it comes to John Hughes’ iconic filmography, as everything from ‘The Breakfast Club’ to ‘Ferris Buller’s Day Off’ to the previously mentioned: ‘Sixteen Candles’ is not only referenced, but eventually, even sampled into the film during a clip-montage, which while unique, I couldn’t but think is a just a clever tactic of escaping criticisms regarding the film’s lack of originality in some areas.

Overall, whilst ‘Easy A’ owes an enormous debt to older (and in all honesty, better) teenage romantic-comedies, it is enjoyable in bit-size chunks, particularly, for those who are fond of Emma Stone. As in many ways ‘Easy A’ was unknowingly a showcase for the actress, alluding to her future career in Oscar-winning films such as: ‘La La Land’ and ‘The Favourite.’ And even though I’m certain its underlining cheesiness and subplots that feel like afterthoughts will annoy some, in my opinion, ‘Easy A’ has its moments, but it’s unlikely to leave a strong impression. Final Rating: low 6/10.

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The Voices (2014) – Film Review

This obscure horror-comedy released in late 2014 will certainly make for a divisive viewing, as while ‘The Voices’ does feature an inspired use of colour and set-design alongside a stand-out performance from Ryan Reynolds, the film is also far more disturbing than much of its marketing would lead you to believe, swerving from absurd moments of humour to visceral moments of gore in a heart-beat. The resulting film essentially becoming a parody/throwback of/to classic horrors like ‘American Psycho,’ and is a far-cry from a realistic study of psychosis for better, and for worse.

Plot Summary: After working a nine-to-five job at his local bathtub factory, the mentally ill: ‘Jerry’ finds comfort in returning home to his beloved pets: ‘Bosco’ and ‘Mr. Whiskers.’ Until one day, with the help of his psychiatrist, ‘Jerry’ decides to pursue his office crush: ‘Fiona.’ But when their relationship takes a sudden, murderous turn leaving ‘Jerry’ with the corpse of his co-worker, he tries desperately to strive for normalcy, only to fall deeper into instability…

Early in the pre-production of: ‘The Voices,’ director Mark Romanek, best known for the 2002 drama/thriller: ‘One Hour Photo’ was attached as the film’s director, before Marjane Satrapi (Persepolis, Chicken with Plums, Radioactive) later took over as the head of the project. And whilst ‘The Voices’ does feel like quite a large shift from Satrapi’s usual work, its hard to know exactly which director would’ve excelled with a screenplay as original as this one is. As while ‘The Voices’ does share some similarities to other serial killer flicks, many of the film’s ideas are just brimming with personality, as everything from ‘Jerry’ showing symptoms of OCD when cutting-up the bodies of his victims, to ‘Jerry’ living above an abandoned bowling alley, the film just has such a unique appeal.

Ryan Reynolds really gets a chance to shine portraying the film’s mentally ill protagonist, as whilst ‘Jerry’ does commit many horrible acts over the course of the runtime, Reynolds manages to capture the idea of: ‘Jerry’ being a man forced down a road of violence. He is a distinct serial killer in the sense that he desires companionship and happiness, and doesn’t receive any pleasure from killing. So when its eventually revealed what happened to him as a child, you can’t help but sympathise with him, invoking a level of emotion that many murderous characters struggle to achieve. But unfortunately, the film’s side characters portrayed by Gemma Arterton, Anna Kendrick and Jacki Weaver, all feel quite thin as a result of them only being in the story to serve as ‘Jerry’s potential victims.

Maxime Alexandre handles the film’s cinematography well, as the camerawork throughout ‘The Voices’ remains fairly creative. The film’s visuals are most impressive most however, when it comes to the film’s colour palette, set-design and set-dressing, as with nearly the entirety of the story being seen through ‘Jerry’s perspective, the film displays the true extent of: ‘Jerry’s delusions through its use of colour/sets. For example, when not on his prescribed medication, ‘Jerry’ views his apartment as very clean and organised, giving the location a much more comfortable feel, whereas when ‘Jerry’ does take his medication, he sees the grim reality of his soiled home.

The original score by Olivier Bernet is similar, never reaching into full on horror, but being a mixture of cartoonish dreamlike tracks such as: ‘In the Woods’ and ‘Jesus Dad,’ before then moving onto more upbeat tracks like ‘Don’t Mess with Milton’. A seemingly ironic track focused around the fictional woodland town of: ‘Milton’ where the story takes-place, claiming the town to be nothing but a friendly and welcoming place.

The main aspect of: ‘The Voices’ that I feel could make or break the film for many is likely to be its comedy, as whilst it is revealed fairly early on that many of the film’s bizarre moments such as: ‘Jerry’s pets speaking to him or ‘Jesus’ appearing on a forklift are all taking-place within his mind, much of this strange humour is very hit-or-miss. However, an interesting yet small detail regarding the talking pets is that Ryan Reynolds actually voices each one of the animals himself, with each pet having a different accent, furthering ‘Jerry’s delusions. In fact, Reynolds actually modelled the voice of: ‘Mr. Whiskers,’ a.k.a. ‘Jerry’s cat, after a Scottish friend he knew for over twenty-years.

Overall, while ‘The Voices’ is overflowing with both charm and wit, it also has many issues. From its quickly altering tone and many jokes that fall flat, the film is far from a perfect horror-comedy. But it does redeem many of its faults through its great performances and eccentric style, all playing into the film’s quirky personality. And its due to all of this that the film feels as if its made for a very niche audience, yet for those ‘The Voices’ does appeal to, there is a fair amount to enjoy here. Final Rating: low 7/10.

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About Time (2013) – Film Review

Written and directed by Richard Curtis (Love Actually, Pirate Radio), ‘About Time’ would go on to be the final outing for Curtis as a director, as after this time-travelling drama’s release in 2013, Curtis would return to exclusively being a screenwriter, which I feel is probably for the best. As whilst ‘About Time’ does manage to keep itself afloat thanks to its captivating writing and wonderful performances, the film is often let-down by its fairly bland presentation and apparent disinterest in exploring its unique time-travelling concept, ensuring the film’s eventual confusion with many of the other romantic-dramas seen in recent years.

Plot Summary: At the age of twenty-one, the timid: ‘Tim Lake’ is informed by his father that men in their family have the unique ability to travel through time. Although this ability is restricted to the window of their own lives, it can be used to undo any past mistakes, so ‘Tim’ decides to use his newly-found ability to escape his current lonely existence, visiting all of his past loves to find the one who could be his future…

Due to Richard Curtis writing a number of iconic rom-coms from ‘Love Actually’ to ‘Four Weddings and a Funeral’ and ‘Bridget Jones’ Diary’ in the past, it comes as no surprise that ‘About Time’s screenplay is certainly its finest aspect. As in many scenes, the film chooses to push ‘Tim’s time-travelling ability aside in favour of delivering sincere character moments, playing into the story’s theme of life itself being the greatest experience. Yet while I do like both of these ideas, its a shame that the film barley touches upon the great deal of consequence time-travelling can have, as scenes focusing on time-paradoxes/the butterfly effect could’ve made for some of the film’s most impactful story-beats. Sadly, they are incredibly sparse and only appear when the story necessitates them.

The main couple of: ‘Tim’ and ‘Mary’ portrayed by Domhnall Gleeson and Rachel McAdams do share a good amount of chemistry and have plenty of charming moments together, as ‘Tim’ tries desperately to impress ‘Mary’ by recalling everything he remembers about her from his past encounters. The supporting cast of Lydia Wilson, Lindsay Duncan, Tom Hollander and Margot Robbie are all also great, as each member of the cast serve an important purpose within the narrative whether big or small. But its ‘Tim’s father portrayed by Bill Nighy who is the true emotional core of the film outside of: ‘Tim’s love life, with Nighy doing a fantastic job as usual.

Despite visuals never being the main focus of rom-coms, the cinematography by John Guleserian is the film’s worst element. As any even somewhat creative shots are rarely seen throughout the runtime, with the film usually just relying on mid-shots or close-ups to enhance the drama. The film’s colour palette doesn’t help in this regard either, as the pale colours almost present the film as if each scene is an extension of a photo framed in the family’s home, which is ingenious if that was the filmmakers’ attention, yet I’m not entirely sure it was. ‘Tim’s time-traveling ability however, is a little more visually-interesting in spite of its simplicity. As the film makes use of rapid-editing to cut between many different events during ‘Tim’s life, a straight-forward but understandable method of displaying how ‘Tim’ is flicking through his memories.

Although ‘About Time’s cinematography is lacking, the original score by Nick Laird-Clowes is far more enthralling, as the film’s soundtrack utilises ticking clocks and heart-beating sound effects to relate to the story’s aspect of time-travel. And when focusing more on the story’s characters, the score switches things-up to be piano-focused, depicting a variety of experiences of life such as joy, heartbreak, reflection and confusion. ‘About Time’ also features a number of recognisable songs similar to much of Richard Curtis’ other work, all of which luckily, never distract from the story.

While ‘About Time’ does eventually continue on to cover a fair number of years throughout the character’s lives, much of the early portion of the film leans on ‘Tim’ trying to ignite the spark with ‘Mary,’ and with Rachel McAdams’ previously portraying the titular character in ‘The Time Traveler’s Wife’ from 2009, this should seem like familiar ground. However, unlike McAdams’ character in that sci-fi flick, ‘Mary’ is never made aware of: ‘Tim’s time-bending secret, which might make some viewers a little uncomfortable regarding the absence of honesty in their relationship.

To conclude, ‘About Time’ is enjoyable overall, it just doesn’t quite live-up to its interesting ideas or nearly two-hour runtime. As unfortunately, whilst the film’s many humorous and heartwarming moments do excel, the story’s huge missed opportunities are always ever-present, and the mostly dull cinematography/colour palette simply can’t be ignored, and even though I would personally only recommend ‘About Time’ to those who have a sweet-tooth for light-hearted romantic-dramas, I can’t deny that the film is heartfelt, with a fragile sort of sincerity at its centre. Final Rating: 6/10.

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This Year in Film (2020) – Film List

Due to COVID-19, the film industry (much like the world itself) has deeply suffered this year, with many films be pushed-back or even put on-hold indefinitely. And while I obviously agree with all of the new precautions introduced for the safety of both the cast and crew for films currently in production, I’m also truly hoping that the film industry can recover by next year. Regardless, in no particular order, here’s my thoughts on what few films I did manage to see this year, which I will update in time as I get around to seeing any other films I may have missed.

Soul

A return to form for Pixar Animation, Pixar’s ‘Soul’ not only features the usual gorgeous animation the company is known for, but also delivers on an original and unique story with many fascinating ideas melded within. Although some of its concepts may be a little difficult for younger viewers to understand, ‘Soul’ is still a wonderful mixture of heart and creativity, and is such a breath of fresh-air for both the animated genre and Pixar themselves.

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Mank

Capturing the look and feel of a 1940s film, the sharply-written and brilliantly performed: ‘Mank,’ peers behind-the-scenes of one of the greatest films ever made, that being: ‘Citizen Kane,’ to tell an old Hollywood tale that is just as engaging as it is well-crafted. And while I don’t believe the film will end-up becoming a classic in its own right, as I could see general audiences finding the film quite dull, cinephiles will surely get a kick out of this remarkable drama.

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Tenet

Thrilling and distinctive yet very flawed in terms of its writing, ‘Tenet’ is nowhere near as compelling as many of Christopher Nolan’s other blockbusters, suffering from an incredibly undeveloped protagonist/antagonist as well as a handful of moments that feel like spectacle-over-substance. But through its impressive CG effects and exciting action sequences, ‘Tenet’ does certainly have plenty of entertainment-value even if it’s script was in need of some refinement.

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Mulan

Another of Disney’s live-action reimaginings of their beloved classics, the new incarnation of: ‘Mulan’ is beyond lacklustre, with its unlikable protagonist, dull filmmaking and more historically-accurate yet uninteresting story all being far less enjoyable than the original animated adventure. And with this film flopping at the box-office due to its purchasable release on Disney+, we can only hope that ‘Mulan’ is one of the last remakes Disney decides to force upon its viewers, but after looking at their current release schedule, this does seem unlikely.

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Scoob!

Serving as what was intended to be the first film in an animated Hanna-Barbara cinematic universe, ‘Scoob!’ Is an enormous missed opportunity for a reboot of: ‘Mystery Inc.’ As the film quickly becomes distracted by its singular goal of setting-up this interconnected universe and as a result, forgets to tell the entertaining and charming origin story its trailers promised, or even a classic spooky adventure more in-line with the original animated show.

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Onward

An intriguing idea/story quickly spoiled by its overly-fast-pacing and overstuffed world, before ‘Soul’ came along and redeemed their streak, ‘Onward’ simply felt like another disappointing film in the long-list of underwhelming Pixar flicks released in recent years. Whilst the modern-fantasy world the film takes-place within does take its opportunities to be amusing or charming, it also isn’t very memorable in the long-run.

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The Hunt

While the political-commentary throughout ‘The Hunt’ is quite easy to ignore if you only desire to see some dark comedy and intense violence. ‘The Hunt’ still somehow managed to be one of the most controversial yet also most neglected films of the year, eventually leading Blumhouse Pictures to use the film’s controversy to market the film, which really displays the company’s lack of faith in the film itself, which is nothing short of a slightly more comedic but just as bland ‘Purge’ flick.

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Possessor

From the son of David Cronenberg, Brandon Cronenberg. ‘Possessor’ may not be quite as ground-breaking as horror/sci-fi classics like ‘The Fly’ or ‘Scanners’, but this original and intriguing narrative is only complimented by its compelling themes and exceptional filmmaking, and serves as a brilliant second outing for this iconic director’s son, who I personally can’t wait to see more from.

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Extraction

Although ‘Extraction’ is very loose on story and characterisation alike, the film’s exciting action set-pieces will be more than enough to satisfy action fanatics. As Chris Hemsworth fittingly places all of his training and gruff-exterior to the forefront for the film’s many violent, exhilarating and occasionally even over-the-top moments.

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His House

A low-budget British horror with some intriguing themes, ‘His House’ is a terrifying and eye-opening look at the specters of the refugee experience. Directed by first-time filmmaker Remi Weekes, the film is certainly not for everyone, as it avoids many common horror clichés in favour of aggressively playing into its central concept, which usually works quite well aside from one or two moments where it can feel a little heavy-handed.

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Underwater

A fantastic throwback to 80s creature-features, ‘Underwater’ was undoubtedly one of the most overlooked entries into the sci-if genre this year. And although it’s story isn’t anything we haven’t seen before, this simplistic yet flashy flick will surely please any fans of cult horrors and science fiction stories, having heavy inspirations of both H.P. Lovecraft and even the 1979 classic: ‘Alien.’

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The Gentlemen

Going back to his ‘Snatch’ roots, ‘The Gentlemen’ directed by the brilliant Guy Richie is simultaneously stylish, well-crafted and hilarious. Whilst I personally feel ‘Snatch’ still has a slight edge over Richie’s latest feature, it’s still a very enjoyable ride nevertheless, and is more than likely one of my favourites from this year.

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The Midnight Sky

Iconic actor George Clooney returned to directing this year with the Netflix Original: ‘The Midnight Sky,’ and even though it lacks the dramatic heft to match its narrative scale, its flaws are often balanced by its thoughtful themes and poignant performances from both Felicity Jones and George Clooney himself.

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The Invisible Man

Another one of my personal favourites from this year, this remake of the classic 1930s monster flick: ‘The Invisible Man,’ is a refreshing and very well-directed take on the iconic character. Remaining tense and entertaining throughout its mostly original storyline, all the while continuing to impress with its excellent performances, effective cinematography and impactful original score.

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We Can Be Heroes

Attempting to capture both the imagination of younger viewers as well as the nostalgia of older audiences who grew-up with colourful family flicks like ‘SpyKids’ and ‘The Adventures of Sharkboy and Lavagirl,’ ‘We Can Be Heroes’ had an opportunity to interject some light-hearted fun into this challenging year. But with its predictable and overly-marketed focus on superheroes, not to mention its clearly inexperienced young cast and abysmal CG effects and costume-design, ‘We Can Be Heroes’ ended-up being just as irritating as it was corny, lacking any of the charm those older films had for all their problems.

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Color Out of Space

A wonderful slice of cosmic-horror, ‘Color Out of Space’ explores this subgenre and its weirdly-fascinating story remarkably well. As although I personally adore cosmic-horror, this subgenre has always received little attention in modern-day cinema, yet this adaptation of H.P. Lovecraft’s novel of the same name is just as creative and disturbing as it’s source material, sometimes even more so despite a few moments of robotic dialogue and weak acting, resulting in a strange yet truly captivating experience.

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The New Mutants

Finally, after years and years of waiting, the horror-esque superhero flick: ‘The New Mutants’ was released in 2020. And it’s fair to say it made its way into cinemas with little applause, missing its train of anticipation by years at this point, and as a result, ‘The New Mutants’ seemed to have just gone unwatched by most, and for those who did see the film such as myself, simply experienced a dull, cheesy and messy film which felt unsure of what it even wanted to be by the runtime’s end.

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Sonic the Hedgehog

Jim Carrey makes his long-awaited return to the silver screen in this adaptation of the iconic video game character: ‘Sonic the Hedgehog,’ delivering an expectedly over-the-top performance as the film’s antagonist: ‘Dr. Robotnik.’ And while the film follows the usual formula many family films stick-to, never really doing anything unexpected or overly-impressive, it does remain enjoyable-enough for children and fans of the video game series alike throughout its simplistic story.

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The Devil All the Time

Gripping, tense and dramatic, ‘The Devil All the Time’s descent into darkness may be harrowing to the point of unwatchability for some, and isn’t a film I’d recommend to general audiences. Having a devilish mix of neo-noir intrigue and gothic horror based on William Hjortsberg’s page-turning novel, the film is a compelling feature only elevated by the strong work from its all-star cast.

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The King of Staten Island

This comedy/drama from director Judd Apatow isn’t one of the director’s best films to-date, as ‘The King of Staten Island’s uncertain tone and indulgent length stop this coming-of-age dramedy’s ability to find itself, but Pete Davidson’s soulful performance and the director’s usual flair for comedy do manage to keep the film afloat.

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The Babysitter: Killer Queen

Whilst this sequel to 2017’s ‘The Babysitter’ does delve more into the supernatural aspects only hinted at in the first film, ‘The Babysitter: Killer Queen’ is worse than it’s predecessor when it comes to both its comedy and it’s pacing. Ending-up as a mostly straight-forward and drawn-out chase sequence similar to the original film, only this time without the amusing jokes or clever horror satire to hold it up.

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The SpongeBob Movie: Sponge on the Run

Aside from its attractive animation and extremely vibrant colour palette, the third major film focusing on the iconic cartoon character: ‘SpongeBob SquarePants,’ contains barley any story or hilarious moments. Instead, relying on bizarre celebrity cameos and strange dream sequences to fill it’s short runtime, which is sure to do nothing other than leave children bored, adults confused and fans of the beloved animated show immensely disappointed.

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Krampus (2015) – Film Review

Whilst most Christmas films get across their message about how family is the true meaning of the holiday in a wholesome and light-hearted fashion, ‘Krampus’ takes quite a different approach. As director Michael Dougherty (Trick ‘r Treat, Godzilla: King of the Monsters) crafts a cynical and amusing horror-comedy based around: ‘Krampus,’ a creature from European folklore with origins stretching back to the days before Christianity, serving as essentially the sinister twin of jolly ‘Saint Nicholas,’ punishing those who misbehave in various odious ways. And while the film is far from perfect, ‘Krampus’ creative ideas and impressive practical effects make the film worth it’s runtime.

Plot Summary: When his dysfunctional family clash over the holidays, young ‘Max’ finally decides to turn his back on Christmas, tearing-up his letter to ‘Santa Clause’ in a fit of rage. Little does he know, his lack of Christmas spirit has unleashed the wrath of: ‘Krampus,’ an ancient demon who punishes those who don’t celebrate the festive season. Forcing ‘Max’ and the rest of his family to fight for one another if they hope to survive…

Although there are plenty of enjoyable films out there to watch over the festive season, I usually always find myself craving something new around the Christmas-period, as the cliché narrative of children helping ‘Santa Claus’ save Christmas gets very old quick. ‘Krampus’ however, does certainly attempt something new, even if it isn’t always successful. As whilst the original outline for the film was closer to a straight-forward horror, focusing mostly on ‘Krampus’ picking people off throughout ‘Max’s town, it was eventually decided to make it more of a dark retelling of a traditional Christmas film. This is why the plot is kicked-off with a letter to ‘Santa.’ and why the film’s first act begins much like a family film would, before then having a drastic turn towards horror and dark fantasy.

The film’s large cast of Adam Scott, Toni Collette, Emjay Anthony, David Koechner, Allison Tolman, Stefania LaVie Owen, Conchata Ferrell and Krista Stadler are all serviceable in their roles, even though many of their characters aren’t developed nowhere near enough. Additionally, ‘Tom Engel,’ a.k.a. ‘Max’s father, also has many moments where he doesn’t seem to take their life-threating situation that seriously, almost as if he is acknowledging how bizarre the story is, which does diminish the film’s tension at points. But with ‘Krampus’ featuring moments of humour and fright alike, the film obviously has many shifts in tone between scenes.

Jules O’Loughlin’s cinematography is nothing amazing altogether, as in spite of the film having quite a few memorable and attractive shots, there are also a large amount of bland shots whenever the camera is focusing on the actors themselves. What is far more admirable though is how the camerawork enhances the film’s set-design, making the audience believe that the film was shot inside a real house and outside on a real wintry street. When in reality, over 95% of the film was shot on a soundstage, with the snow covering the ground being made from a material that’s commonly used for making nappies.

Composer Douglas Pipes handles the film’s original score, and he described his soundtrack as “A Collection of Twisted Christmas Carols with Pagan Thrown in.” As the score incorporates everything from the sounds of chains, bells, bones and animal-skin drums in addition to having choirs chant and whisper in different tongues, making for a foreboding but suitably Christmassy score. The track: ‘A Cold Wind’ also does a phenomenal job of reiterating ‘Krampus’ as the ominous shadow of: ‘Santa Clause’ through its use of sleigh bells. However, the film’s actual sound design features some incredibly strange choices for a horror, as many goofy/cartoonish sound effects can be heard within the film, feeling immensely out-of-place every-time they are.

One of the finest aspects of: ‘Krampus’ as a film has to be its effects, as rather than having an overeliance on CG visuals, ‘Krampus’ brings all of its uniquely creepy creatures to-life through detailed costumes and animatronics, harkening back to classic 80s horror-comedies like ‘Gremlins.’ Many of the film’s terrifying monsters also share wonderfully horrific designs, with the final design for: ‘Krampus’ and his elves being distilled from various postcards and illustrations seen over-time. Or in the case of the malevolent toys, taking inspiration from the 1992 low-budget horror: ‘Demonic Toys,’ with the angel ornament, teddy bear, robot and Jack-in-a-box that attack the family sharing many similarities to the toys seen in that obscure horror flick.

In conclusion, ‘Krampus’ is a rollicking ride of a Christmas film even if it isn’t quite as polished as Dougherty’s Halloween flick: ‘Trick ‘r Treat.’ As the film’s excellent practical effects, menacing creature designs and great original score all lend themselves very well to the distinctive story, despite the narrative itself often feeling like wasted potential considering ‘Krampus’ doesn’t fully appear until near the end of the runtime. Regardless, this horror-comedy is still the best on-screen interpretation of: ‘Krampus’ and his minions as of yet. Final Rating: 7/10.

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