​“The Killer’s Game” stars Dave Bautista, Sofia Boutella, Terry Crews, Scott Adkins, Marko Zaror, Pom Klementieff, and Ben Kingsley.  Released on September 13, 2024, the film has an assassin surviving a hit he placed on himself.

The film was directed by J. J. Perry, an action director and stuntman known for directing “Day Shift”.  It is based on the 1997 novel by Jay Bonansinga.  As an assassin, you’re bound to encounter many obstacles during a mission to eradicate your target.  You have to strategize to remain inconspicuous and choose a weapon capable of killing them quickly and easily.  But what if the target you’re choosing to kill is yourself?  This better be one hell of a paycheck.  September isn’t just the place for horror films to shine but also a month of action-packed options looking to appeal to audiences looking for more thrills than chills.  One of them is the latest action-comedy that has Dave Bautista flexing his comedic and violent muscles outside his “Guardians of the Galaxy” outings.  Does it make for a successful killing regarding its entertainment value, or make us want to place a hit on it immediately?  Let’s find out.    

The story centers on Joe Flood (Bautista), a veteran assassin specializing in killing his targets.  After meeting and falling in love with a dancer named Maize (Boutella), he decides to retire from the killing game.  However, his new life with Maize takes a sudden turn when he discovers that he’s diagnosed with Creutzfeldt-Jakob disease.  Hoping to end his life before his disease does, Joe seeks the help of a contractor, Marianna Antoinette (Klementieff), to place a hit on himself.  Unfortunately, Joe later learns from his doctor that the terminal medical diagnosis he received was inaccurate, and Marianna is using the contract as revenge against him for killing her father.  As a result, Joe finds himself surviving against Marianna’s plot and the other assassins seeking to claim the prize.

I might be one of the very few people who was looking forward to “The Killer’s Game”.  Sure, it seems like something that could’ve gone straight to streaming, but if there’s one thing I learned from watching movies, it’s that even smaller action films can work as theatrical experiences.  Obviously, my intrigue is due to its cast, with Dave Bautista seeking to provide another tolerable addition to his action-comedy lineup.  Plus, the concept of an assassin surviving their own contract seemed pretty ironic, adding to the film’s comedic aspect.  The other reason is the involvement of J. J. Perry, another stuntman-turned-filmmaker seeking to reinvigorate the action genre through their love of cinematic stunts.  While his directorial debut on Netflix, “Day Shift,” wasn’t too groundbreaking regarding the genre and storytelling, I would give Perry credit for making the action scenes kinetically fun and violently absurd.  So, it makes sense that I was hoping for something similar in “The Killer’s Game” based on the trailers.  

Unsurprisingly, it delivered on those hopes I had expected, for better or worse.  Does it mean it’s great?  Not really.  It’s another disposable, run-of-the-mill action film that would have been more suitable as a streaming movie than a theatrical release.  However, I wouldn’t say it’s necessarily a bad thing.  From my experience watching movies on streaming, I learned that some run-of-the-mill movies are surprisingly more tolerable than others.  It depends on a viewer’s expectations of a movie’s enjoyment factor.  Regardless of the quality and storytelling, if a film succeeds in delivering some entertainment from its simplistic premise, I would call it a suitable win.  But, as a film critic, it’s always fair to expose the flaws I had with it amid my enjoyment.

“The Killer’s Game” is the latest target of this hypothesis, with enough fun action and subtle charisma to balance out its narrative shortcomings.  The screenplay by Rand Ravich and James Coyne offered a straightforward and restrained plot involving an assassin getting out of the hitman’s game to be with the love of his life.  Amid its comical misunderstanding and bloody violence, the movie expresses its message of valuing the ones you have in life, whether it’s short or not.  While it may be thoughtful on paper, the script didn’t have the proper execution to do this message justice.  It had a few comical moments that I surprisingly found amusing, and the romance between Joe and Maize was mildly endearing.  Unfortunately, they were bogged down by the movie’s genre tropes, hit-and-miss humor, and cliched dialogue.  As a result, the film struggled to distinguish itself within the competitive hitman-movie landscape.  It didn’t make me want to order a hit on myself, but it’s also one of the screenplays that could’ve been made in the 2010s.

One of the reasons for the film’s enjoyability was the cast, notably Dave Bautista.  It bears repeating that Bautista can be a talented actor outside his wrestling days if the right project suits him.  Even if some of the movies he’s in are not that good, he usually compensates with his stunts and charm to deliver a presence that’s hard to ignore.  His performance as Joe was unsurprisingly no exception.  While a far cry from his other significant roles like Drax in “Guardians of the Galaxy”, Bautista relied on his charisma to showcase Joe’s dangerous yet kindhearted nature with decent results.  Sofia Boutella, who recently starred in Zack Snyder’s “Rebel Moon”, forgoes her sci-fi action heroine persona in favor of being Joe’s girlfriend, Maize.  She was all right with what she was given, though nothing special.  Terry Crews also had some likable moments as Lovedahl, one of the hitmen sent to kill Joe, in his first live-action film role in four years.  The reason?  He voiced a kaiju in a subpar animated WWE movie with monsters.  Pom Klementieff and Ben Kingsley were also respectable in their roles of Marianna and Zvi, Joe’s compassionate mentor, respectively.

The other reason is J. J. Perry himself.  Now, I’m not going to say he’s becoming the next Chad Stahelski or the next David Leitch regarding the direction.  However, I will say that his approach to this concept was a minor improvement over his directorial debut, “Day Shift”.  It’s not just regarding its enjoyment factor, but also the action.  As expected, the film consists of plenty of grotesque kills and bloody violence, but they’re filmed in a way that’s neither headache-inducing nor chaotically edited.  Perry desired to showcase the stunt work in action without relying heavily on shaky cam and multiple edits, and they were fun to watch despite a few iffy CGI effects.  It’s no “John Wick”, but regarding the choreography and stunts, the violence had enough merits to delight plenty of casual moviegoers looking for a fun time.  Perry’s approach to the presentation was also lively enough to compensate for its lack of uniqueness.

Overall, “The Killer’s Game” lacks the proper execution to stand out from the action-comedy crowd but makes a serviceable killing in its enjoyability.  If you’re going into this movie expecting an action-comedy masterpiece, you’ll easily be disappointed with the result.  While the film is tolerable in most places, its middling script and formulaic tropes will likely make you want to place a hit on yourself.  However, despite its flaws, the movie delivered what was expected from the marketing: a run-of-the-mill action comedy that’s mildly fun and delightfully violent.  Bautista and the cast provided good enough performances to carry the movie’s concept, and J. J. Perry did a serviceable job with his vision regarding the action and presentation.  It’s a disposable, straight-to-streaming movie made to delight casual moviegoers, no doubt about it.  But to me, it’s entertaining enough to avoid getting assassinated early.  

"My Old Ass" stars Maisy Stella, Percy Hynes White, Maddie Ziegler, Kerrice Brooks, Maria Dizzia, Seth Isaac Johnson, Carter Trozzolo, and Aubrey Plaza.  Released on September 13, 2024, the film has a teen encountering an older version of herself.
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The film was written and directed by Megan Park, who's best known for writing and directing "The Fallout".  We all have that one moment when we wish to travel back in time to help our younger selves improve their lives.  While it would help improve our current lives, it could also make our coming-of-age journeys a bit more hectic than it already was.  This week, I'm taking a small break from the September horrors in favor of something even more terrifying: teenage life.  This latest comedy-drama sees actress/upcoming filmmaker Megan Park expanding her cinematic finesse following her successful debut with the straight-to-streaming film "The Fallout" two years ago.  Fortunately, instead of releasing it on a streaming service like her previous movie, this one is dumped into movie theaters in hopes of reaching a broader audience.  Does it mark another fun and heartfelt addition to the coming-of-age catalog, or make us want to travel back and advise our past selves not to endure it?  Let's find out.

The story follows Elliot Labrant (Stella), a free-spirited teenager residing with her family at a cranberry farm.  She embarks on a fun camping trip with her friends, Ruthie (Ziegler) and Ro (Brooks), which later leads to them having a bad mushroom trip.  As a result, Elliot brings herself face-to-face with a 39-year-old version of herself (Plaza), who advises her on improving her current life. She advises Elliot not to fall in love with a boy named Chad (White), who works at her family's farm.  As Elliot starts taking her older version's tips to heart, she begins rethinking everything about her life, especially when she winds up meeting the boy she's told to avoid.

"The Fallout" was another movie I didn't expect to love until watching it myself two years ago.  It not only displayed the remarkable talents of its young actresses, Jenna Ortega and Maddie Ziegler, but also delivered a sentimental and humane approach to a teen's perspective of trauma that's relatable and even important.  It may not be something I'd revisit due to its mature themes, but it did show me how talented and intelligent Megan Park was as a filmmaker and storyteller, especially regarding a teenage girl's perspective on such themes.  This left me interested in her latest drama, which took a more imaginative approach to the coming-of-age topic compared to the previous film's depressing tone.  Plus, it has been getting plenty of praise since its debut at Sundance in January, so of course, I was willing to find the time to see if the hype's worth it.  After seeing it early before its release, I'm happy to say that "My Old Ass" was not ass.

It has the coming-of-age elements we're familiar with, especially those exploring teenage girls searching for their true selves.  But what really matters is the execution and direction and whether they enhance a film's familiar nature.  "My Old Ass" is another example of following life's biggest guidelines and doing them justice, with just the right balance of heart, humor, and serenity to make its concept cleverly refreshing and fun.  This is undoubtedly a complete 180 from what Megan Park delivered from "The Fallout", mainly due to its tone.  While "The Fallout" was a depressing and bleak outlook on teenage trauma, "My Old Ass" takes a more lighthearted and surprisingly down-to-earth approach to the concept of growing up and self-identity.  Additionally, it offered a sublime reflection on the importance of valuing life.  It may not have all the answers you need, and it won't be any easier as you move on to the next chapter.  The best advice is to cherish every moment you have while it lasts, whether with your family or loved ones, because you never know what you'd have before they're gone.

Park's teen-centered movies are distinct in their tones and presentations but share a common aspect.  They both showcase Megan Park as the new voice for teenage coming-of-age filmmaking.  Park is another director who understands the complexities of everyday life, particularly from a teenage girl's perspective, providing a simple yet effective display of authenticity and relatability to educate and entertain its target audience.  Through the film's mixture of comedy and romance, Megan Park offered a delicate and immensely charismatic appeal that left me smiling from ear to ear.  Even the romance aspect between Elliot and Chad was highly tolerable, favoring genuine heart over manipulative sappiness.  The movie was also suitably paced due to its short runtime, and the humor had a vast amount of endearment and charm to elevate its periodically bizarre concept.

Park's screenplay also deserves credit for taking a more intelligent and realistic approach to the fantastical metaphor of its themes.  The movie's concept of Elliot's older version visiting her from the future seemed like something you would see in an R-rated raunchy comedy by Seth Rogen, but that's not the case.  While it did have some profanity in its language and sexual content, its crude nature didn't overshadow the sincerity of the themes it's portraying.  Instead, they serve a purpose in Elliot's exploration of self-identity.  It was a bold choice to take this route amid its weird concept, but it paid off well, thanks to a script that's smart and earnest enough to elevate its usual yet well-executed narrative tropes and characters.

The film was also greatly enhanced by its exceptional young cast, whose remarkable efforts were instrumental in conveying its heartfelt message. This is Maisy Stella's first acting gig since appearing in "Nashville" as she spent years between the projects continuing her singing career.  She was also known for performing the theme song for DreamWorks Animation's "Spirit Riding Free", believe it or not.  Aside from that fact, this was my first exposure to Stella as an actress.  Unsurprisingly, Stella's return to acting was a welcoming treat at best.  Her performance exhibits a beguiling and engaging allure that's full of life and sincerity, which is enough to signify her promising future as an actress.  Aubrey Plaza was also fantastic in her role as the older version of Elliot, continuing her recently impressive chapter of her career.  I used to see Plaza do improv and even raunchy comedies during her early days, but now, it seems like she's been choosing her projects carefully, with "My Old Ass" being one of them.  I might even say this is her best performance since "Ingrid Goes West", even if the concept of her character may be a bit confusing for some.  Percy Hynes White also did a decent job as Chad, and Maddie Ziegler, who collaborated with Megan Park in "The Fallout", was suitable as Ruthie.

Overall, "My Old Ass" is a satisfying, thoughtful, and charmingly comedic drama that benefitted from its refreshing approach to its genre tropes.  As mentioned earlier, it contains plenty of familiar coming-of-age elements we've seen before.  However, its familiarity was advised to embrace itself instead of wandering around lazily, resulting in another strongly directed and well-written addition to the genre's catalog of teens experiencing life.  Maisy Stella and Aubrey Plaza were tremendous in their roles and chemistry, signaling their bright futures as actresses.  More importantly, its direction and screenplay further indicate Megan Park as another cinematic voice of our generation worth watching, making it one of the year's best films. If you enjoy watching coming-of-age dramas, I'd advise you to check this film out.

​"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.