The Bye Bye Man (2017) – Film Review

Simply from the laughably-atrocious title of the film alone, I’m sure many can guess why ‘The Bye Bye Man’ fails so miserably as a horror flick. Coming-off more as a student film project rather than a feature that actually made its way into cinemas (mostly due to its amateurish acting and filmmaking alike), ‘The Bye Bye Man’ is an incredibly lacklustre and mindless horror down to even its last few minutes of screen-time.

When three college students move into an old house just off-campus, they unwittingly unleash a supernatural entity known as ‘The Bye Bye Man’, a dark creature that preys upon any victim that discovers its name. Now withholding this knowledge, the group attempt to keep the existence of: ‘The Bye Bye Man’ a secret whilst also trying to save themselves.

Although the film’s title may imply otherwise, the actual antagonist of the film hardly appears in-full throughout the runtime. In fact, the story on which the film is based: ‘The Bridge to Body Island’, actually has a much more complex mythology for the creature than the film itself. Originally being born albino in New Orleans in 1912, who eventually ran away from home and began murdering people and cutting-out their eyes and tongues, which he would then sew together and bring-to-life using voodoo. The original story of: ‘The Bye Bye Man’ is far more interesting and disturbing than what appears in the film, which is nothing short of undeveloped and even slightly boring in terms of both his design and his abilities.

Relatively new actors Douglas Smith, Cressida Bonas and Lucien Laviscount unfortunately, all lead the film with quite poor performances. As while the cringy and often moronic writing certainly doesn’t help, their performances are lacking in both urgency and charisma, so it becomes quite difficult to care about them once the supernatural occurrences begin. Surprisingly though, the actor behind: ‘The Bye Bye Man’ himself is Doug Jones, known for his fantastic creature/character performances such as: ‘Abe Sapien’ in the ‘Hellboy’ series, and ‘The Amphibian Man’ in ‘The Shape of Water’. Yet even though Jones seems like too much of an accomplished actor to be in such a minimal role as this, with actress Carrie-Anne Moss also making an appearance, its possible that at one point in time the script for this film may have actually contained some creative ideas.

James Kniest’s cinematography is another area in which the film lacks, as the bland camerawork only allows for a couple of visually interesting shots throughout, usually resulting in the film having a very flat and occasionally cheap look. However, one shot the filmmakers must have been pleased with is the shot of an industrial train traveling at night, as this shot is continuously reused at multiple points. But what’s confusing here is that this shot’s inclusion never explained, nor does it having any bearing on the plot whatsoever, only appearing within the protagonist’s dreams.

The film’s original score by the Newton Brothers isn’t memorable in the slightest, simply being a standard piano/strings-focused horror score with the exception of the track: ‘The Bye Bye Man’, which feels very out-of-place when compared to the rest of the film’s soundtrack. As the creature’s main theme sounds like something ripped straight from an episode of: ‘Goosebumps’. Also worth a mention is the film’s corny use of the recognizable 50s song: ‘Bye Bye Love’, which is just far too on-the-nose for me.

From its constant jump-scares to its many typical horror clichés (e.g. a group of college teens, scribbled drawings, the protagonist looking-up the creature’s origins in a library), the film is teeming with many of the usual problems that flood modern horror flicks. Only this time, the film has simply nothing else to set itself apart from others within the genre. The only aspect of the film that could’ve been remarkable would’ve been ‘The Bye Bye Man’ himself and his ‘Seeing-Eye Hound’, made from pieces of his victims. But as already mentioned, the film does nothing with its antagonist or his hound, only utilising the dog-creature to stand alongside ‘The Bye Bye Man’ through some truly abysmal CG effects.

In conclusion, ‘The Bye Bye Man’ is one of the last films I’d recommend to any horror fanatic. Completely absent of any likeable characters, an intriguing/threatening antagonist or any sense of an eerie atmosphere, its hard to believe that the film has any positive reviews at all. Yet it somehow does, just not one from me. A 1/10 overall. All we can do is hope horrors such as this fade into obscurity and never receive a sequel, prequel or anything else of the sort. As this genre has already suffered enough in recent years with the likes of: ‘Truth or Dare’, ‘Ma’ and ‘The Curse of La Llorona’ just to name a few.

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Secret Obsession (2019) – Film Review

Other than providing the viewer with plenty of unintentionally comedic moments to laugh at, ‘Secret Obsession’ fails to do much of anything as a thriller, a mystery, or even a drama. Being incredibly predictable and formulaic from start-to-finish, in addition to lacking in both interesting characters and a real sense of dread throughout. ‘Secret Obsession’ remains to this day Netflix’s attempt at an ominous thriller that was quickly swept under-the-rug shortly after its release, only being known now as a poorly-thought-out thriller that would seem more at home on the Lifetime Channel.

After being brutally attacked by a mysterious stranger at a rest-stop one night, newlywed: ‘Jennifer Williams’ awakens in hospital healing from her injuries. Now unable to recall her past, her husband: ‘Russell Williams’ is simply thankful she’s alive and is eager to get her home. But as he reintroduces her to their secluded mountain estate, ‘Jennifer’ begins to realize she may not be as safe as she initially believed.

Even though ‘Secret Obsession’ received nearly universally negative reviews upon its initial release, in just twenty-eight days, over forty million viewers watched the thriller, placing it in the top ten most viewed Netflix Original films in the history of the streaming service, (despite the film’s absence of anything truly unique). This is even more surprising considering the film wasn’t the only psychological thriller released-on Netflix in 2019, as another entry in the genre titled: ‘Fractured’ appeared-on viewer’s accounts months later, sharing many similarities in story to ‘Secret Obsession’.

Brenda Song and Mike Vogel are both fine within the film, delivering serviceable performances with the exception of the occasional corny line. Neither one of these performances improve the film much overall however, as ‘Secret Obsession’ is anything but subtle in terms of both its dialogue and its characterisation. A perfect example of this is the character: ‘Detective Frank Page’ portrayed by Dennis Haysbert, as not only is this character very cliché and only in the film to serve as a plot device later down the line. But ‘Detective Frank’ also has a character-arc which receives almost no development and makes little sense, in spite of Haysbert actually giving the best performance of the film without being anything extraordinary.

The film’s cinematography by Eitan Almagor does manage to be at least somewhat visually interesting for majority of the runtime. However, with that said, much of the film’s visual style doesn’t fit with the actual narrative, as the film’s main setting of the Colorado Mountains feels like a far too beautiful and scenic location for a dark thriller. This also goes for the film’s colour palette and lighting, which are both overly-bright, resulting in the film sharing a similar visual appeal to a modern comedy rather than a suspenseful thriller/mystery.

Just as bland as it is cheesy, the original score by Jim Dooley doesn’t fare much better either, usually landing-on either side of the scale: immensely generic or overly-loud and eccentric. Almost giving the impression it’s taken from the soundtrack of a live-action ‘Scooby-Doo’ flick at points with how aggressively its orchestral score alludes to danger. But considering this composer hasn’t worked-on many well-known films throughout his career, I feel Dooly is still yet to create a beloved (or even memorable) original score for a film.

But the film’s main hook is, of course, it’s signature plot twist, as even hinted at by the ‘Secret’ part of it’s title. Yet in my opinion, the story’s ‘twist’ is revealed far too early-on within the runtime as a result of the film’s extremely blunt hints and clues, which leave little to the imagination. As while you could argue the film intends for the audience to know what’s going-on so early in the narrative in order to build tension, the lack of any likable or engrossing characters makes this a mostly fruitless effort. Alongside the obvious fact that a continuous and overarching mystery always helps to make a story more compelling, and with the film never delving much into the details of its twist, the film leaves the viewer pondering the believability of its story.

Overall, ‘Secret Obsession’ is a film no-one is likely to obsess over, with its unfitting location/colour palette, dull characters and constant illogical moments throughout its story, the film has little to offer for fans of psychological thrillers. Whilst some may see the film as a ‘so bad it’s good’ flick, similar to other comically awful films like ‘The Room’, ‘Battlefield Earth’ and ‘Batman and Robin’. I personally just find the film a very forgettable and occasionally irritating experience, and worth nothing more than a high 2/10. So unless you’re on the hunt for a thriller that soon evolves into an unintended comedy, definitely give this dreadful Netflix Original a miss.

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Edge of Tomorrow (2014) – Film Review

Exceeding expectations in more ways than one and combining the star-power of both Tom Cruise and Emily Blunt, ‘Edge of Tomorrow’ is an explosive summer blockbuster which re-imagines the comedy classic: ‘Groundhog Day’ into a thrilling sci-fi flick to fantastic results. Directed by Doug Liman (Swingers, The Bourne Identity, American Made) and based-on the Japanese manga: ‘All You Need is Kill’ by Hiroshi Sakurazaka, ‘Edge of Tomorrow’ or ‘Live Die Repeat’ as its now more commonly referred, manages to succeed in nearly every aspect an exciting science fiction film would need to.

When an alien race invades Earth and releases an unrelenting assault unbeatable by any military unit in the world. ‘Major William Cage’, an officer who has never seen a day of combat, is unceremoniously dropped into the front line. Getting killed within minutes, ‘Cage’ now finds himself inexplicably thrown into a time-loop forcing him to live out the same battle over and over. But with each reset, ‘Cage’ soon learns to defend himself with the help of Special Forces soldier: ‘Rita Vrataski’, who together, hatch a plan to defeat the creatures, permanently.

Taking inspiration from sci-fi war epics such as: ‘Aliens’, ‘Starship Troopers’, ‘Independence Day’ in addition to the previously mentioned: ‘Groundhog Day’. ‘Edge of Tomorrow’ may have initially had disappointing returns when it released in cinemas in 2014, but mostly through word-of-mouth, the film has since continued-on to become a modern science fiction classic, keeping itself distinct through its signature ‘resetting the day’ idea and couple of amusing moments in between its action-packed story.

For a large majority of the film Tom Cruise plays against his usual type, as ‘Major William Cage’ is essentially the complete opposite of his character: ‘Ethan Hunt’ from the ‘Mission Impossible’ franchise, with most of the character’s screen-time being spent dying continuously in horrific (yet also somewhat comedic) ways, alongside his genuinely cowardly and untrained demeanour. Cruise also bounces-off his co-star Emily Blunt very well throughout the film, with Blunt portraying the complete opposite of Cruise’s character as ‘Rita Vrataski’, a hard-as-nails solider who is a skilled as they come.

Although the cinematography by Dion Beebe does rely heavily on hand-held camerawork, this hand-held approach does remarkably add to many scenes within the film. Replicating the chaos of the constant war that surrounds ‘Cage’ as he tries different tactics in an attempt to survive on the battlefront, not to say that the cinematography doesn’t still allow for the occasional attractive shot however. Much of the film’s CG visuals are also up-to-par, excluding the ‘Exo-Suits’ of course, which are actually practical costumes for the most part. This was done so the suits would appear more real to the audience, which does stop the film from feeling too CGI-heavy during many of the film’s action sequences, even if the suits did weigh between eighty-five to ninety pounds on-set.

The original score by Christophe Beck is certainly no where near as memorable as the film itself, being a mostly typical soundtrack for a action blockbuster with little charm or even a slight sci-fi twist to help the score stand-out. This unfortunately, even applies to the best track of the score: ‘Solo Flight’, which does at least utilise what sounds like metal clanging audio effect to add a little more impact wherever it can.

The film’s main issues mostly revolve around two particular areas, firstly, the designs of the alien creatures known as ‘Mimics’. As whilst the CG effects that bring the creatures to life do look superb, the creatures feel a little too similar to video game enemies, as their different breeds are only distinct by colour (being either red or blue), with the remainder of their design being almost identical. While this is slightly redeemed by their unique sound design, it can become difficult to even tell the creatures apart when they are in large groups. My other complaint with the film is with its final act, as whilst the narrative throughout most of the runtime remains engaging and rousing. The film’s final portion ends-up becoming a little more generic after losing its main time-looping concept.

Since even my first viewing of: ‘Edge of Tomorrow’ I’ve always been impressed by this science fiction flick, as while the film isn’t flawless and does still suffer from its cloned creature designs and weak final act. ‘Edge of Tomorrow’ is still a far more enjoyable and enthralling sci-fi than many may initially think. Even though the film didn’t thrive at the box office on its release, it seems with its change in marketing to ‘Live Die Repeat’ that many more science fiction fanatics have now stumbled across this underrated gem, and with a blockbuster as riveting and surprisingly clever as this one is, I feel it can always be praised further. Overall, a low 8/10.

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The Hunger Games (2012) – Film Review

While nowadays ‘The Hunger Games’ may be known as an iconic blockbuster franchise, there was a time when most were unfamiliar with ‘Katniss’ and the sovereign state of: ‘Panem’. That until the first adaptation of the novel series by Suzanne Collins was released in 2012, kicking-off a new film franchise which would receive bigger and bigger budgets with each entry. Yet even with all this success, this science fiction series has always had more issues than most care to admit, which is mostly why I’ve never found as much enjoyment in this franchise as many others.

In a dystopian future, ‘Katniss Everdeen’ voluntarilers to take her younger sister’s place in ‘The Hunger Games’, a televised competition in which two teenagers from each of the twelve districts are chosen at random to fight to the death in a forest arena. Now ‘Katniss’ and her male counterpart: ‘Peeta’, find themselves pitted against larger, more fearsome opponents, some of whom have been training their entire lives.

Alongside the ‘Harry Potter’ series, ‘The Hunger Games’ is one of the main films responsible for creating the rise of: ‘teen adaptations’ in recent years, such as: ‘Divergent’, ‘The Maze Runner’ and ‘Ender’s Game’ to name a few. However, similar to many of these other franchises, ‘The Hunger Games’ has always suffered in my opinion from attempting too much at one time. As whilst the world the story takes-place within is certainly intresting, many ideas and elements feel fairly undercooked or even completely unexplored due to a lack of time, in particular, the aspect of: ‘Districts’ within the story, or even the centric: ‘Hunger’ part of the film’s title, which along with the many intriguing side characters, is barely developed during the runtime.

Mostly known for her work-on indie films at the time, Jennifer Lawrence leads the cast as ‘Katniss Everdeen’, and while many of the performances she has given throughout her career do tend to filp-flop in quality. She is mostly solid in her role as the film’s protagonist, serving as a likeable character through her actions in addition to also being a strong female icon for young girls. The rest of the cast of Joshua Hutcherson, Woody Harrelson, Elizabeth Banks and Liam Hemsworth all give passable performances, despite not being given much to do in this first entry of the series.

The cinematography by Tom Stern is definitely the weakest element of the film, being almost chaotic at points, the cinematography relies nearly entirely on hand-held camerawork. Almost giving the impression the filmmakers had some-kind of a phobia of utilising tripods, as aside from the initial moment of: ‘Katniss’ entering ‘The Hunger Games’, I felt the hand-held approach was very necessary, and resulted in plenty of shots losing their alluring potential. Although not often, occasionally, the cinematography even slips in-and-out of focus mid-scene, which alongside the CG effects (which also range throughout the film) can be quite distracting.

Despite James Newton Howard’s original score not becoming as iconic or as beloved as many other signature scores from blockbuster franchises like ‘Star Wars’, ‘Jurassic Park’ or the previously mentioned: ‘Harry Potter’ series. Tracks such as: ‘The Hunger Games’, ‘Entering the Capital’ and ‘Rue’s Farewell’ do all serve the narrative well, adding to the drama and tension throughout the film even if they aren’t some of the most distinctive tracks this talented composer has to offer.

Although ‘The Hunger Games’ doesn’t develop its world as much as I would’ve have personally preferred, there is one detail I did admire within the world of the film. This being the visual contrast between the poverty-stricken and starving: ‘District 12’ and the wealthy and futuristic: ‘Capital’, even if this more futuristic setting allows for more outlandish sci-fi dangers like genetically engineered hornets and dogs. This alternate version of Earth even plays into the costume design within the film, as many of the wealthy citizens of: ‘The Captial’ wear colourful (and even slightly bizarre) suits and dresses, which excellently displays the difference between the two locations purely through clothing.

To conclude, ‘The Hunger Games’ does have its entertainment value here-and-there, but just like many other blockbuster franchises, I feel many hardcore fans of the novels and films alike do seem to overlook the flaws this adaptation and its sequels have. From its cheesy and predicable dialogue, to its unexplored story aspects and its absence of both realistic violence and innovative filmmaking. ‘The Hunger Games’ is certainly not the worst sci-fi adaptations has to offer, but is still far from the best. A high 5/10 overall. If you’re a passionate fan of the novels then I’m sure you’ll enjoy this new interpretation, but if your just looking an exciting science fiction flick, maybe look towards some older franchises or possibly even the Japanese thriller: ‘Battle Royale’, which shares many of the same ideas.

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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 abandoned 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.

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 large scale that ‘The Purge: Anarchy’ is aiming for that the film is trying to please the audience 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 after plenty of 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’ film released at the time in addition to shots of fire, blood and the American flag, all key visuals of the series.

Nathan Whitehead’s original score is very similar to that of the first film, mostly consisting of a series of tracks that lack anything overly-distinctive about them, being utilised mostly within the film to help build tension. That is with the exception of the track: ‘Commencement’ however, being without a doubt the best track of the entire score, 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 lackluster 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 engaging performance alongside the film’s feeling of rush as the group attempt to live through this yearly night of violence, ‘The Purge: Anarchy’ does still rely far too heavily on its central concept to carry-it through its narrative. All in all, a 4/10.

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Hot Tub Time Machine (2010) – Film Review

Taking heavy inspiration from the smash-hit comedy: ‘The Hangover’ released a year prior, this 2010 comedy revels in its absurdist tone and nonsensical plot right from its earliest scenes. As despite featuring some very dull cinematography and a completely forgettable original score to boot, ‘Hot Tub Time Machine’ does manage to escape some of its flaws due to the original story and amusing moments its ridiculous title would imply.

When a group of friends impulsively decide to take their low-life pal: ‘Lou’ back to the ‘Kodiak Valley Ski Resort’ after a potential suicide attempt, a place that was once their hotspot for thriving party-filled weekends. The group soon find themselves being sent back in time to 1986 after a drunken dip into their malfunctioning hot tub, allowing them to relive one of the best weekends of their entire lives.

Although comedy as a genre has always been quite divisive, ‘Hot Tub Time Machine’ is a film that values its comedy over anything else, as the film continuously throws-in as many jokes and references as it possibly can throughout its runtime. Most of which do come at the expense of messing with the film’s overall structure and pacing (regardless of how comical some of them actually are). As the film goes about its narrative mostly by jumping from comedic scene-to-comedic scene with most of the character’s different shenanigans having little impact on the others, resulting in the film feeling mostly like a collection of individual comedy skits.

At first mention, John Cusack seems like a slightly odd choice for a straight comedy in my opinion, as the actor while talented (and even quite amusing at points during the film) usually specialises more in dramas, thrillers and occasionally even romance over comedies. Whereas the rest of the cast of Rob Corddry, Graig Robinson, Clark Duke, Chevy Chase are all very experienced within the realm of comedy, which is most likely why many of the film’s funniest moments belong to their characters. The film even features a short appearance from a young Sebastian Stan as ‘Blaine’, many years before his breakout role as ‘The Winter Soldier’ in the Marvel Cinematic Universe.

Similar to many other modern comedies, ‘Hot Tub Time Machine’ nearly always places far more of an emphasis on its comedic writing rather than its cinematography, usually resulting in a large majority of the film’s camerawork being fairly bland. In the case of: ‘Hot Tub Time Machine’s cinematography by Jack N. Green, this means having a variety of scenes shot through hand-held camera, in addition to a few moments where shots can make some of the rooms within the ski resort feel far more like sets than they should, usually leave a lot to be desired in terms of visuals.

The original score by Christophe Beck is immensely generic (even in spite of it barley being utilised throughout the film). Yet while the score’s lack of memorability is a missed opportunity, it certainly isn’t its biggest. As with the film being set within the 1980s, I felt it was a pretty obvious choice to have a synth/rock soundtrack which would meld perfectly with the long list of iconic 80s songs that also populate the film, the most notable of which definitely being: ‘Safety Dance’ when the gang first realise they have arrived in the past.

However, even if ‘Hot Tub Time Machine’ doesn’t always make the most of its time-period, the film does at least have an interesting location on-itself, as the ‘Kodiak Valley Ski Resort’ temporary home of the music festival: ‘Winterfest 86’, allows for plenty of visually pleasing locations when covered in the snow and vibrant colours alike. Yet sadly, this still doesn’t manage to make-up for what is easily the film’s biggest misstep. As whilst I would say ‘Hot Tub Time Machine’ lands more jokes than it misses, the film does overly-rely on gross-out humour for sure, having a number of scenes where simply having a character getting covered in urine/faeces (or something even worse) is the entirety of the joke, which obviously fails to do anything other than disgust its audience through its idea of ‘humour’.

Overall, a 5/10 for: ‘Hot Tub Time Machine’. Even though I personally feel the film is far more problematic than many other modern comedies, I appreciate the film’s effort to scale-up the preposterous nature of many other comedies, taking its ludicrous story idea and managing it make it work better then many would initially think. But just like many other films within this genre, the bland filmmaking on-display and simply unnecessary amounts of gross-out humour leave it a very mixed-bag for me, with that said however, I could still see the film being enjoyable for anyone in search of a raunchy comedy for a Saturday night with friends.

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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 many of its faults to become a compelling slice of low-budget horror.

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 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.

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 dark 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 of the same ideas but usually end-up feeling quite tasteless. Although not perfect in its execution, the film 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. Altogether, a high 7/10.

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Where the Wild Things Are (2009) – Film Review

Although its themes and ideas may go over many younger viewer’s heads, ‘Where the Wild Things Are’ feels like a film that reflects what many felt whilst being a child themselves. As writer/director Spike Jonze (Being John Malkovich, Adaptation, Her) creates a moving, thoughtful and occasionally even dark experience that dramatically elevates its original source material, with a charming soundtrack compiled by musician ‘Karen O’ and plenty of wonderful creature designs and locations. ‘Where the Wild Things Are’ is truly a unique yet uncompromising film that sends its audience back to the innocent days of childhood.

Following a fight with his mother and yearning for adventure, a young boy (Max) runs away from home and sails to a mysterious island filled with creatures who take him in as their king after ‘Max’ makes a promise to solve all their problems.

As previously mentioned, the film adaption of: ‘Where the Wild Things Are’ is a large step-up from the original children’s book it’s based-on by Maurice Sendak. As while the classic story of a young boy visiting a land of fantastical creatures in order to escape reality has always been a staple of children’s literature, Jonze manages to deepen the overall narrative with his adaptation. Having themes of maturity, imagination and balancing ones own emotions (all of which are presented in a mature and subtle way). In fact, the film’s production company, Warner Brothers, were initially so unhappy with the final product (as it was far-less family-friendly than they imagined) that they wanted Jonze to reshoot the entire film, instead, the two agreed to satisfy both parties by giving the film more time in production.

Max Records leads the cast as the excitable and resentful: ‘Max’, who gives a genuinely brilliant performance considering the actor’s young age at the time of filming. Alongside him of course, is the group of creatures portrayed by the voice cast of Lauren Ambrose, Chris Cooper, Catherine O’Hara, Forest Whitaker and Paul Dano. Whose voices all match their respective characters flawlessly. Its the late James Gandolfini as ‘Carol’ who really shines within the film however, having the most memorable design of the all the creatures within the original book, ‘Carol’ serves as a reflection of: ‘Max’s childish attributes, from his tantrums to his jealously and sadness, all of which is given such life through Gandolfini’s performance.

While the film’s colour palette remains fairly vibrant throughout despite featuring a large amount of beiges and browns, the cinematography by Lance Acord is sadly the weakest aspect of the film. As ignoring the large array of stunning sunrise/sunset shots, ‘Where the Wild Things Are’ utilises hand-held camera for the majority of its runtime, which when combined with the film’s occasionally chaotic editing can make some scenes feel a little impetuous. Yet despite not having an overly large-budget, the film’s CG effects do still hold-up remarkably well, with all of the facial expressions of the creatures and extensions to many of the island’s locations not seeming even remotely out-of-place.

The film’s soundtrack complied by musician ‘Karen O’ really benefits to the film’s already calming and mature presentation. From the opening track: ‘Igloo’ through to the more upbeat tracks: ‘Rumpus’ and ‘Sailing Home’, to even the film’s more lyric-based tracks with ‘All is Love’ and ‘Hideaway’. The soundtrack for: ‘Where the Wild Things Are’ doesn’t feel like a traditional film score in the best possible sense, giving more of an impression of a slow-paced yet beautiful acoustic guitar album, which just like the film itself, is immensely underappreciated.

However, one of my personal favourite elements of the film and certainly the most visually-striking has to be the many different designs of the creatures who live on the island. As not only do the designs fit each character’s personality, but every design is also a perfect live-action recreation of the creature’s original appearances within the pages of the book, with all of the creatures being brought-to-life using enormous and heavily-detailed suits from the Jim Henson Company rather than simply just using CGI.

‘Where the Wild Things Are’ is to me, an incredibly underrated modern classic. Despite its few flaws, the film surpasses its source material and then some, creating a genuinely gut-wrenching experience at points. Whilst the film has been criticised by some since its release mostly as a result of being seen as too mature and possibly even a little frighting for younger viewers. I believe the film gets across a number of important messages for children, and I appreciate the film’s more in-depth approach to crafting an imaginative family adventure. Overall, a low 8/10. Even though Spike Jonze may not have an extensive catalogue of films as a director, his work never ceases to impress me, and ‘Where the Wild Things Are’ is just another piece of the puzzle.

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Dawn of the Planet of the Apes (2014) – Film Review

The second outing of the revamped: ‘Planet of the Apes’ series and in my opinion, the best of the most-recent trilogy. ‘Dawn of the Planet of the Apes’ takes-place a decade after the previous film, now taking the story into an apocalyptic world where humans and intelligent apes co-exist. Featuring another spectacular performance from Andy Serkis as ‘Caesar’ as well as a much larger role for the vicious ape: ‘Koba’ this time around (now portrayed Toby Kebbell), this thrilling and propulsive sci-fi blockbuster is sure to keep most viewers gripped to the screen.

Many years after ‘Caesar’s escape from captivity and the outbreak of: ‘Simian Flu’ that followed, the clan of intelligent apes and chimps now resident within the Muir Woods just outside a derelict San Francisco. Living a peaceful existence amongst themselves until a group of human survivors journey into their territory in order to find a solution to their colony’s lack of power, soon leading both sides to consider the possibility of war.

Now giving directorial control over to Matt Reeves (Cloverfield), Reeves would write/direct both this film and the following entry in the series: ‘War for the Planet of the Apes’, allowing Reeves to really give a sense of continuity within the story and style (not to say the sequel doesn’t retain continuity from the first film). Yet what makes this sequel stand-out when placed against the first entry in the trilogy is its narrative focus, as ‘Dawn of the Planet of the Apes’ continuously builds tension throughout its runtime, with much of the film leaning-on the two species as they balance-on the brink of a war that could desolate both parties.

Andy Serkis leads the motion-capture cast of apes once again as ‘Caesar‘, developing his character even further after the first film as ‘Caesar‘ now cares for the clan of apes alongside his newly-found family, and just like the first film, Serkis once again manages to make an animalistic ape a far more interesting and likeable character than would initially seem possible. Its the criminally underrated actor Toby Kebbell who shines most within the film however, as the sequel provides the war-mongering ape: ‘Koba’ with a much larger role, having the ape serve as the film’s main antagonist. In addition to the apes, the film also features a number of human characters portrayed by Jason Clarke, Keri Russell and Gary Oldman, who are all great in spite of their limited screen-time.

Whilst ‘Rise of the Planet of the Apes’ did feature plenty of attractive shots, Michael Seresin’s cinematography is actually an improvement over the previous entry, as the sequel manages to utilise its dim lighting and overgrown/dilapidated cityscape of San Francisco to fantastic results. The cinematography also helps add too much of the film’s action, as despite the film only containing two action set-pieces, both scenes manage to feel like an excellent pay-off to the large amount of build-up before them. Yet personally, I believe one of the most impressive aspects of the film has to be its practical sets, from the overcrowded ‘Human Colony’ to the decrepit streets of San Francisco, nearly all of the film’s sets are breathtaking in both size and detail, with the ‘Ape Village’ being the clearest example of this superb craftsmanship.

Capturing the bleak and ominous tone of the story flawlessly, the original score by Michael Giacchino is also continuously brilliant, and in my opinion, very underrated. As immediately from the stylish opening sequence which informs the audience of all of the events that have taken-place prior to this film, the backing-track titled: ‘Level Plaguing Field’ really elevates the scene’s overall emotional impact, with later tracks like ‘Past Their Primates’ and ‘Along Simian Lines’ continuing this trend. 

Although it could go without saying, the visual effects throughout are the film are fantastic, while still perhaps not as pristine as ‘War for the Planet of the Apes’s effects, the CG visuals do still hold-up very well since 2014 and contain an immense amount of detail in areas. In fact, the company that created the apes, Weta Digital, were even brought-back to bring-to-life a variety of other animals for the film including: deers, horses and a grizzly bear, each sharing the same high-level of detail.

To conclude, ‘Dawn of the Planet of the Apes’ is another remarkable instalment in this new series, upping the stakes and visuals from the previous film alongside continuing the story in a meaningful and entertaining fashion. This science fiction sequel is certainly worth a high 8/10, and whilst I would recommend watching the entire trilogy in order to experience the full story of: ‘Caesar’ as a character, if you have limited time or perhaps don’t usually enjoy sci-fi, then I’d say the middle chapter of this trilogy is truly the most exciting/memorable of the three.

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To All the Boys I’ve Loved Before (2018) – Film Review

Based-on the novel of the same name by Jenny Han and releasing around the same time as many other Netflix original rom-coms such as: ‘The Kissing Booth’ and ‘Sarah Burgess is a Loser’. ‘To All the Boys I’ve Loved Before’ may have a fairly formulaic structure in addition to feeling a little cliché at points as it closely follows its source material, but mostly through its charm and great cast, this light-hearted teenage romantic-comedy manages to retain some entertainment value for any admirers of the genre.

Since she was young, ‘Lara Jean’ has always lacked the confidence to tell any of the boys she liked her true feelings, choosing instead to write them down within individual letters for her eyes only. Until one day, the letters meant for her alone are released, throwing her life into chaos as her foregoing loves confront her one-by-one.

Although definitely not a must-see for Netflix subscribers, ‘To All the Boys I’ve Loved Before’ does feel like a slight improvement over the other previously mentioned attempts Netflix has made within the realm of romantic flicks. As while the story is far from original, the film’s basic concept of a teenage girl locking-away her thoughts and feelings only for them to eventually be released, is at the very least, a plot that entices some interest into how things will turn-out for her in the end, and interestingly, all of the letters seen throughout the film were physically written by Lana Condor herself whilst on-set, with the actress writing a total of seven copies for each letter, as ‘Lara’ later tears them-up.

This leads-in to the best aspect of the film for me, Lana Condor’s portrayal of the film’s protagonist: ‘Lara Jean’, as much of the film’s overall charm is really owed to Condor’s lead performance, as the actress excellently balances ‘Lara’s timidity with her likability without much issue. Noah Centineo also shares quite a large role within the film as ‘Peter’, one of: ‘Lara’s earliest loves, and while Centineo does give a decent performance throughout the film, he does ultimately play the same character he has portrayed countless times before in other rom-coms both before and after, the same also goes for Israel Broussard as another of the ‘Lara’s past loves: ‘Josh’.

The cinematography by Michael Fimognari is serviceable overall, with the film’s thought-out editing usually making-up for the large number of bland shots through its clever cutting from past to present. The film also tries to implement a little style into its filmmaking by having text/emojis appear on-screen whenever ‘Lara’ is texting, which unfortunately, is executed a little sloppily. As whilst I understand what the filmmakers were going for, the final design they chose is quite odd, as rather than having ‘Lara’s phone screen appear beside her, or have text bubbles appear above her head, the text is simply displayed in the same font as the film’s opening titles, which I feel is both distracting and confusing.

Expectedly, the original score by Jon Wong is quite forgettable, but does still serve the film’s narrative well. Its the huge variety of modern pop-songs that rule over most of the soundtrack however, with next-to-nearly every scene featuring at least one or two different songs, and whilst some scenes do benefit from this, a large majority of the time it does feel as if there is an overabundance of songs thrown into a singular scene.

Yet the most obvious flaw the film suffers from is the way it utilises its supporting characters, as although the film does remain focused on the life of: ‘Lara Jean’ for the most part, the film also places emphasis on many of: ‘Lara’s friends and family, and even though the film tries its best to convince its audience otherwise, many of the supporting characters serve very little purpose to the story, and by the end of the film, are virtually forgotten as most are given no conclusive scene with ‘Lara’. But its ‘Lara’s sister and father who I personally found the most obnoxious, as these two characters deliver a large portion of the film’s occasionally cheesy dialogue and cringy humour, as sadly the film does feature plenty of awkward comedic moments in between its few successful jokes.

So while certainly not as diverting or as original as many reviews would lead you to believe, ‘To All the Boys I’ve Loved Before’ does still have some value, as the film retains many of the novel’s faults as well as its merits, and in spite of many of its problems, I imagine most fans of upbeat romantic-comedy/dramas will be satisfied with the film by its end. If you don’t usually drift towards rom-coms however, I’d probably suggest you check out some of the other original films Netflix has to offer. A high 5/10 overall.

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