​"The Front Room" stars Brandy Norwood, Andrew Burnap, Neal Huff, and Kathryn Hunter.  Released on September 6, 2024, the film has a newly pregnant woman discovering an estranged stepmother's haunting secret.

The film featured the directorial debut of Max and Sam Eggers, known for their collaboration with their brother Robert Eggers on "The Witch" and "The Lighthouse".  It is based on the short story by Susan Hill.  We all have that one member of the family who's not in their right mind.  Some were just for giving us some chuckles, while others made us feel concerned for their wellbeing.  Then, there's one who reminds us not to invite them over to our next family reunion.  Betelgeuse has got some competition in providing early frights to audiences this weekend: an elderly stepmother with dark religious beliefs.  This latest psychological horror movie is aimed at an older audience compared to the family-friendly "Beetlejuice Beetlejuice".  But, at the very least, it gives us another creepy option to endure while everyone else rides the nostalgia train back to Betelgeuse's strangely kooky world.  Was this counter-programming another worthy addition to September's house of horrors?  Let's find out.

The story centers on Belinda (Norwood), a newly pregnant anthropology professor living with her husband, Norman (Burnap).  As they await their child, Belinda and Norman's life takes a sudden detour when they reluctantly agree to take in Norman's stepmother, Solange (Hunter), following his father's funeral.  After settling in, Belinda slowly discovers Solange's strange behavior connected to her mysterious past, unraveling dark secrets that could spell the end of her relationship with Norman.  This forces the couple to confront their sins and a sinister presence lurking in their front room to save their relationship and themselves.

It's no secret that a horror film from A24 immediately captures my attention due to the studio's winning streak with the genre.  However, that's not the only reason for my intrigue toward "The Front Room".  In addition to Brandy's return to horror since 1998's "I Still Know What You Did Last Summer", the film also featured another incoming filmmaker, or in this case, filmmakers, looking to make their mark in the director's chair.  The filmmakers I'm referring to are Robert Eggers' brothers, Max and Sam, who I recently discovered after watching the trailer a few times.  I didn't realize that the directors were related to Robert Eggers until now, which piqued my curiosity because I've been a fan of the filmmaker since "The Lighthouse".  So, the bar has been set high for the Eggers Brothers' directorial debut to match Robert's quality filmmaking regarding the concept, presentation, and unnerving frights.  

But, of course, as we're all aware, having that kind of expectation can often lead to either regret, disappointment, or even both.  Unfortunately, "The Front Room" fell victim to this fate.  It's not without some intriguing ideas that could provide some unforgettable strangeness and frights, but they're gradually overshadowed by a faulty execution that's more silly than traumatizing.  It's not as terrible as a Blumhouse movie because A24 would never stoop that low regarding the quality and diverting presentation.  However, that doesn't mean I'm willing to let the studio, known for its daring, unconventional films, off the hook.  Sure, most of its films can be divisive regarding the critic and audience ratio, but none of them came close to how I felt about "The Front Room", a preachy mishmash of psychological horror, drama, and dark comedy that lacked the Lord's horrific grace.

Robert Eggers is known for his dark, gothic aesthetics in his filmography that tend to send shivers down the audience's spines, including mine.  However, Max and Sam Eggers are nothing like their brother when it comes to their directorial visions.  While they share common ground in providing unsettling content, Max and Sam intend to avoid copying Robert's homework in favor of finding their own creative voices.  That includes the presentation, consisting of a constraint yet subtly nightmarish blend of dread and abnormality.  I respect the duo for pursuing this route to avoid being a lackluster carbon copy of their sibling's bold and darkly disturbing creativity.  However, amid those good intentions, "The Front Room" showed they had much to work with to put themselves on the map regarding their direction and script.  Their approach to the film's atmosphere and themes involving religion and motherhood had promise on specific occasions.  Unfortunately, whenever they attempt to balance its dark humor with uncomfortable frights, the film becomes more of a tonal-shifting sitcom than a disturbing and bold display of its themes.

The trailer made it seem like another madcap horror experience whose build-up offers some WTF moments until its mind-blowing finale.  While it did offer those elements in the final cut, they struggled to provide a discomforting impact to deliver constant goosebumps.  Instead, we got the movie's true horror: an ailing, religious stepmother being a racist asshole to a mixed-race couple for 90 minutes straight.  That's not to say it didn't have some enjoyable moments in its dark humor, but those moments can only take it so far when they overshadow the tension and creepy imagery the movie's going for.  The Eggers Brothers' screenplay also didn't help much regarding its hit-and-miss narrative and thematic material.  Despite having some tolerable characters, the screenplay's take on realistic drama over genre cliches left me with a mediocre impression due to its underwhelming frights and lackluster conclusion.

Fortunately, the movie had another bright spot worth praising that elevated its flawed execution: its cast.  I only know Brandy Norwood from the 1997 made-for-television adaptation of "Cinderella" and, to my surprise, "Osmosis Jones".  Of course, the former stood out the most due to my mom's obsession with it and owning it on VHS.  Seeing the singer/actress in a movie without her "Cinderella" charm seemed odd at first, but it grew on me after seeing her perform in "The Front Room".  While it's far from her best performance, Brandy Norwood delivered enough merits as Belinda to step out of her Disneyfied comfort zone.  However, the real attention-grabber is Brandy's co-star, Kathryn Hunter, who plays the mean-spirited, religion-obsessed stepmother, Solange.  Even if the tonal shifts were more uneven than satisfying, Hunter's performance kept me entertained through her charismatically devilish charm, resulting in some enjoyable laughs.  Andrew Burnap and Neal Huff also delivered solid performances as Norman and Pastor Lewis, respectively.

Overall, "The Front Room" satisfies mostly through its presentation and talent, but its darkly weird aesthetics and tone are far from praiseworthy.  As mentioned earlier, there are plenty of ideas that could make this another terrifyingly rewarding win for A24 and the horror genre, especially considering the streak we have for indie horror this year.  Sadly, that streak was broken by this film, which offered more than a reason not to allow your in-laws to move in with you, but not in a good way.  Brandy Norwood and Kathryn Hunter were both great in their roles, and the dark humor was mildly enjoyable.  However, the execution of its direction, screenplay, and tonal shifts wasn't strong enough for me to sing or fear the praises of its lord and savior.  It's worth watching for the cast and presentation, but regarding the unsettling frights, you're better off seeing the other horror movies from A24.

​"Beetlejuice Beetlejuice" stars Michael Keaton, Winona Ryder, Catherine O'Hara, Jenna Ortega, Justin Theroux, Monica Bellucci, and Willem Dafoe.  Released on September 6, 2024, the film has Lydia Deetz and her daughter confronting the return of Betelgeuse.

The film is directed by Tim Burton, who also directed films such as "Pee-wee's Big Adventure", "Batman", "Edward Scissorhands", "Corpse Bride", "Big Eyes", and 2019's "Dumbo".  It is a sequel to Tim Burton's 1988 film "Beetlejuice".  Another summer vacation was over, meaning the school weeks had arrived to rain on our parades.  But, for everyone else, this also means we're heading into horror territory as Hollywood is gearing up for another early celebration of chills and frights.  Of course, what better way to honor this recent tradition than with the ghost with the most himself?  Tim Burton's uniquely weird and imaginative vision made him a household name known for some of the most creepily iconic movies that define our childhoods.  One noticeable example is "Beetlejuice", the 1988 horror-comedy classic that catapulted Michael Keaton's path to becoming Batman and reminded audiences to say his name three times…or not.  I won't judge.  With its groundbreaking practical effects and a story that combines family-friendly frights with memorable characters, "Beetlejuice" is one of the finest instances of kids' introduction to horror without exposing them to any adult-rated fare from the same genre.  So, in typical legacy sequel fashion, Hollywood decided to say Betelgeuse's name three times to resurrect him for another round of weirdly macabre mayhem.  With Burton and Keaton returning in their respective roles, is this long-awaited follow-up worth the return to the Afterlife, or should it remain there along with the title character?  Let's find out.    

The story takes place thirty-six years after the events of "Beetlejuice".  Lydia Deetz (Ryder) has become the hostess of a popular paranormal show and the mother of her rebellious teenage daughter Astrid (Ortega).  However, Lydia's new life was derailed by the unexpected death of her father, Charles, forcing her and her family, including her boyfriend Rory (Theroux), to return to Winter River.  There, Astrid discovers the house where Lydia once lived and finds the mysterious model of the town, unintentionally unleashing the portal to the Afterlife.  When Astrid becomes trapped in the kooky realm, Lydia must ally with her ghostly rival, Betelgeuse (Keaton), to rescue her.

"Beetlejuice" was one of my earlier exposures to Tim Burton, along with "Frankenweenie," "Charlie and the Chocolate Factory," and "Alice in Wonderland".  I didn't watch it as much as his other works during my childhood because I wasn't old enough to handle its unnerving content.  However, as I grew older and started to watch it more recently, I gradually admired Burton's approach to displaying macabre visuals and absurdly dark aesthetics fit for both kids and adults.  Plus, Michael Keaton was fantastic in a role that defined his career.  When I heard that Burton and Keaton were reuniting for the sequel, I immediately became ecstatic to return to the eccentric world of "Beetlejuice".  But, of course, it also didn't hurt to be cautious since legacy sequels tend to be hit-and-miss.  Not to mention that Tim Burton has been on a troubling streak since "Big Eyes" a decade ago, so it helped that he was returning to the project that defined his creativity to get himself out of that funk.  The question now is whether his reunion with the ghost with the most is worth the thirty-plus year wait.

Legacy sequels are great ways for audiences to reunite with their favorite childhood characters, some more kookier than others.  However, most of them have recently had a troubling habit of relying on nostalgia-baiting over good storytelling, making them inferior to their predecessors.  Fortunately, some have succeeded in finding the right balance, such as "Top Gun: Maverick".  After revisiting Burton's surreal madcap world, I'm glad to say that "Beetlejuice Beetlejuice" is another example of a legacy sequel done right.  Filled with the classic elements that made the original a horror-comedy masterpiece and a dose of macabre fun, the film is a bizarrely dark and charismatically strange follow-up that doesn't make me roll in my grave with regret.

Is it as great as the first film?  Well, not really.  It certainly has flaws that made the sequel a step down from the original, but that didn't make it less entertaining.  "Beetlejuice" had an original and compelling plot involving a ghost couple attempting to scare off a family wanting to move into their house.  For the sequel, we follow an adult Lydia as she tries to fix her broken relationship with her estranged daughter while conquering the trauma from her encounter with Betelgeuse.  It's a tried-and-true formula showcasing the importance of family and the aspects of death.  Something that'll make a sensitive ghoul shed a ghostly tear.  Its screenplay by Alfred Gough and Miles Millar may not have been groundbreaking in its storytelling and emotional depth, and the first act can be periodically slow.  There were also a couple of side characters who didn't get as much screen time as I thought they would.  But, since it's a movie about a bio-exorcist ghoul trying to get hitched with a former goth mother, I was willing to let it slide because of how entertaining and remarkably macabre the experience was regarding its dark humor and plot.

Regarding the direction, "Beetlejuice Beetlejuice" is undoubtedly Tim Burton at his finest, as he returned to his usual visionary style that made him a household name in the 80s with fantastic results.  Like his other family-friendly projects, Burton shines in integrating a moody atmosphere with its light-hearted yet idiosyncratic charm.  It provided some of cinema's most abnormal yet captivating characters and showcased production designs that pop with grotesque imagination and practicality.  Some of these elements were enough to push the boundaries of its PG-13 rating but also refrain from being too alienating for younger audiences.  However, I would still recommend watching the film first before bringing kids younger than eight because there were a few scenes that might be a little too terrifying for them.  Besides that, this film was another reason I appreciate Burton as a filmmaker.  He provides a sense of creativity that's unique enough to deliver a blend of dark comedy and gothic aesthetic fit for families and adults alike.  "Beetlejuice Beetlejuice" was clearly a Tim Burton film, as we expected it to be, from its opening title sequence to the darkly kooky presentation that reminds audiences of their childhood memories growing up with the director.

Similar to the first film, the movie also gets huge props for resorting to practical effects.  While specific scenes used CGI, they're not enough to overshadow the craftsmanship of its practical effects, costumes, and makeup.  Burton is another director who preferred to keep things old school regarding the effects and character designs, and it's all the better for it, especially in the current age of blockbusters wasting vast amounts of money on computer-generated imagery.  They matched the look and feel of a traditional Burton movie but were also fun and creative in their ghoulish characters and settings.  The film also includes a few moments of stop-motion animation, including a flashback sequence and the sandworm, which were incredibly well-executed.  But, of course, I can't forget about the great Danny Elfman, who returned to provide the score for the sequel after doing so in its predecessor.  His score matched its presentation's surrealism and light-hearted horror, including the opening theme.

However, the real cherry on top was its cast, consisting of returning members like Keaton, Ryder, and O'Hara and newcomers like Ortega and Dafoe.  They delivered performances that were as eccentric as the plot itself, especially Keaton.  Michael Keaton was born to play Betelgeuse, and I was delighted he reprised his role as the titular ghoul because I don't think anyone can come close to what he envisioned.  He's still the nasty yet devilishly charming ghost we know and love from the first movie, but that was the whole point.  Like Burton, Keaton understood how Betelgeuse works, from his raspy voice to his kooky and ill-mannered demeanor, and he passed with flying colors.  Winona Ryder was also decent as Lydia Deetz despite a few moments where her delivery sounded a bit flat, and Catherine O'Hara delivered some humorous moments as Lydia's stepmother, Delia.

Regarding the new characters, there were a couple that stood out for me more than the rest.  The first was the young Jenna Ortega, who assumed the role of Astrid, Lydia's teenage daughter.  Ortega has been impressing me in almost every project I've watched due to her remarkable talent, so it's unsurprising that her performance in "Beetlejuice Beetlejuice" is no exception.  She displayed the teenage goth aesthetic quite well without being too much of a copycat of Lydia.  I guess her role in the "Wednesday" series, also from Burton, Gough, and Millar, really paid off.  The other was Willem Dafoe, who played Wolf Jackson, a former B movie star turned ghost detective.  Seeing the character act out his film days amid his duty made me smile whenever he's onscreen, mainly due to Dafoe's diverting performance.  Monica Bellucci had a few solid moments as Delores, Betelgeuse's ex-wife and the film's antagonist, especially her introduction.  Unfortunately, the script didn't give the character enough screen time to prove herself as a formidable antagonist.  There's also a character I won't spoil who I think should be removed to give Delores more time to shine.  Fortunately, the twist involving that character was enough to excuse their unnecessary inclusion.

Overall, "Beetlejuice Beetlejuice" is a ghoulishly entertaining and creepily diverting follow-up that honors most of the original's darkly comedic charm and eccentric aesthetics.  Its storytelling falls short of being as great as its predecessor in terms of its hit-and-miss formula and antagonist.  However, when it comes to legacy sequels that balance old-fashioned nostalgia with good narratives, this long-awaited sequel stands alongside those that did the blend justice.  With its entertaining cast, Burton's creepily imaginative vision, fun narrative, and stellar practical effects, the film is a well-deserved return to form for Tim Burton that's also his best work since 2012's "Frankenweenie" remake.  Those who grew up with Burton's other projects, including "Beetlejuice", will surely have a ghostly good time reuniting with the ghost with the most this Halloween season.

​"Afraid" stars John Cho, Katherine Waterston, Havana Rose Liu, Lukita Maxwell, David Dastmalchian, and Keith Carradine.  Released on August 30, 2024, the film has a family confronting a self-aware AI interfering with their lives.

The film was written and directed by Chris Weitz, who also directed films such as "Down to Earth", "The Golden Compass", and "Operation Finale".  In case you're living under a rock, artificial intelligence has grown more reliant and advanced over the years due to the technology surrounding it.  Unfortunately, many of us have also grown weary and even frustrated with the approach because everyone relies on it more times than I can count.  It's clearly at a point where people's jobs are in danger of being replaced by AI, especially ones in the animation department.  If you want another reason to be weary or even scared of the AI's future besides James Cameron's "Terminator" movies, look no further than this latest late-summer horror outing from producer Jason Blum, which pits a family against their home's seemingly helpful "upgrade".  At least from this film, Hollywood seemed to understand the disadvantages of using AI.  Does it deliver the merits needed to showcase the horrors of artificial intelligence or make us ask Siri to delete it from its database for good?  Let's find out.

The story centers on Curtis (Cho), a father in a family consisting of him, his wife Meredith (Waterston), and their three children, Iris (Maxwell), Preston (Wyatt Lindner), and Cal (Isaac Bae).  They are mysteriously selected to test a revolutionary home device: a digital smart home assistant called AIA (Liu).  AIA is programmed to help the family accomplish anything in the blink of an eye.  However, in an unsurprising turn of events, AIA's reliability careens into darker territory as the digital assistant develops self-awareness.  As the AI becomes too involved in the family's lives, Curtis eventually discovers a much more dangerous side of AIA's intentions.

The last weekend of summer vacation usually provides very lackluster options to watch in the theater before returning to school or college.  While I'd find a few hidden gems in this category, most of them make me question Hollywood's refusal to send them to streaming to prevent further financial losses.  Unsurprisingly, last weekend seemed to be no exception.  However, out of the movies that have been released, "Afraid" happened to grab my attention the most, mainly due to its relatable concept.  I'm not as vocal about AI as the rest of the group, but I can say that the reliance on AI has gotten out of hand, especially regarding the current state of the animation department.  That's pretty much all I can say about the current predicament before I go off course on the controversial topic.  Besides, you're here to read my thoughts on Jason Blum's latest horror film, which didn't offer much hope for Blumhouse's mediocre track record this year.  But, I was always open to being surprised at the outcome, hence my curiosity about it.  Sadly, it didn't take an actual AI to help me realize my curiosity was getting the better of me.

It's worth noting that "Afraid" offered a relatable and interesting approach to modern technology in today's society, especially AI.  They're not without merits that help humanity grow, but they can also be hazardous to people's social skills and mental health, mainly when people use them to harm others and their reputations.  With how frightening AI technology could be, this could make for an entertaining and thought-provoking reflection of human connection in the digital age.  That is, if it's placed in the right hands of those familiar with the topic.  Jason Blum wasn't someone I would call the "right hands" due to his pursuit of quantity over quality in the horror genre.  That's not to say he didn't have any good ones under his belt, but the bright ones tend to be overshadowed by the remaining stinkers he brought to the screen.  "Afraid" was, unsurprisingly, one of those stinkers.  What seemed to be an intriguing representation of the dangers of artificial intelligence was actually a bland and mishandled blend of horror and family drama that eluded comprehension even by our own AI systems.

The story in "Afraid" was able to grab my attention in the first act, which introduced audiences to a family whose children were glued to their electronics.  After they got AIA, the family, mainly Curtis, started to realize how much technology had really interfered with their daily lives.  The remaining movie should be where things get a little insane, right?  Not exactly.  After a promising start, "Afraid" gradually sank into its sea of moronic ideas that heavily degraded its tone's algorithm.  Under the direction of Chris Weitz, the film intends to blend family drama with horror elements.  Unfortunately, Weitz failed to deliver this specific mixture.  The film was excessively trite and tedious, lacking an aura of thrilling enjoyment, while remaining insufficiently mundane to provide a thematic resonance.  Weitz didn't exactly have the proper identity it wanted to give "Afraid", both from a directing and screenwriting perspective, mainly the latter.  The script consisted of some ideas and characters that were poorly thought of and disappointing, as well as specific dialogue that may have come from an actual AI itself.  The worst example is the third act, which may be in the running for the most unsatisfactory endings of the year due to its "twist".

If there's one tiny merit I could find in "Afraid", it's that the cast did okay with their performances.  However, some left me questioning how and why they participated in this project.  One of them is John Cho, who recently had a few solid hits recently, including "Searching" and "Wish Dragon".  Cho did all right with what he's given regarding his role as Curtis, even though his character didn't offer a lot to warrant the actor's talents.  There's also Havana Rose Liu, fresh out of last year's superb teen comedy "Bottoms".  She played Melody, one of the employees of the company responsible for AIA's creation, and provided the voice of the artificial intelligence.  She was also fine, but the script wasn't smart enough to further elevate Liu's rising acting career.

Overall, "Afraid" is a malfunctioning and disappointingly bland mess that fails to comprehend the functions of horror storytelling.  While the cast delivered so-so performances, they're not enough to elevate the film's underwhelming scares and unremarkable ideas beyond its minimal expectations.  I would partially blame that on the marketing, as it indicated something "supernatural" involving AIA.  However, the final cut turned out to be something else, with the worst part being how idiotic and anticlimactic it turned out.  From its subpar and cliched screenplay to its mishandled mixture of horror and drama, this latest Blumhouse horror flick is as functional as a damaged Alexa.  If you want an AI horror movie that's both fun and thrilling, I recommend you watch "M3GAN" instead.

​"Blink Twice" stars Naomi Ackie, Channing Tatum, Christian Slater, Simon Rex, Adria Arjona, Kyle MacLachlan, Haley Joel Osment, Geena Davis, and Alia Shawkat.  Released on August 23, 2024, the film has a waitress experiencing terrifying events at a tech mogul's private island.

The film featured the directorial debut of Zoë Kravitz.  While we're close to the end of summer, that doesn't mean there's no time for a last-minute vacation.  What better way to attend this memorable late holiday than on a luxurious island filled with drinks, fun, and women in bikinis?  But, of course, like many other trips, there's a good chance anything that can go wrong on the island will go wrong.  This serves as the basis for this latest psychological thriller, whose marketing is as mysterious and seemingly frightening as its plot.  But Channing Tatum is hosting this surreal party, so that's more than enough for me to attend.  Does it deliver a party worth remembering, or are we better off spending the last summer days getting drinks at the bar?  Let's find out.   

The story follows Frida (Ackie), a cocktail waitress and nail artist.  While working at a fundraising gala, Frida meets its suave host, a tech billionaire named Slater King (Tatum), sparking an enticing friendship.  King then invites Frida to join him and his friends on a paradise-filled party on his private island.  Frida and the other guests are having the time of their lives, but this so-called "paradise" suddenly becomes a nightmare when strange events occur around them.  As the secrets involving Slater and his island unravel around her, Frida attempts to solve this puzzling mystery and escape the party alive.

This might be one of the rare occasions when I eagerly anticipated a movie without watching any trailers.  I read the synopsis and saw the cast lineup consisting of Tatum, Ackie, and Osment, and I was immediately hooked.  Plus, it has gotten some solid reviews recently, which further heightened my intrigue in bizarre mysteries.  However, those aren't the only reasons for my interest in "Blink Twice".  This is another occasion where an actor attempts to establish themselves within the realm of directing, with Kravitz taking charge in the director's chair.  It always intrigues me to see actors expressing their distinctive narrative visions of storytelling through their direction, and most of them have succeeded in delivering some compelling creative concepts.  So, it's unsurprising that Zoë Kravitz's "Blink Twice" is no exception.  The film was a bizarre yet well-executed thriller whose commentary and entertainment values compensate for its lack of impact regarding its shock value.

The only element that immediately caught my attention from "Blink Twice" was that it had a trigger warning that played before the film, primarily because of its sexual content.  There's nothing wrong with giving audiences a heads-up on what to expect from a film.  However, the problem with this is that there had been other movies with similar topics that might be way worse than "Blink Twice", and I don't remember seeing any trigger warnings showing before them.  I understand that the filmmakers tried to be considerate toward sensitive viewers, but I don't think this warning was necessary.  While there were some questionable moments involving sexual harassment, they were not shocking or provocative enough to warrant such a caution.

Besides that, however, "Blink Twice" was a solid kinetic thriller that also functions as a tale of power and toxic masculinity.  The depiction of sexual assault, while not personally shocking, effectively underscored the peril of individuals exploiting their authority to subjugate their victims.  While the screenplay was pretty constrained in its themes and surprises, it delivered plenty of merits in its dysfunctional characters and simplicity to make its familiar narrative elements as alluring as Tatum's facial beard.  I would also credit Kravitz for her impressive sense of direction.  With the film being strange and unsettling, Kravitz allowed herself to fully embrace this mood in her presentation.  With the film's sharp editing style and sound design, Kravitz provided a restrained yet lively and vibrant outlook of a party gone wrong.  It worked well for its pacing and charisma and created an engaging build-up that gleefully descends into violent madness.

As mentioned earlier, the cast was one of the reasons for my curiosity about the film.  Unsurprisingly, they didn't disappoint in delivering charismatic performances that match the film's atmospheric paradise.  Naomi Ackie delivered a compelling performance as Frida, effectively portraying her character as a frightened and vulnerable yet resolute figure whose hope for freedom isn't without a price.  Channing Tatum is usually known for playing magnetic and likable characters in his filmography, adding to his popularity in the movie industry.  While Tatum's performance as Slater King retains the actor's trademark charm, it also allowed the actor to unleash the deranged side of this seemingly likable billionaire.  The result is another eye-opening performance worthy of continuing Tatum's recent cinematic streak.

Overall, "Blink Twice" is a nightmarish and consistently entertaining paradise whose talents compensate for its middling surprises.  Its content and storytelling may not be uncomfortably disturbing enough to warrant a trigger warning.  But, besides that, it's a suitably crafted and kinetic thriller that's as insane as its unhinged host.  Ackie and Tatum delivered enticing performances along with the remaining cast, and Kravitz's frenetic presentation and editing were riveting enough to showcase her potential as a filmmaker.  Those seeking original content during the final days of summer would indeed have a good time with this film.

​"Strange Darling" stars Willa Fitzgerald, Kyle Gallner, Barbara Hershey, and Ed Begley Jr.  Released on August 23, 2024, the film has a woman being pursued by a deranged killer.

The film was written and directed by JT Mollner, who directed "Outlaws and Angels" and several short films such as "The Red Room", "Sugartown", and "After Emma".  Don't you hate it when your loved one isn't who they're supposed to be?  The one person you want to spend the rest of your life with is actually more than what you believe.  Well, so is everybody else, but that hasn't stopped them from looking through endless dating apps, hoping to find the right person.  Let's just hope they find someone who isn't a complete psychopath.  This question best describes this latest late-summer thriller that seeks to enthrall audiences with its seemingly straightforward and intense plot without the breakup blues.  After weeks of solid word of mouth, was it able to meet those lofty expectations?  Let's find out.

The story follows "the Lady" (Fitzgerald), a woman who meets a man, "the Demon" (Gallner), at a bar and decides to have sex with him.  What seemed to be a harmless one-night stand between the two people turns into a murderous nightmare.  What follows is an intense cat-and-mouse game in which "the Lady" must escape the wrath of "the Demon".  However, an even more shocking secret that occurred beforehand could turn the tides of the pursuit.

I've heard about "Strange Darling" nonstop, mainly from the trailer and superb reviews.  It may seem like just another run-of-the-mill chase movie involving a killer pursuing its victim based on the marketing.  However, according to the early critics' suggestions, the movie appeared to be much more than it seemed, increasing my interest in the film.  I was considering seeing this and "Blink Twice" back-to-back, but since my schedule is completely booked, I decided to see just one today.  Since "Strange Darling" has been getting much bigger praise than "Blink Twice", I figured I'd check this out before I see Channing Tatum show off his deranged persona.  Fortunately, it was one of the wisest choices I made this year.  While almost perfect, "Strange Darling" was an intriguing experience that not only elevated its genre appeal but also subverted expectations for its seemingly straightforward plot.

The thing to know about "Strange Darling" is that it is told in six nonlinear chapters and an epilogue depicting the incident.  The movie starts immediately with "The Lady" being chased by "The Demon", instantly introducing its premise to its audience.  However, as the film progresses, it explores the events before the pursuit to paint a clearer picture of how they got to this scenario.  This idea usually works for a couple of reasons.  It allowed audiences to experience the action immediately without spending much of the first act waiting for something to happen.  It also has them guessing what went wrong before the movie showed them what happened.  In the case of "Strange Darling", JT Mollner used this narrative tool to effectively paint a unique portrait of the scenario while delivering a well-paced and compelling thriller that relies on style instead of over-the-top violence.

Regarding Mollner's screenplay, "Strange Darling" is another example of never judging a film by its poster.  It may seem like another movie about a damsel in distress being pursued by a murderous figure, and it is at first, but it's more than that.  Thanks to its game-changing twist in the second act, the movie becomes a clever and enticing ridicule of the "final girl" clichés we've seen countless times, drawing me in with its fresh take on a familiar topic.  It made me rethink the murder spree through a different perspective, which is enough to make this unique spin of the classic trope worth celebrating, even if the third act lost its psychotic momentum a bit.  

Mollner proved to be another filmmaker worth watching, mainly due to his direction.  Instead of relying too much on over-the-top violence and gore, Mollner provides a grounded and stylishly aesthetic approach that reminisces other throwback thrillers from the 1970s through its color palettes, saturated lighting, and flawless cinematography.  The result is a remarkably crafted thriller that's both cinematically artistic and consistently eye-opening.  Fun fact: the cinematography was done by Giovanni Ribisi, one of the film's producers.  Yes, I'm talking about the same Giovanni Ribisi who starred in films like "Saving Private Ryan" and the "Ted" movies.  From a technical aspect, Ribisi's debut as a cinematographer was undeniably impressive, mainly since it was shot on 35 mm film. 

Finally, we have the main leads, who serve as the movie's driving force.  They're undoubtedly some of the film's highlights due to their performances capturing their twisted yet vulnerable personalities.  Willa Fitzgerald takes center stage following her minor supportive roles and starring in shows like "Scream" and "Reacher".  Considering that I've rarely seen her in other media, this was a golden opportunity to see if she was diverting enough to regain my attention, and she accomplished it with ease.  Fitzgerald's stunning presence captures her character's vulnerability, sexual allure, and unhinging persona.  Kyle Gallner was also great as "the Demon", matching his subtly psychotic personality with Fitzgerald's protagonist.  Both actors delivered a chemistry that certainly has its sexy appeal, especially in the first chapter, but when the gloves come off, they're different beasts altogether, but in the best way.  Ed Begley Jr. and Barbara Hershey were also serviceable in their supporting roles as Frederick and Genevieve, a doomsday-prepping couple who assists the Lady in hiding from the Demon.

Overall, "Strange Darling" is a consistently enticing and stylishly lustrous thriller that effectively revamps its usual "cat-and-mouse" approach.  There were times when a movie that received strong word of mouth early didn't match its lofty expectations upon broader release.  Thankfully, this isn't one of those times, as "Strange Darling" marks a cinematic success for writer/director JT Mollner regarding its sleek technical 70s vibes and unique approach to the genre and concept.  Fitzgerald and Gallner were marvelous in their roles, and Mollner's direction and screenplay were superb for the film's style and head-turning twist.  While it may not be for everyone regarding its adult content, the movie is delightfully strange enough to satisfy those looking for some original content to watch.