The Purge: Anarchy (2014) – Film Review

This sequel to the original: ‘Purge’ film released just a year earlier is a slight improvement over the first, yet still doesn’t fare much better overall. As while ‘The Purge: Anarchy’ does deliver more on what its initial film set-up, now focusing-on a small group of characters attempting to survive the night of chaos and murder out on the desolate streets of Los Angeles. ‘The Purge: Anarchy’ doesn’t do enough with this new perspective, and it soon becomes quite evident that it isn’t going to be enough to save the film from its return to weak filmmaking and storytelling.

Plot Summary: As another year’s ‘Purge Night’ commences, two groups of survivors unintentionally intertwine after being rescued by a mysterious stranger out on a mission. Now stranded and in desperate need of a vehicle, the group agree to stick together in order to survive against the many ‘Purgers’ out for blood.

Once again directed by James DeMonaco, it’s clear from the larger-scale that ‘The Purge: Anarchy’ is aiming for that the film is trying to please the audience members that were dissatisfied with the first entry in the franchise, ditching the small-scale home-invasion story in favour of becoming more of an action-focused thriller that further explores its disturbing world. Yet even with the many themes of: ‘The Purge’ series still present, ‘The Purge: Anarchy’ manages to feel like a bigger waste of potential than the first film. As in spite of the fact we get to see how many different Americans spend their murderous night, the film still feels quite restrained, never delving enough into each baleful group of: ‘Purgers’ or their violent deeds.

Frank Grillo leads the cast this time around as a character only known as ‘The Sergeant,’ who has easily become the most beloved character in the series since ‘The Purge: Anarchy’s initial release, soon becoming the only character to return in a later ‘Purge’ film. However, whilst I understand why most viewers resonate with his character, I did feel much of his characterisation was lost as a result of a large amount of his dialogue (including his backstory) being cut during post-production. The sequel’s cast also includes Carmen Ejogo and Zoë Soul who both give decent performances, as well as the other two cast members of Zach Gilford and Kiele Sanchez, who are both about as irritating and dim-witted as horror characters come, having nothing but scene-after-scene of the two making moronic decisions following their many sessions of obnoxiously loud panicking.

Unfortunately, returning cinematographer Jacques Jouffret doesn’t innovate much on his style of cinematography from the first film, relying very heavily on hand-held camerawork now just with slightly better lighting due to the many street lights above the character’s heads. Although there are still a few interesting shots, the only real aspect of the film that manages to stand-out stylistically is the film’s end credit sequence, which combines footage from both of the ‘Purge’ films released at the time in addition to shots of fire, bullets, blood, weapons and the American flag, all key visuals of the series.

Nathan Whitehead’s original score is similar to that of the first film, only this time being much shorter in length, mostly consisting of a series of tracks that lack anything overly-distinctive about them, being utilised within the film exclusively to help build tension. That is with the exception of the track: ‘Commencement’ however, without a doubt the best track of the entire score, as this impactful and brooding track plays when ‘The Purge’ first begins, making for one of the film’s most memorable scenes.

Whilst this was also an issue in the original: ‘Purge’ film, ‘The Purge: Anarchy’ carries-over the same problem, suffering repeatedly throughout the runtime as a result of its many awful CG effects. Most notably, the heavy overreliance on CG blood, which looks dreadful in nearly every shot it’s featured in. That being said, ‘The Purge: Anarchy’ does also take on one of the previous film’s best elements, that being the many frightening (and occasionally also iconic) masks. From skulls, to blood-stained hockey masks to even a simple white bag, nearly all of the masks seen during ‘The Purge’ franchise manage to add a little personality and character to each film’s signature psychopaths.

Sadly, ‘The Purge: Anarchy’ is another lacklustre entry within ‘The Purge’ series, even though I do feel a similar plot to this one could be executed-well, ‘The Purge: Anarchy’ somehow manages to feel more disappointing as it tries to be more ambitious. Whilst the film is perhaps the best entry in the current series (which isn’t really a compliment), mostly due to Frank Grillo’s entertaining performance and the film’s continuous feeling of rush helping to propel the film forward as the group attempt to live through this yearly night of violence. ‘The Purge: Anarchy’ still relies far too heavily on its central concept to carry it through its narrative. Final Rating: 4/10.

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The Autopsy of Jane Doe (2016) – Film Review

A twisted and unique indie horror that is certainly not for the squeamish, ‘The Autopsy of Jane Doe’ utilises it’s simple concept and individual location to the best of its ability, immersing its audience into its grim setting almost as if they are performing the autopsy themselves alongside the film’s characters. Whilst the film may still suffer from a couple of the same issues that plague many other modern horrors, ‘The Autopsy of Jane Doe’ manages to overcome most of its faults to evolve into a compelling slice of low-budget horror.

Plot Summary: While investigating the murder of a family, a small-town Sheriff and his team are puzzled with the discovery of a mysterious body buried underneath the crime scene. After bringing the corpse of the unnamed: ‘Jane Doe’ to family coroners: ‘Tommy’ and ‘Austin Tilden’ for a cause of death, the pair soon discover the corpse is harbouring a dark secret…

Directed by André Øvredal (Troll Hunter, Scary Stories to Tell in the Dark), ‘The Autopsy of Jane Doe’ may be slightly lacking in terms of budget, yet the film always manages to use this to its advantage by setting nearly the entirety of its story within the walls of the ‘Tilden Morgue and Crematorium.’ Through which, the film constantly retains its eerie atmosphere and even a partial feeling of claustrophobia. In addition to also keeping its audience entranced within its narrative through its signature mystery, as the questions of who is ‘Jane Doe?’ And how was she killed? Remains on every viewer’s mind immediately after the opening scene.

The main father and son duo portrayed by Brian Cox and Emile Hirsch both do a great job throughout the film, with the writing also contributing to the film’s engagement as their characters receive a decent amount of characterisation. Easily the most challenging (and respectfully most impressive) performance of the film has to be the corpse herself: ‘Jane Doe’ however, as while there were some prosthetics used during production, it may surprise many to know this role was actually portrayed by actress Olwen Catherine Kelly for the majority of the film. As André Øvredal felt it was necessary to have an actress in the role to help connect to the audience on a human level, eventually leading Kelly to be cast due to her knowledge of yoga, which helped her minimalize her breathing and body-movement.

The cinematography by Roman Osin is overall admirable, implementing a number of attractive shots during the runtime. However, the film’s cinematography is still best utilised when it comes to the many gruesome close-ups, as the film never shies away from the ‘Autopsy’ part of its title, displaying nearly every part of the autopsy from the initial exterior examination through to the interior examination, securing this film’s position as not one for the faint of heart when its comes to blood/gore (or nudity for that matter). The lighting throughout ‘The Autopsy of Jane Doe’ also benefits its story, as the film’s array of tense moments are only enhanced as a result of the morgue being shrouded in shadows.

Danny Bensi and Saunder Jurriaans handle the film’s original score, which in spite of its complete lack of memorability does help add to the film’s foreboding tone and blood-curdling atmosphere. As the score feels more like ominous ambience rather than a standard horror score, with the track: ‘Hair Cut’ being the clearest example of this. The film also places a heavy emphasis on the song: ‘Open Up Your Heart and Let the Sun Shine In,’ a classic 50s song which repeatedly plays over the overly-static radio within the morgue, resulting in the song quickly becoming one of the film’s creepiest aspects.

Whilst ‘The Autopsy of Jane Doe’ does avoid many of the usual horror clichés, the film unfortunately still suffers from the most common problem in horror, jump-scares. Despite relying far more on its atmosphere and occasional chilling visuals to place its audience on-edge, the film still feels the need to spread a variety jump-scares throughout its tight runtime. In particular, within the film’s final act, which is when the film loses much of its originality in favour of becoming more generic and predictable.

In conclusion, ‘The Autopsy of Jane Doe’ is a fairly underrated gem in the realm of modern horror, surpassing many other films that attempt many similar ideas but usually end-up feeling quite tasteless, such as the overlooked film: ‘Anatomy’ from 2000, or the bizarre 2008 indie flick: ‘Deadgirl.’ So although not completely perfect in its execution, ‘The Autopsy of Jane Doe’ still delivers on its set-up of a tense and engrossing tale that also manages to make time for its characters in the process, and even though I personally don’t find Øvredal’s filmography impeccable, I do believe this director has talent, and projects like ‘The Autopsy of Jane Doe’ prove he can be a worthy contributor to the horror genre. Final Rating: high 7/10.

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The Purge (2013) – Film Review

The first instalment in the now-iconic horror franchise, the original entry in ‘The Purge’ series is a fantastic idea quickly ruined by its poor execution. As whilst the film’s main concept of one night a year where all crime is legalised is both a terrifying and intriguing notion, the entire series (in particular the first film) seem to explore the horrific world its story is set within in all the least interesting ways.

Plot Summary: In the near future, America celebrates ‘The Purge’ once a year, a national event in which all crime is legal for twelve hours. On this night of chaos and murder, a wealthy family soon find themselves hostages for harbouring the target of a murderous syndicate after he gains access into their fortified home.

Directed by James DeMonaco, this director has actually taken on every instalment of: ‘The Purge’ series from the original film through to the latest entry: ‘The First Purge’ in 2018. According to DeMonaco, the idea for the film first came about during a moment of road-rage when he and his wife were cut-off in traffic by a drunk driver, resulting in DeMonaco wishing you could have one free murder a year after witnessing the driver’s complete lack of regret. While a creative and disturbing concept by itself, ‘The Purge’ series has also captivated many through its many themes. Although mostly focused on in later films, the various themes of this horror franchise could be interpreted by viewers in a number of different ways, from political to psychological.

Ethan Hawke, Lena Headey, Max Burkholder and Adelaide Kane portray the main family of the film: ‘The Sandins,’ who unfortunately, with the exception of Ethan Hawke as the father: ‘James Sandin,’ all give relatively weak performances, portraying the family as excessively mundane throughout. However, this is also heavily due to their characters, as nearly every character within the film is written as either very peculiar or very cliché, with the son: ‘Charlie Sandin’ having a medical problem which he takes medication for, in addition to having a strange character quirk for building and driving a remote control car attached to a disfigured baby doll, which ‘Charlie’ uses to navigate his way around the house. But due to how specific the latter is, he (and his sister) end-up seeming like nothing more than plot devices to put the rest of the family in further peril.

Aside from one or two shots, the cinematography by Jacques Jouffreet is unsurprisingly quite bland. Mostly unitising mid-shots and close-ups, ‘The Purge’ never really attempts to do anything overly inventive with its cinematography, usually relying on rough hand-held shots. Alongside this, the lighting throughout the film is immensely dark. As after the murderous syndicate cut the power to the family’s home, the remainder of the film’s runtime is spent in nearly-total darkness, which can become a little irritating after a point as the constant dark corridors make the characters even harder to follow than they already were, as the cinematography doesn’t allow the viewer any understanding of the house’s convoluted and confusing layout.

Even though many modern horrors lack an ingenious score, the original score by Nathan Whitehead is fairly uninspired. As in spite of the soundtrack helping to build-up a tense atmosphere during a few scenes, the original score simply isn’t memorable in the slightest and is barely distinguishable from any other generic horror/thriller soundtrack, despite the huge list of tracks the film has to offer. However, the excellent costume design of: ‘The Purge’ does help redeem the weak score, as the many different ‘Purge’ masks and costumes make for some memorably-creepy visuals.

The most obvious issue ‘The Purge’ has been criticised for is its focus on being more of a home-invasion thriller than what most would imagine (and desire) a ‘Purge’ film to be, as the original film is actually extremely contained, being set nearly entirely within the family’s home and relying on only a small group of characters. While director James DeMonaco has stated this was mostly due to the film’s small-budget and lack of shooting days, you can’t help but feel the film isn’t exploring its chaotic world as effectively as it could whilst watching. Of course, being a modern horror, ‘The Purge’ is also littered with jump-scares throughout, many of which are very predictable due to the build-up to each-one, eventually making them feel nothing but tedious.

Whilst I personally don’t feel ‘The Purge’ series improves much even throughout its future entries. There are still some aspects I enjoy within this modern horror, from its interesting ideas and themes to its decently entertaining performance from Ethan Hawke and array of menacing masks/costumes, ‘The Purge’ does have great potential, but I simply feel it was just never fully-realised. While this horror series does have a devoted fan-base, I’ve never quite understood its appeal. As for me, ‘The Purge’ franchise will always have its intriguing ideas spoiled by its dull filmmaking. Final Rating: high 3/10.

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Maniac (2012) – Film Review

Shot nearly entirely through a first-person perspective and lead by a timid yet creepy performance from Elijah Wood. 2012’s ‘Maniac’ is in my opinion, a pretty creative and unique slasher that has been enormously overlooked when it comes to modern horror. While the film does still have its issues, I feel most horror fans will get something out of this discomforting dive into the mind of a serial killer should they give it a watch.

Plot Summary: After working his day job at a mannequin restoration store, the mentally ill and isolated: ‘Frank’ takes to the dark streets of Los Angeles as a serial killer with a fetish for female scalps. But when a young artist asks him for help with her new exhibition, ‘Frank’s obsessions begin to consume him…

Although it takes a different approach to its story, ‘Maniac’ is actually a remake of the classic 1980 slasher of the same name. However, this is one of the rare occasions where I believe that the remake is possibly an improvement over the original film. As while the 80s flick does feature plenty of over-the-top gore, the film never manages to elevate itself from being just a fairly straight-forward slasher, and although it’s maybe not always successful. The remake does attempt to develop ‘Frank’ more as a character alongside exploring themes of mental health and loss of identity effectively throughout its runtime.

Elijah Wood, best known for his role as ‘Frodo’ in ‘The Lord of the Rings’ series, portrays the serial killer protagonist: ‘Frank’ as awkward and almost quite dry at points, making ‘Frank’ feel incredibly deranged when he interacts with other characters. Most notably, the artist and photographer: ‘Anna’ portrayed by Nora Arnezeder, who is a clear contrast to ‘Frank’ in the way she portrays her simplistic yet likeable and innocent character, completely unaware of: ‘Frank’s dark deeds as she grows closer and closer to him. The performances are slightly dragged-down by writing throughout the film however, as whilst the dialogue is decent for the most part, the film does still have the odd unusual line.

As previously mentioned, the remake of: ‘Maniac’ is also shot nearly entirely through P.O.V. shots, and its this cinematography by Maxime Alexandre that really makes the film stand-out from many other slashers. As whilst watching the film, you can’t help but feel the tension as ‘Frank’ goes on dates or has conversations with women who we know will soon meet a gruesome fate, as we as the audience are aware of his sinister intentions, the film almost makes you feel hostage to ‘Frank’s mind. That being said, the film does sometimes take you out of the experience when it leaves the P.O.V. format for a few seconds. While I understand why the film does this (as it’s usually at crucial points within the narrative). I personally feel keeping the audience restricted to looking through ‘Frank’s eyes would’ve made the film more compelling, especially since we don’t even see ‘Frank’s face until twelve-minutes into the film.

Serving as a great throwback to the classic 80s film its based-on in addition to adding too many of the film’s best moments. The original score by Robin Coudert or ‘Rob’ for short, is a synth soundtrack. Utilising electronic waves, this underrated score is certainly a high-point of the film, with my two favourite tracks: ‘Doll’ and ‘Haunted’ both being incredibly memorable in their own right, almost feeling as if they were ripped straight from any of the iconic horrors of the 1980s.

Extremely violent and disturbing throughout, ‘Maniac’ truly pulls-no-punches when delving into the mind of its serial killer, meaning many viewers may be put-off by the film’s extremely gory deaths and unnerving murder scenes. As ‘Frank’ disposes of his victims with little remorse, as dark memories of his mother during childhood fuel his violent actions. This is also where many of the film’s more bizarre moments come into play, as although it may surprise some viewers, ‘Maniac’ is partly an art-house film as well as a slasher, as the film’s themes as well as ‘Frank’s broken mind is usually displayed visually throughout the film in a variety of ways. This unfortunately does lead onto the film’s weakest aspect however, as during many of these anomalous scenes, the film’s editing can become quite erratic, sometimes even placing cuts mid-conversation.

In conclusion, I really do enjoy ‘Maniac.’ While the film is still quite problematic in areas, mostly in regard to its editing choices and occasional lines of strange dialogue. ‘Maniac’s memorable original score, intense violence and of course, captivating cinematography through its use of P.O.V. The film stands as definitely one of the better horror remakes in recent memory. Although I probably wouldn’t recommend ‘Maniac’ to everyone, if you’re preferred realm of the horror genre is gory slashers, then this indie flick is certainly not one-to-miss. Final Rating: high 7/10.

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It (2017) – Film Review

Finally, after many years of waiting, horror and literature fans alike got their wishes granted as director Andy Muschietti (Mama) signed on to direct a remake (or re-adaptation) of one of Steven King’s most iconic and beloved horror stories, this of course, being: ‘It.’ And due to its excellent cinematography by Chung-hoon Chung and incredibly memorable performance from Bill Skarsgård as the demonic clown ‘Pennywise.’ ‘It’ is certainly one of the better Steven King adaptations in recent years, even with the array issues the film still suffers from.

Plot Summary: In the summer of 1989, a group of unpopular kids band-together in order to destroy a shape-shifting monster known only as ‘Pennywise,’ a creature which has been terrorising their home town of: ‘Derry’ for decades and can disguise itself as whatever it’s victim fears most…

Following the film’s incredibly successful release in 2017, ‘Pennywise’ has quickly become a modern horror icon despite only having about four minutes of dialogue in the entire film. But its easy to see why this is, as not only does ‘It’ share the familiar fun tone of classic films of the 1980s such as: ‘The Goonies’ and ‘The Monster Squad,’ but ‘It’ also manages to adapt the novel’s antagonist: ‘Pennywise’ fairly closely from the original source material, resulting in a mostly entertaining novel-to-screen transition.

The main cast of: ‘The Losers Club’ features Jaeden Martell, Sophia Lillis, Finn Wolfhard, Jeremy Ray Taylor, Jack Dylan Grazer, Chosen Jacobs and Wyatt Oleff who all share pretty great chemistry with each other, as alongside the film’s terrific writing, the children truly feel like an actual group of kids, with the group constantly cursing and sharing in plenty of quippy banter with each other. In addition to the younger cast, ‘Pennywise’ is this time around portrayed by Bill Skarsgård, and while I have always loved Tim Curry’s cheesy yet menacing portrayal of the iconic clown. Bill Skarsgård is a stand-out aspect of the film for sure. Capturing the eerie qualities of the character as well as his unworldly nature perfectly, really embracing the idea that ‘Pennywise’ isn’t just a psychotic clown, but something far stranger…

The cinematography by Chung-hoon Chung is surprisingly brilliant for a modern horror, featuring a number of attractive shots which blend extremely-well with the film’s story. The film does have one recurring shot which is quite irritating however, as during many of the scenes where ‘Pennywise’ appears to his victims, the film utilises a shot in which the sinister clown approaches the camera straight-on, sprinting directly towards the screen, and while I understand what the filmmakers were trying to accomplish with this shot, I feel it only comes-off as fatuous and looks very out-of-place when compared to the rest of the film’s visually-enthralling camerawork.

Admirable yet flawed, the original score by Benjamin Wallfisch ranges from being your typical horror soundtrack to eventually becoming more emotional for the more character-focused scenes. The main issue I take with the original score are some of the tracks which feature deep bass-like sounds, as I feel these tracks really don’t fit with the film’s tone or time-period. Regardless, the tracks: ‘Paper Boat’ and ‘Derry’ do serve the film’s story delightfully-well, with one of the film’s final tracks: ‘Blood Oath,’ also being a beautiful send-off for these characters before their inevitable return.

From ‘Pennywise’s uncanny appearance to the abandoned house ‘It’ lives within on ‘Neibolt Street,’ many of the film’s designs are also pretty memorable despite their limited screen-time. These fantastic designs are dragged-down by the film’s poor CG effects however, as the film always seems to resort to CG visuals during many of its more tense moments, which can take away from their impact. This is also where ‘It’s most substantial problem comes into play, as ‘It’ has really split audiences down the middle when it comes to its focus on horror. As while the film does have a few eerie scenes and creepy visuals, this adaptation seems to be more focused on being the coming-of-age story the novel mostly is. Although many viewers may be disappointed by this, desiring a narrative based more around the story’s darker elements, I feel the film’s distracting CG effects and constant barrage of jump-scares are made-up for by its interesting delve into its themes of childhood fears and growing-up.

In my opinion, ‘It’ is a pretty solid Steven King adaptation, as while certainly let-down by its weak CG visuals, overreliance on jump-scares and occasionally inconsistent tone, the film still is a pretty enjoyable watch throughout its two-hour runtime, mostly due to the film’s great performances and general memorability, and with ‘It: Chapter Two’ turning-out to be an underwhelming experience for most. I’d say it further proves that this film is the direction to go when it comes to adapting King’s work. Final Rating: 7/10.

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The Open House (2018) – Film Review

Netflix has always enormously ranged in quality when it comes to their original films and the horror genre, as despite films such as: ‘The Ritual’ and ‘Gerald’s Game’ displaying some great promise for the streaming service, many horror duds like ‘Cam,’ ‘Eli,’ ‘The Silence’ and ‘Rattlesnake’ just to name a few, leave ‘The Open House’ feeling like just another bland and (sometimes even moronic) entry into this ongoing trend.

Plot Summary: Following a recent family tragedy, an athletic teenager (Logan) and his mother (Naomi) find themselves besieged by a threatening force when they temporarily move into a new house currently-up for sale.

By far the worst element of: ‘The Open House’ is its writing, as in addition to the film’s extremely dim-witted characters and bizarre misdirections. ‘The Open House’ almost feels as if it has a disconnect from reality at points, as the main antagonist of the film, ‘The Man in Black,’ lurks within the mother and son’s home unbeknown to them, usually hiding in their basement. Yet somehow, also manages to navigate through the house without ever being seen, even going-up and down the single staircase to the basement constantly. The closest ‘The Man in Black’ ever comes to being found is through the noises he makes at night, and although these moments do give ‘The Man in Black’ the perfect opportunity to depose of his victims, he never does for reasons that go unexplained.

Dylan Minnette and Piercey Dalton portray the main duo of the film: ‘Logan’ and ‘Naomi Wallace,’ a mother and son broken apart by the recent death of their father/husband, and although neither of the two actors give a truly bad performance throughout the film, none of the characters ever really feel that likeable or interesting, this even continues on to the supporting cast of Sharif Atkins, Patricia Bethune, Paul Rae and Aaron Abrams. Who all attempt to give each one of the small-town residents a distinct and out-of-touch personality, which usually fall quite flat. ‘Logan’ and ‘Naomi’ also suffer from one of the biggest issues for horror characters, that being their nonsensical decisions. As during many points within the story, the characters don’t react to situations how most people realistically would, sometimes even missing very obvious signs of danger.

Surprisingly, the cinematography by Filip Vandewal does allow for a number of attractive shots. Whilst still fairly dull overall, usually not really adding much to any of the film’s tension-filled moments (what little there are) through the film’s heavy overreliance on its static shot-reverse-shot formula during many scenes. ‘The Open House’ does at least attempt to use a variety of wide-shots and focus-pulls to make effective use of its isolated yet beautiful location in the snowy mountains of Ohio, despite the story itself barely utilising this location aside from a scene nearing the end of the film.

The original score by Joseph Shirley is pretty much exactly what you’d expect, being the usual generic and sometimes even overbearing strings score composed for the majority of horror flicks. From the opening scene to the end of the film’s credits, every track is very forgettable and is barley distinct from each other. So much so that it seems that the soundtrack is barley even findable online, as it actually took me quite a while to locate the score afterwards.

Another poorly-executed aspect of the film is its many misdirections as already mentioned, as despite hinting at numerous different paranormal events throughout its runtime, ‘The Open House’ is actually a mostly grounded modern horror. As whilst the film constantly alludes to supernatural occurrences, the film then always undermines itself by completely ignoring them. This also isn’t just limited to the paranormal aspects however, as the film also introduces a variety of loose-ends which the film never ties-up, and whilst some could see this as setting-up a layer of mystery, I personally feel its just lazy writing and bad red-herrings. This is most notable when it comes to the character of: ‘Martha’ portrayed by Patricia Bethune, who repeatedly refers to her dead husband throughout the film and always acts very unusual. Yet nothing ever comes of his, and by the end of the narrative, her character is almost completely forgotten about.

In conclusion, ‘The Open House’ is a truly dismal Netflix Original, with some weak performances, a forgettable original score, atrocious writing and an enormous amount of clichés. Aside from the occasional piece of decent cinematography, ‘The Open House’ simply feels like a ‘nothing’ experience, as for me, these kinds of low-effort and low-budget horrors are only dragging the genre down further than it already has been in recent years. Final Rating: 2/10.

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Bone Tomahawk (2015) – Film Review

Brutal, tense and compelling, ‘Bone Tomahawk’ is one of those rare films that isn’t afraid to mash-up genres, as throughout the film we go from a violent horror to a classic western and back again, all without the film ever feeling as if it’s tone is unclear. Whilst I have always enjoyed classics such as: ‘True Grit’ or ‘The Good, the Bad and the Ugly,’ I don’t think this is just down to personal bias towards westerns however, as ‘Bone Tomahawk’ definitely excels in more aspects than one when it comes to this genre.

Plot Summary: In the dying days of the old west, an outlaw unknowingly leads a band of cannibals to the small town of: ‘Bright Hope.’ Leaving the town’s elderly sheriff and his posse to set out on a mission to rescue the town’s residents from the tribe of savage cave dwellers.

Directed by S. Craig Zahler (Brawl in Cell Block 99, Dragged Across Concrete), this underrated director has always had a talent for gritty storytelling, this time crafting a narrative which is both very engaging and tense (despite being fairly straightforward and simplistic overall). In addition to this, ‘Bone Tomahawk’ manages to perfectly capture the tone of a classic western, and sometimes even elements of 1970s horror. As the film actually reminded me of: ‘The Hills Have Eyes’ at multiple points, although this may just be coincidental.

Kurt Russell leads the brilliant cast of Patrick Wilson, Matthew Fox, Richard Jenkins and Lili Simmons very well. As throughout the runtime all of the characters receive a decent amount of characterisation, with each member of the cast having at least one scene between them. My only issue when it comes to the characters is the lack of a fleshed-out character-arc for Kurt Russell’s protagonist: ‘Sheriff Hunt.’ As although his character is explored within the film’s story (usually subtlety through dialogue). I personally feel his character-arc was never developed quite as much as it could’ve been, despite the fact that this would’ve resulted in a more investing protagonist.

Although the film features a little too much hand-held camera in my opinion, the cinematography by Benji Bakshi is mostly solid throughout. As the film contains plenty of attractive shots, a few of which even feel like throwbacks to iconic shots from old westerns. The cinematography also makes great use of the film’s variety of remote locations, as the comfort of the small town feels completely distant when compared to the barren rocky landscape where the cannibals thrive, usually resulting in a very tense atmosphere.

The original score by Jeff Herriott and S. Craig Zahler himself is very similar to the tone of the film, in the sense that it’s a perfect mixture between western and horror. As the soundtrack utilises trumpets and acoustic guitars to perfectly fit with the western visuals, before then completely changing to tenser and more uncomfortable tracks, putting the viewer on-edge. However, the original score also manages to have a genuine feeling of tragedy within it, as the score uses intense violin strokes to evoke emotion wherever possible. Especially in the track: ‘Four Doomed Men Ride Out,’ which fits this idea perfectly.

Of course, the scene that ‘Bone Tomahawk’ is most known for is without a doubt its infamously violent scene set within the cannibal’s cave, and whilst this scene may be extremely disturbing for a large majority of viewers, I do feel that is director S. Craig Zahler’s exact intention. As this moment perfectly displays the horrific nature of the cannibalistic tribe, truly playing into their merciless and barbaric ways of life (despite not actually being that heavily present throughout the story). This scene also displays a range of excellent practical gore effects, making this savage moment even more difficult to watch through its gruesome realism alongside the agonising screams of the cannibal’s victim(s).

For the most part, ‘Bone Tomahawk’ definitely achieves what it sets-out to accomplish, as although the film won’t appeal to everyone through its simplistic plot, slow-pacing and graphic violence, the film utilises it’s great performances and isolated locations pretty effectively, resulting in a film that’s just as enjoyable as many other classic westerns despite being a little bland in a few areas. I personally can’t wait to see more of S. Craig Zahler’s work in the future, as I feel this director has some real promise when it comes to telling dark yet gripping stories. Final Rating: 7/10.

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This Year in Film (2019) – Film List

Personally, I feel this year in film has been a bit of a mixed-bag, as while I do feel we’ve had our fair share of great films this year, I also feel we’ve had plenty of disappointing entries as well. Obviously, I haven’t had the chance to see every film this year, and I will most likely update this list as time goes on. But for now, in no particular order, here are my thoughts on a variety of films I saw this year…

Us

Beginning the year in quite a disappointing fashion, Jordan Peele’s follow-up to his 2017 smash-hit: ‘Get Out’ was a far-cry from excellent for me. As despite its brilliant reviews, I personally found the film’s story to be bloated with unexplained ideas and ridiculous scenes alike, equalling to a horror flick that places far more emphasis on it’s themes than it’s actual narrative, alongside being incredibly inconsistent with its tone.

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Joker

One of my favourite films of the year, ‘Joker’ directed by Todd Philips, is an interesting take on the comic book genre. Focusing more on being an engaging character piece with themes of untreated metal illness rather than your usual barrage of CG action and explosions, all shown through some beautiful cinematography and an eerie original score.

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Knives Out

Director Rian Johnson proves himself a talented filmmaker once again after his smash-hit: ‘Looper,’ as although I personally wasn’t an enormous fan of: ‘Star Wars – Episode VIII: The Last Jedi.’ I knew this director had skill elsewhere, and this was proven to me by ‘Knives Out.’ A hilarious and clever twist on the classic murder mystery, with some great performances from the huge cast, plenty of plot twists and a well-written narrative. I feel you’d struggle to not enjoy ‘Knives Out.’

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In the Tall Grass

One of many Steven King adaptations from this year, ‘In the Tall Grass’ comes to us from ‘Cube’ director Vincenzo Natali, and with that sci-fi classic being a personal favourite of mine, I had high-hopes for this Netflix thriller despite its somewhat weak source material. However, as the runtime continued on, I soon realised the film was far more interested in attempting to explain its bizarre and messy plot rather than experiment with any of its unique ideas.

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Marriage Story

Standing-out mostly for the fantastic performances from the all-star cast of Adam Driver and Scarlett Johansson, director Noah Baumbach takes on this wonderful story of a couple broken apart by relationship troubles and long distances, which, despite not being anything outstanding in regards to filmmaking, still manages to be entertaining, emotional and very enjoyable from start-to-finish.

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The Silence

Easily one of the worst films I’ve seen this year, ‘The Silence’ directed by John R. Leonetti, mostly known for the awful ‘Conjuring’ prequel: ‘Annabelle’ and ‘Wish Upon.’ Is another generic horror with weak performances, dreadful CG effects and a plot which feels as if it’s been ripped straight from ‘A Quiet Place’ released back in 2018.

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Haunt

Although the plot of a group of teens heading into a haunted house on Halloween only to get more than they bargained for may initially sound incredibly over-done, ‘Haunt’ is actually one of the hidden gems of the year in my opinion. Utilising some visually impressive sets and lighting in addition to an array of tense moments and creative ideas, the film is certainly one of the better horrors/thrillers from this year despite its issues.

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Le Mans ’66 (Ford v Ferrari)

After directing one of my favourite films of 2017: ‘Logan,’ director James Mangold now takes on the real-life story of the creation of one of the fastest race cars ever built in order to win the iconic: ‘Le Mans ’66.’ Featuring some excellent performances from the main cast in addition to some great cinematography and high-fueled racing scenes, ‘Le Mans ’66’ is a true thrill-ride of a film.

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Toy Story 4

‘Toy Story 4’ is definitely one of the most disappointing films of the year for me, as the original ‘Toy Story’ trilogy is (in my opinion) near perfect, and this film seems to do nothing but continue the story for the sake of it. As although the animation is incredible throughout the film, and the performances and original score are also pretty great, the narrative and character-arcs simply let the film down and make it the weakest of the ‘Toy Story’ series for me.

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I Am Mother

This slick science fiction thriller had me excited for quite some-time leading up to its release. However, when I eventually watched ‘I Am Mother’ I found myself a little disappointed. As the beautiful visuals and solid sci-fi soundtrack are sadly let down by a drawn-out and sometimes bland story. As while not boring by any means, I felt the film was a bit of wasted potential overall.

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It: Chapter 2

Director Andy Muschietti returns to bring the demonic clown: ‘Pennywise’ back to life in this sequel to the ‘It’ remake from 2017. This time around however, I personally found the film to be a bit of a letdown. As although there were plenty of entertaining scenes and great character moments throughout the film’s extremely long runtime, there were also plenty of ridiculous moments alongside the barrage of enormous CG monsters.

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Crawl

Going-off the initial reviews, I originally had high hopes for: ‘Crawl,’ hoping it would be an extremely tense, edge-of-your-seat kind of experience. But unfortunately, the film felt like a mostly standard thriller by the end of its runtime. Having nothing more than a few tense scenes and a couple of effective jump-scares to make up for its mediocre CG effects and mostly dull characters.

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Yesterday

Whilst definitely not on the same level as many of the others films from director Danny Boyle’s catalogue, ‘Yesterday’ was still a pretty entertaining feel-good comedy which I felt had an enjoyable upbeat tone, and enough likeable characters to carry it through many of its cheesy moments and sometimes overly predictable story.

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The Platform

Definitely a futuristic thriller fans of: ‘The Belko Experiment’ should check-out, ‘The Platform’ is just as violent as it is suspenseful, as this Spanish sci-fi thriller deals with a variety of dark themes and ideas, all whilst keeping the viewer engaged through its interesting plot, decent performances and surprising turns.

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Aladdin

This year’s first entry from the usual barrage of pointless live-action Disney remakes, ‘Aladdin’ is exactly what I expected it to be. The classic story most know and love but incredibly dulled-down, trying to capture the adventure of the original film through an enormous amount of CG visuals, nostalgia and a new cast lead by Will Smith which are all rather bland.

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The Hustle

Although I may not have been the target audience for: ‘The Hustle,’ judging by the dreadful reviews from critics and audiences alike, it seems as if I wasn’t alone in finding this comedy just as bland as it was unfunny, with many of the jokes feeling extremely lazy as the film takes all the obvious hits anyone would expect at Anne Hathaway and Rebel Wilson without attempting much else in terms of humour.

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Velvet Buzzsaw

Despite ‘Velvet Buzzsaw’ not quite being the hilarious, gory and extremely weird horror/comedy I was initially hoping for, in addition to going-off the back of director Dan Gilroy’s other film: ‘Nightcrawler’ (which is one of my all-time favourites). I still found the film interesting enough throughout its story to keep me watching, despite it not being overly memorable in its entirety.

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Avengers: Endgame

Marvel finally bring their enormous franchise of superhero flicks to an end (for now that is) with ‘Avengers: Endgame,’ a blockbuster spectacular which gives many viewers the conclusion they’ve been desiring for many years, and although it isn’t one of my personal favourite Marvel films, I enjoyed: ‘Avengers Endgame’ for what it was. As the film provides some endings for characters alongside plenty of comedic moments, fan service and thrilling action set-pieces.

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Dolemite Is My Name

Based on the real-life story of Rudy Ray Moore, Eddie Murphy makes his awaited return to film after a long break. As this brilliant comedy/drama makes all the right moves to keep its audience engaged within its story through plenty of humour, style and emotion throughout its runtime.

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Jumanji: The Next Level

A sequel to ‘Jumanji: Welcome to the Jungle’ from 2017, as well as the original: ‘Jumanji’ from 1995. ‘Jumanji: The Next Level’ is very similar to the previous instalment in regards to its tone and story (with some elements mixed-up of course) and despite some humour and story moments going a little too over-the-top for my taste. The film is still enjoyable enough for those seeking another fun family adventure from this franchise.

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Godzilla: King of the Monsters

Unable to actually decide what I thought of the film initially, ‘Godzilla: King of the Monsters’ is a true mixed-bag of a blockbuster, having some fantastic monster action with flawless CG effects and a surprisingly ranged colour palette be completely bogged-down by weak characters, cheesy moments and at points, a very messy story.

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Once Upon a Time… in Hollywood

Director Quentin Tarantino returns to the silver screen once again with ‘Once Upon a Time… in Hollywood.’ Bringing-us a subversion of some of his usual film tropes, to focus more on a story of a man seeking his return to fame in Hollywood, all shown through some beautiful cinematography and an excellent 1960s soundtrack.

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Terminator: Dark Fate

Of all the franchises dragging themselves out in an attempt to drawn-in whatever loose profits still remain, ‘Terminator’ has been by far the worst, with ‘Terminator: Dark Fate’ only further proving this. Being extremely bland and cliché throughout, this time-travelling sci-fi series truly feels as if it’s got nothing more to offer, even with a talented director at the helm and James Cameron back on-board as a producer, this franchise is now really just a shadow of its former-self.

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John Wick: Chapter 3 – Parabellum

In another one of this year’s biggest disappointments, ‘John Wick: Chapter 3 – Parabellum’ is the third entry in the ‘John Wick’ series, which sadly, leaves a lot to be desired. As many of the trilling and well-executed action scenes are dragged down by a messy and uninteresting story, as well as a variety of extremely out-of-place comedic moments.

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Star Wars – Episode IX: The Rise of Skywalker

Arguably the most disappointing film of the year for many, ‘Star Wars: The Rise of Skywalker’ attempted to close the enormous legacy of the ‘Star Wars’ saga, which unfortunately failed quite miserably. As overly fast-pacing and an extremely messy (and unsatisfying) narrative really dragged the film down despite its fun moments and exciting action scenes, further proving that this franchise needs a long-rest before it’s inevitable return.

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Spider-Man: Far From Home

Most likely my favourite Marvel film of this year, ‘Spider-Man: Far From Home’ hardly breaks new ground when it comes to superhero flicks. But the main cast’s great performances mixed with plenty of exciting action and a surprisingly interesting antagonist, leave ‘Spider-Man: Far From Home’ an enjoyable and mostly faithful comic book adventure for the iconic web-head.

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The Lion King

The second of this year’s live-action Disney remakes, ‘The Lion King’ directed by Jon Favreau, is definitely one of the worst in my opinion, as although the film’s CG visuals are nearly flawless, the film simply lacks any of the charm, heart and overall personality of the original film. Resulting in the remake being nothing more than an overall boring experience.

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Little Monsters

Although the film is help-up by some strong performances and some interesting ideas, ‘Little Monsters’ never manages to break the structure of your usual zombie film. Coming-off as an occasionally fun yet mostly bland horror/comedy, which is just as predictable as it is dull, despite many of its decent comedic moments.

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Serenity

Whilst I personally didn’t dislike ‘Serenity’ as much as many others, the film still suffers from a variety of issues. As director Steven Knight attempted to achieve something very different with this film, which at some points works quite well, and at others doesn’t work at all. As many of the unusual performances and can really drag down the film’s great cinematography and editing.

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Fractured

Overly predictable and formulaic, ‘Fractured’ focuses on the potentially compelling narrative of a father’s family mysteriously disappearing within the walls of a hospital, yet despite its few effective scenes, ‘Fractured’ soon ends-up feeling like a path nearly every viewer has been down before. Resulting in the film becoming just another forgettable Netflix Original.

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The Lighthouse

Despite my dislike of director Robert Egger’s other film: ‘The Witch’ back in 2016, ‘The Lighthouse’ had me gripped to the screen throughout its runtime. As the film’s black and white colour palette along with it’s eerie original score and intriguing story, leave the ‘The Lighthouse’ a film that’s just an interesting to discuss as it is to watch.

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Parasite

I went to experience Korean director Bong Joon Ho’s ‘Parasite’ mostly due to its outstanding reviews rather than due to its trailers (which I personally found quite poor). But yet, with some absolutely gorgeous cinematography and brilliant performances, ‘Parasite’ is now definitely up-there with some of my personal favourite foreign flicks such as: ‘Oldboy,’ ‘Veronica’ and ‘The Host’, in addition to possibly being my favourite release of this year.

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Captain Marvel

One of the blandest Marvel films I’ve seen for a while, ‘Captain Marvel’ focuses far too much on pushing on themes of strong female empowerment that it forgets to actually create a likeable protagonist or an interesting origin story, making the film overall feel simply forgettable more than anything else.

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Zombieland: Double Tap

Surprisingly, Zombieland: Double Tap’ was more enjoyable than I was initially expecting. As while far from as memorable or as enjoyable as the original for me, there were more than a few moments of humour between the cast that had me laughing, despite the film’s tone going even more over-the-top than before.

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The Irishman

Incredibly iconic director Martin Scorsese returns to bring-us another tale of crime and regret with ‘The Irishman,’ and while the over three-hour-long runtime can definitely make the film drag at points, the brilliant performances and phenomenal filmmaking are sure to keep those paying attention engaged for the majority of the film’s runtime.

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Hellboy

The latest superhero to get his own remake is the iconic: ‘Hellboy,’ with the remake this time falling far, far from the mark. As a ridiculously messy story mixed with poor CG effects and dreadful comedic moments, leave the film pleasing no one, despite David Harbour’s serviceable performance as the horned anti-hero.

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1917

Made to appear as if it was filmed entirely within one shot, ‘1917’ is a brutal, gripping and engaging story involving two soldiers who set-off in a race against time to save thousands of men from a doomed battle, and while not flawless, the film is definitely impressive for both it’s narrative and filmmaking.

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Fighting with My Family

Directed by actor and comedian Stephen Merchant, ‘Fighting with My Family’ is a light-hearted British comedy-drama based on the true story of WWE wrestler: ‘Paige’ portrayed extremely well throughout the film by Florence Pugh, and despite a few cringy scenes, ‘Fighting with My Family’ was a huge surprise for me. As a very investing story and some brilliant moments of humour leave the film a genuinely enjoyable experience that seemingly went under most people’s radars upon its initial release.

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Jojo Rabbit

Heartfelt, emotional and brimming with comedic charm, ‘Jojo Rabbit’ is another one of my favourites from this year. Being a completely different take on the war genre by giving the audience a new view of the events of the Second World War through the eyes of a child. All under the excellent direction of Taika Waititi (What We Do in the Shadows, Hunt for the Wilderpeople, Thor: Ragnarok).

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Missing Link

From Lakia animation studio, the production company that brought to life many of my favourite stop-motion animated films, such as: ‘Coraline’ and ‘Kubo and the Two Strings’ comes another fun family adventure. Shame this one couldn’t have done better at the box-office, as the film is wonderfully put together, featuring plenty of humorous moments alongside the great voice acting and beautiful animation.

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Ready or Not

One of the most surprising films of the year for me, ‘Ready or Not’ may have your usual cliché plot for a modern horror, but somehow the film manages to carry it through. Managing to be extremely funny, gory and fun throughout nearly the entirety of its runtime.

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Doctor Sleep

The long-awaited sequel to Stanley Kubrick’s classic: ‘The Shining,’ ‘Doctor Sleep’ attempts to continue the story of the ‘Overlook Hotel,’ and does so with mixed results. As although the film does pay plenty of the respect to the original film, I couldn’t help but feel the film doesn’t stand on its own very well, having a mostly predictable story with some pretty bland characters within its nearly three-hour runtime.

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Child’s Play

From the producers of the ‘It’ remake from 2017, this reimaging of the horror classic: ‘Child’s Play’ does have some great elements, such as some hilarious scenes of dark comedy, gory and creative death scenes and even a pretty memorable voice performance by Mark Hamill as the iconic killer doll: ‘Chucky,’ and yet, the film never quite manages to escape its remake roots and goofy original idea, usually feeling more unnecessary than anything else.

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Wounds

Regardless of its atrocious reviews from both critics and audiences, I actually quite enjoyed ‘Wounds.’ As although this psychological horror may have some bland cinematography and an overreliance on jump-scares at points, the film’s weirdly unique narrative and main performance by Armie Hammer simply won me over by its end, despite the film being nothing that memorable in the long-run.

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Pet Sematary

In this new remake of Steven King’s classic novel, Jason Clarke and Amy Seimetz portray: ‘Louis’ and ‘Rachel Creed’ a couple who move to rural Maine only to soon discover a mysterious burial ground hidden within the woods near their new home, and aside from the dark and interesting plot the film provides. ‘Pet Sematary’ is nothing more than a bland jump-scare fest with little focus on building character or atmosphere.

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I Lost My Body

This unique animated French film co-written by the writer of the beloved: ‘Amélie,’ is very charming and beautifully crafted throughout the entirety of its tight runtime, with a variety of stunning shots and plenty of creative ideas, ‘I Lost My Body’ is certainly worth a watch despite being overshadowed by many other films released this year.

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Uncut Gems

After many poor attempts at comedies in recent days, Adam Sandler gives one of his best performances in years with ‘Uncut Gems,’ portraying a shady jeweller who’s actions and consequences carry the film brilliantly from start-to-finish, despite the film’s shaky cinematography and bizarre original score being a little distracting at points.

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Midsommar

Although I quite enjoyed ‘Hereditary,’ director Ari Aster’s first film from 2017, ‘Midsommar’ was most certainly not for me. Feeling far too pretentious at points with a slow-paced narrative and weak characters, the film’s unique ideas and attractive visuals simply couldn’t save from becoming the boring experience it eventually ended-up being for me, with the exception of another excellent performance by Florence Pugh from this year.

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Unicorn Store

Led by a mediocre and sometimes irritating performance from Brie Larson, ‘Unicorn Store’ attempts to be a fun, colourful and heartwarming tale of a grown woman letting-go of her childhood. Yet unfortunately, the film passes the mark for most of its goals, as ‘Unicorn Store’ is far more dull and forgettable than the whimsical and uplifting tale its story attempts to be.

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Scary Stories to Tell in the Dark

Whilst I definitely would’ve preferred an anthology-type structure when it comes to an adaptation of the ‘Scary Stories to Tell in the Dark’ book series, this Guillermo del Toro produced horror does still have some entertainment value, and I could see the film being very appealing to younger viewers desiring a gateway into the genre.

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The Kid Who Would Be King

A decent fantasy adventure for families, ‘The Kid Who Would Be King’ directed by Joe Cornish (Attack the Block) definitely has some areas in need of improvement. As the film is brimming with cheesy moments and a very out-of-place original score. Despite this however, the film still manages to utilise its fun story and exciting action scenes to the best of its advantage, resulting in an entertaining if not perfect family flick.

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Halloween (2018) – Film Review

A direct sequel to John Carpenter’s original 1978 classic: ‘Halloween,’ this sequel ignores all the other entries in the franchise in favour of a new story set forty-years later. As Jamie Lee Curtis returns to her iconic character of: ‘Laurie Strode,’ now much older and wiser, and while definitely a decent attempt at continuing the ‘Halloween’ series, the film is still far from perfect.

Plot Summary: ‘Laurie Strode’ confronts her long-time foe: ‘Michael Myers’ once again, as the masked figure who has haunted her since she narrowly escaped his killing spree on Halloween night four decades ago, now begins a new massacre after his recent prison escape.

Although the film’s narrative does have some interesting ideas, the film always felt a little too familiar to me, as I usually found myself correctly predicting what was around the next corner, leaving little to be surprised by. Under the direction of David Gordon Green, mostly known for his drama: ‘Stronger’ from 2017. The film does pay plenty of respect to the original film, as can always tell whilst watching that Green does have a passion for this horror franchise (as he clearly understands what made the original work so well). I still feel a better director could’ve been chosen. As at points, the story does seem to be slightly lacking in direction, and with his previous work in mind, it’s clear that he doesn’t specialise in horror.

It is great however, to see Jamie Lee Curtis back as her classic character once again, as she really excels in showing how ‘Laurie Strode’ has been affected by those horrific events many years ago. Alongside the rest of the great cast of Judy Greer, Andi Matichak, Will Patton and especially Haluk Bilginer as: ‘Dr. Sartain,’ who I was initially concerned would be nothing more than another ‘Dr. Loomis’ type character, but did actually end-up going in a very different direction.

The cinematography by Michael Simmonds is nothing outstanding for the majority of the film, yet is still attractive when combined with the dark lighting throughout, especially anytime ‘Michael’ is on-screen. Another strong element of the film is the wonderful original score by John Carpenter, his son Cody Carpenter and Daniel A. Davies. As although the soundtrack does slightly rely on tracks from the original film, there is plenty of new score here as well. Proving John Carpenter is brilliant at his craft once again, with the tracks: ‘The Shape Hunts Allyson’ and ‘The Shape Burns’ being some of Carpenter’s best work for a long-time in my opinion.

One of the strongest elements of the film for me are definitely the kills, as it’s clear the filmmakers got very creative with the ways ‘Michael Myers’ disposes of his victims, usually creating very memorable scenes with some fantastic practical gore effects included. I also felt the film represented the iconic slasher very well, as ‘Michael Myers’ is always intimidating through his movements, ‘Michael’ even manages to steal the film for me by being the main focus of my personal favourite scene of the film, as ‘The Shape’ stalks his way through Haddonfield’ with murderous intent, all completed within a single-take.

As the film is produced by Blumhouse Pictures, the film unfortunately also features the usual pandering to younger audiences you’d come to expect by now. As the film is littered with jump-scares throughout the runtime, with little attempt to create an eerie atmosphere or build large amounts of tension. In addition to this, the writing throughout the film is decent when it comes to the characters, but usually is very lacking when the film attempts comedy. Resulting in many cringy lines of dialogue and plenty of out-of-place jokes, especially one scene in particular featuring a babysitter, which goes on for far too long in my opinion.

In conclusion, ‘Halloween’ is mostly enjoyable, but with a lack of originality, some cheesy lines and forced comedy (not to mention it’s reliance on jump-scares) the film doesn’t even come close to replicating the classic horror’s best qualities. I do hold the original film in high regard of course, it being one of my personal favourite horrors, but with plenty of entertaining moments throughout, this latest entry in the ‘Halloween’ series is definitely on the higher-end of classic horror sequels for me. Final Rating: 7/10.

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