MY CALL: Unless you simply want to see Reynolds play more of a character than himself, this will likely disappoint you. Reynolds and the cast do fine, but the plot just isn’t compelling nor does anyone really get to shine. MORE MOVIES LIKE The Captive: There are so many better abduction films out there. I’d start with Ransom (1996), Prisoners (2013) or Gone Girl (2014). There are also better Ryan Reynolds films out there.
First off, I feel the need to warn my fellow Ryan Reynolds (The Change-Up, Mississippi Grind, Deadpool, The Voices, Life) fans out there. This is not a Ryan Reynolds movie. It’s more of an ensemble cast featuring Rosario Dawson (Rent, Alexander), Scott Speedman (Underworld, Duets), and Kevin Durand (Resident Evil: Retribution, Smokin’ Aces, Mystery Alaska).
This film definitely took Reynolds out of his comfort zone (i.e., he didn’t play himself or anything even close to it). He plays a father tortured by distrust and guilt. After leaving his young daughter alone in the car at a pie shop, he returns to find she has vanished. Reynolds does a more than convincing job falling apart as he is bombarded by accusations from investigators who think he was involved, blame from his wife, and the grief and disconnection any parent would experience under such dire circumstances.
The story then fast-forwards 8 years, when the investigators have come across images of whom they believe to be his kidnapped daughter…alive, and deeply embedded in an online pedophile organization. Yeah, they went there.
The guilt and blame get pretty heavy, but I never found myself impressed with the story. Reynolds’ character ends up in an uninspired chase scene finale and then things get resolved a little too quickly and conveniently for my taste. I enjoyed this movie but, honestly, I think it’s just because I enjoy watching any Reynolds movie. It was also interesting seeing Kevin Durand play something other than a big, strong, tough guy. I guess this film allowed both of them to show their acting range a bit.
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MY CALL: This really wasn’t a very good horror anthology unless you’re looking for slapstick drunk/high humor told over sexual and “dark genre” themes. There’s not much horror to be found here…nor quality. MORE MOVIES LIKE The ABCs of Death 2.5: The ABCs of Death (2013) and The ABCs of Death 2 (2014), both of which also feature 26 very short films by 26 different filmmakers and both of which were better than 2.5.
MORE HORROR ANTHOLOGIES: Dead of Night (1945), Black Sabbath (1963), Tales from the Crypt (1972), The Vault of Horror (1973), The Uncanny (1977), Creepshow (1982), Twilight Zone: The Movie (1983), Stephen King’s Cat’s Eye (1985), Deadtime Stories (1986), Creepshow 2 (1987), Tales from the Darkside: The Movie (1990), Necronomicon: Book of the Dead (1993), Hellraiser: Bloodline (1996), Campfire Tales (1997), 3 Extremes (2004), Creepshow 3 (2006), Trick ‘r Treat (2007), Chillerama (2011), Little Deaths (2011), V/H/S (2012), The Theater Bizarre (2012), The ABCs of Death (2013), V/H/S 2 (2013), The Profane Exhibit (2013), The ABCs of Death 2 (2014), V/H/S Viral (2014), Southbound (2015), Tales of Halloween (2015), A Christmas Horror Story (2015), Holidays (2016) and XX (2017).
If you’ve followed my reviews for a while now then you ought to know that I love horror anthologies. In some anthologies all of the short stories are directed by one person and written by another (e.g., Creepshow), other times we have three to six films (20-30 min each) each crafted by different filmmakers (e.g., V/H/S), but in this case each of our 26 short stories has a different writer and director. In fact, these were the 26 runners-up The ABCs of Death 2 (2014), for which each submission had to be titled by the letter “M.”
Unlike many anthologies which feature a story teller or wraparound story (e.g., Creepshow, Tales from the Darkside: The Movie) or taking the approach of linked stories in which one component of the previous story links us to the next (e.g., Southbound, Trick ‘r Treat), this anthology simply delivers a series of horror shorts related only by the first letter of their titles. This is a cool notion and all, but realize that out of the top 52 submissions, these were numbers 27 to 52 whereas the best 26 made it into the previous anthology (The ABCs of Death 2).
Also, a bit strange is that there is little horror to be found here. Mostly these films are very dark comedies. In fact, this would best be advertised as a “dark genre anthology.” As I watched, I gave each 3-minute short film a “gut response” rating of 1 to 3 (3 being best, 1 being worst; sadly, there are a lot of 1s).
These short films cover a variety of horror, genre, and sexual themes including vampires, decapitation, cross dressing, maggots on wounds, an elderly Van Helsing, mutant ninjas, dismemberment, guts, a VHS-cyborg samurai, a poop golem, bile, vomit, sex scenes, perversions, boobs, full frontal nudity, mass suicide, genital mutilation, necrophilia, oral sex gone wrong, and some others I’m sure I’ve forgotten. There are several foreign language shorts, including Spanish and (I think) Italian. With as little spoiling as possible, here is an account of the short films with a few comments.
M is for Moonstruck [2.5] (directed by Travis Betz) boasts some innovative (even if cheap) style! It’s cut paper animation…with a cut paper sex scene and cut paper nudity! LOL.
M is for Mother [2.5] (directed by Ryan Bosworth) is pure cheesy fun, complete with a great title shot and a fun CGI spider.
M is for Malnutrition [2] (directed by Peter Czikrai) is a barely serviceable zombie film.
M is for Marauder [1] (directed by Steve Daniels) is a garbage pail film about adults trying to kill each other while riding Big Wheels. Some will find this hilarious. I found it a bit annoying. Watch it with friends and beer and you’ll get a few chuckles.
M is for Mobile [1.5] (directed by Baris Erdogan) features torture via text. It’s cheeky.
M is for Mess [2] (directed by Carlos Faria) sexually fetishizes a man’s curse of defecating through his bellybutton. Of course, it’s disgusting.
M is for Marriage [3] (directed by Todd E. Freeman) is among the better produced, written and acted films. It involves some sort of pathogen…or parasite…or infection.
M is for Mind Meld [1.5] (directed by Brett Glassberg) is about a volunteer for some really twisted scientific experiments.
M is for Messiah [1] (directed by Nicholas Humphries) is a garbage pail film about a stupid cult. This was frustratingly bad.
M is for Make Believe [1] (directed by Summer Johnson) is about some little girls giving horribly improper first aid to an impaled man costumed as the King of the Fairies.
M is for Magnetic Tape [1] (directed by Cody Kennedy & Tim Rutherford) is dorky “stoner humor” full of dumb gore and inane dialogue. It’s funny, but terrible.
What can I say about M is for Munging [1.5] (directed by Jason M. Koch & Clint Kelly)? This is exactly what you think it is. Exactly!
M is for Mermaid [2] (directed by Ama Lea) is about a couple of fisherman who catch a topless mermaid, and it’s very silly.
M is for Meat [2.5] (directed by Wolfgang Matzl) is a trippy little stop-motion film about a carnivorous chicken leg. Yes, I meant exactly what I just said.
M is for Mariachi [1] (directed by Eric Pennycoff) features a death metal band with the best band name ever, a head banger, and a lot of murder.
M is for Mormon Missionaries [2] (directed by Peter Podgursky) features pushy, homicidal Mormons…or does it?
M is for Muff [2] (directed by Mia Kate Russell) is dumb, perversely funny, well-produced, and features a kinky accidental death.
M is for Matador [3] (directed by Gigi Saul Guerrero) might have been the most unexpectedly pleasing film. It involves a sick game of dress-up, roleplay, and the revenge of some scantily clad, blood-covered women.
M is for Manure [3] (directed by Michael Schwartz) is about a young man and his disgusting creation of vengeance.
M is for Mutant [2] (directed by Stuart Simpson) is a slapstick Australian film about some virus that causes stop-motion face-bursting mutants monsters. It made me smile.
M is for Merry Christmas [1] (directed by Joe Staszkiewicz) features a British Krampus with some self-doubt issues.
M is for Martyr [1] (directed by Jeff Stewart) exhibits zero filmmaking effort and a marginally interesting concept.
M is for Mom [2] (directed by Carles Torrens) is somewhat well done, and features a ghoulish child with a crush. The title seems a bit out of place.
M is for Miracle [1.5] (directed by Alvaro Nunez) is about a rabbit that falls from the sky and a psychopath in a bunny suit.
I have no clue how M is for Mailbox [2] (directed by Dante Vescio & Rodrigo Gasparini) got its name. This foreign language short features a creepy kid on Halloween.
M is for Maieusiophobia [3] (directed by Christopher Younes), the fear of giving birth, features disturbing Claymation, gory guts, and a weird pregnancy.
Well, there it is—a cornucopia of weirdness. I wouldn’t recommend this. There are too many good horror anthologies out there.
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MY CALL: It’s not “great” and there are no “wow” moments, but this movie is a nonstop action sequence and I find it pretty entertaining…even if I probably won’t want to see it again for another 10 years. LOL. MORE MOVIES LIKE Resident Evil: Resident Evil (2002), Resident Evil: Apocalypse (2004), Resident Evil: Extinction (2007), Resident Evil: Afterlife (2010), Doom (2005), the Silent Hill movies (2006, 2012) and the Underworld franchise (2003-2017) come to mind. For a fine ratings vs earnings comparison of the Resident Evil and Underworld franchises check this feisty article out.
It seems that asking folks to list the Resident Evil movies in order of quality would be harder than getting an entire theater of fans to agree on pizza toppings—I’d say 1, 3, 5, 2, 4. This fifth franchise installment, as with each of its predecessors, manages to deliver a new take on presenting the Resident Evil world and the next step in an elaborately plot-holey but perfectly followable plot. The movie opens with a franchise recap (Milla’s typical narration) before picking up right where Afterlife (2010) left off.
Paul W. S. Anderson (Resident Evil 1 & 4-6, Mortal Kombat, Event Horizon, Soldier) continues to helm the beloved Zompocalypse franchise and continues to spread his love of slow-motion during our opening action sequences. The irreplaceable Milla Jovovich (The Fifth Element, Resident Evil 1-6, Ultraviolet) returns as Alice fighting her way out of an Umbrella corporation virus outbreak simulation facility. She is joined by Ada Wong (Bingbing Li; Transformers: Age of Extinction), who is butt-kickin’ cute in her gun-geisha mistress outfit. She also bumps into her Jovo-clone’s daughter (Aryana Engineer; Orphan) and her simulation clone neighbor (Michelle Rodriguez; Resident Evil, The Fate of the Furious).
Of course, at some point, Alice wakes up and spends abundant screen time scantily clad in a research facility before finding a ninja dominatrix outfit and all the weapons she could ever want. Just conveniently waiting for her just like when Beckinsale awakens from her cryo-chamber in Underworld: Awakening to find her boots and leathers “right there.” Shortly after Alice’s hips and side-boob show, Wesker (Shawn Roberts; Resident Evil 4-6, xXx: The Return of Xander Cage) appears to drop an exposition bomb to explain the whole movie to us.
Under orders from the Red Queen, they are being hunted by Jill Valentine (Sienna Guillory; Resident Evil 2 & 4) who is controlled by some weird mechanized heart-spider (that never gets explained) attached to her sternum which, like her cleavage, goes well-exposed throughout the movie. At Valentine’s side are Rain (Michelle Rodriguez; Resident Evil, The Fate of the Furious) and Todd (Oded Fehr; Resident Evil 3-4), both bad guy clones of Alice’s former friends. During this pursuit, a team including Kevin Durand (Legion, Real Steel) and Boris Kodjoe (Resident Evil: Afterlife, Surrogates) are working their way into the Umbrella facility to rescue Alice and Ada…and they’re working for Wesker!?!?!
The theme of the movie is “Evil Goes Global.” But nothing felt particularly global about it (until the very last scene). The tone and setting was notably less effective than previous franchise installments. The global element seemed that the simulation facility has different cityscapes—which Alice goes through like video game stages, one after the other—which emulate Moscow, Tokyo, Suburbia, and so on, so that potential world power buyers could see how a virus outbreak would affect their enemy nation’s metropolises. All that these “stages” accomplished was making the franchise feel like a video game; a fault which, until the release of this installment, the franchise had successfully avoided.
Throughout these levels we find undead Russian soldiers, the giant hulking ogres from Afterlife and they still throw their axes in slow-motion, and we see a lot of a super-sized tongue lasher monster from first Resident Evil. However, the execution of their action is rather lackluster.
Featuring solid zombie attack action and combat choreography, I liked the bright white hallway action sequence. The gunshot blood-splatter gore was occasionally decent, but left much to be desired. In fact, I could say that about most of the action. The sprinting zombies with their quad-unhinging tentacle jaws (like Blade II’s vampires) were cool…at first. What happened? Similarly shocking, the hand-to-hand combat was best in the franchise, but it lacked good finishers and standout moments.
Minus a few story-building scenes, this movie essentially boils down to a continuous 90-minute action sequence. This probably sounds amazing, right? It wasn’t. All the action felt a lot like “background action” in an otherwise great action movie. You know? Like when Optimus Prime was fighting Megatron, there were soldiers and other Autobots fighting Decepticons in the background (and it looked good), but nothing particularly cool would happen with the background fighters while the camera was focusing on the two heavy hitters. In Retribution, this action is never punctuated by awesome moments; there are no highlights or climaxes. Perhaps worst of all was the arctic martial arts finale between Alice, Rain, Valentine and others. Hand-to-hand, Asian weapons, guns, and a lot of clever choreography…it was all entertaining. Very entertaining. But I kept waiting for the “Wow.” It never came.
The movie ends with a very Terminator-SkyNet apocalypse standoff at the White House between the remainder of humanity against a legion of Resident Evil beasts as if the videogames vomited all over the screen (perhaps in a good way). So, as they tend to, they could easily pick up part 6 at the exact moment that closes Retribution, much as Retribution did with Afterlife (2010).
I have had a blast revisiting these films. Even the lesser installments are fun to watch (as long as it’s been a while). Looking forward to part 6.
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John’s Horror Corner: They Look Like People (2015), indie psychological horror pitting the voices against friendship.
MY CALL: This abundantly indie psychological horror pits friendship against paranoia. MORE MOVIES LIKE They Look Like People: Little is similar, but for more psychological horror try The Voices (2014), Session 9 (2001), Last Shift (2015), Identity (2003), Gothika (2003), 1408 (2007), Mine Games (2012), The Babadook (2014), Hide and Seek (2005), American Psycho (2000), The Uninvited (2009), The Visit (2015) and Goodnight Mommy (2014).
Seeking confidence physically and professionally, Christian (Evan Dumouchel) is a nice guy with a crush on his likewise nice boss Mara (Margaret Ying Drake). Somewhere between building up the guts to ask Mara out and meeting her for their first date, he crosses paths with his old, estranged friend Wyatt (MacLeod Andrews), who happens to need a place to crash.
Just one thing… Wyatt is secretly getting phone calls from a stranger with instructions to prepare for a great battle with the evil that infects the people around him. He’s almost certain that he’s not crazy…almost certain. But we are left to wonder if schizophrenia or some other mental illness isn’t causing these possible psychoses.
This little film is good at cultivating tension. Featuring some nice shots, this clearly indie film is in the hands of proficient but forgivably inexperienced filmmakers. The dialogue is a bit flat, but I appreciate the apparent effort behind the writing.
There’s much endearing humanity to be found here and, while this is obviously a “beginner” film, I feel that the style more than makes up for the flaws in execution and the rather coarse editing. As for the aforementioned style, we find a refreshing mix of levity and suspense.
We have some highly effective creepiness and characters that matter. In his first feature length film, writer and director Perry Blackshear does well enough to interest me in his future projects—although I won’t be recommending this movie to mainstream horror fans.
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MY CALL: Among the Pirates anthology this was clearly the worst. Entertaining, but nothing I’ll choose to watch again. MORE MOVIES LIKE Pirates of the Caribbean: First things first: you better see The Curse of the Black Pearl (2003; the BEST of the franchise, in my opinion), Dead Man’s Chest (2006) and At World’s End (2007) before you see this, if you even bother to see this fourth installment. I’d suggest skipping this and going straight to Dead Men Tell No Tales. People who enjoy this franchise likely prefer grand-scale worlds as found in the Harry Potter films (2001-2011), The Lord of the Rings (2001-2003) and The Hobbit trilogies (2012-2014), Jurassic Park (1993) and The Matrix trilogy (1999-2003). I’d also strongly recommend the STARZ series Black Sails (2014-2017; 4 seasons).
So much has changed over the course of four Pirates movies. Now pledged to the crown, we find a bewigged Captain Barbossa (Geoffrey Rush; Gods of Egypt, The Warrior’s Way, The King’s Speech), peg-legging about complete with make-up, explaining how he lost the Black Pearl. Much as did Norrington in parts 1-2, Barbossa’s allegiance his shifted dramatically. But we’re used to that in this franchise, aren’t we?
Picking up where At World’s End (2007) left off, Captain Jack Sparrow (Johnny Depp; Blow) endeavors to find the Fountain of Youth, and he must do so before the Spanish find it first!
Jack needs a ship, and finds opportunity when rumors of “another Jack Sparrow” (an imposter) signing on new crew members. This imposter is Angelica (Penelope Cruz; Blow, Vanilla Sky), Jack’s ex-girlfriend and the first mate of the sorcerous Captain Blackbeard (Ian McShane; Jack the Giant Slayer, John Wick 2). Interesting how undeath seems to be a theme throughout the Pirates films. Rumored to have returned from the dead, Blackbeard has created “zombified” crewmen and wields a magical control of his ship.
To reap the gifts of the Fountain of Youth requires a mermaid (Astrid Bergès-Frisbey; King Arthur: Legend of the Sword). Only one problem: mermaids are ferocious man-eaters. The mermaid attack scene was outstandingly fun.
Director Rob Marshall (Chicago, Memoirs of a Geisha) picks up the fourth installment of the Pirates anthology after Gore Verbinski’s original trilogy. So, what does that mean for us? Well, nothing good really. Our senses are no longer dazzled by Verbinski’s realization of grand scale. And this loss of scale is not limited to the cinescapes, but the execution. Jack’s stunt-rich shenanigans are fine, but seem just mildly entertaining iterations compared to his past films. And whereas the swordplay choreography itself was on point, the overall scenes and fights lacked impact. Moreover, whereas many ship sets looked excellent (as is the mega-budget franchise standard), several other sets (e.g., the caverns) felt as if they spawned from a far lower budget film—certainly not the product of a $250 million blockbuster! It’s as if we set up our coolers and lawn chairs at dusk awaiting fireworks only to be met with sparklers. And speaking of sparklers, this was the first Pirates film that had no significant ship-to-ship combat!
It doesn’t help, for my taste anyway, that everything seems “sillier” in this sequel. We have silly disguises (many times over), silly balancing gags (like a teetering ship), silly escape gags (like climbing a tree backwards and sling-shoting oneself), silly maneuver gags (like tying up 8 men at once by running around them with a rope like a cartoon character)… is this to make this more kid-friendly? I even had to watch a completely forced man-mermaid love connection transpire, boasting no more chemistry than that between a man and an actual fish. Where’s Will and Elizabeth when we need them? Their love was credible.
On the other hand, the plot is not overly complicated. The double-crosses were few, and the story was followable without having seen The Curse of the Black Pearl (2003) and Dead Man’s Chest (2006), like yesterday, in order to have a clue what’s going on—which was the case with the confounding At World’s End (2007). Another perk was that, as usual, the ships look fantastic. I always loved how every captain’s ship had as much personality in appearance as the men crewing them. But, with that, another downer: we lost many members of the crew we had come to love… and the tentacled effects we came to love! Oh, right, and why was this Fountain of Youth plot even important??? There was really never a “good” reason to find the fountain outside of greed. Ergo, no urgency for us to care.
Overall, this was a dud. It’s a huge budget popcorn movie and I didn’t exactly hate watching it as a standalone film—unlike the overly prequel-reliant parts 2 or 3—but this was the Kingdom of the Crystal Skull of the Pirates anthology. We all know it’s there, but none of us want to acknowledge its existence after we’ve seem it. I’d suggest the next time you watch the original trilogy, skip to Dead Men Tell No Tales (2017) and ignore this one.
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MY CALL: Lots of action, lots of pirate crews, lots more complicated plot. This sequel really just seems to be about “more” than it is about development. World-building continues, but at a much less gratifying pace than before. This is the least rewatchable of the early Pirates trilogy. MORE MOVIES LIKE Pirates of the Caribbean: First things first: you better see The Curse of the Black Pearl (2003; the BEST of the franchise, in my opinion) and Dead Man’s Chest (2006) before you see this! People who love this likely prefer grand-scale worlds as found in the Harry Potter films (2001-2011), The Lord of the Rings (2001-2003) and The Hobbit trilogies (2012-2014), Jurassic Park (1993) and The Matrix trilogy (1999-2003). I’d also strongly recommend the STARZ series Black Sails (2014-2017; 4 seasons).
With Pirates of the Caribbean: Dead Men Tell No Tales coming out (2017), I felt the need to revisit the Pirates anthology. Having covered The Curse of the Black Pearl (2003) and Dead Man’s Chest (2006), it’s on to At World’s End to continue this epic adventure franchise…
The Curse of the Black Pearl (2003) had a rather complicated but followable plot for a Disney vehicle. Since then, each sequel has subsequently added more head-scratching complexity and compound double-crosses across the board confounding one’s ability to keep up with what’s going in the franchise and, occasionally, what’s even going on in this movie! In other words, this is the most confusing thing Disney has ever done since their decision that The Lion King (1994) needed sequels.
Picking up from the end of Dead Man’s Chest (2006), Elizabeth Swann (Keira Knightley; Domino, Love Actually) and Captain Barbossa (Geoffrey Rush; Gods of Egypt, The Warrior’s Way, The King’s Speech) head to Singapore to recruit the aid of Captain Sao Feng’s (Chow Yun Fat; The Monkey King, Crouching Tiger Hidden Dragon, Hard-Boiled) crew to save Captain Jack Sparrow (Johnny Depp) from the Land of the Dead in Davy Jones’ Locker.
Meanwhile, by Lord Beckett’s (Tom Hollander; Mission Impossible: Rogue Nation, Taboo) order, pirates and all known pirate associates are being wholesale hanged into pirate extinction. You’d think the pirate captains would all want to work together to save their kind…you’d think, right? So the plot follows the pirates’ path to unity against their greater enemy while, remaining like a Dead Man’s Chest (2006) hangover, an entanglement of backstabbing motives are painstakingly (although occasionally humorously) sorted out. Needless to say, this is not intended to work as a standalone film and you should dare not see it unless you saw Dead Man’s Chest (2006) very recently. I saw parts 1 and 2 a month before this and I found myself needing a bit of a refresher on all the ongoing sly motives from Dead Man’s Chest.
The voyage to Davy Jones’ Locker takes Swann, Will Turner (Orlando Bloom; The Hobbit trilogy; The Three Musketeers, Troy) and Barbossa to the end of the world. But why save Jack right now? Well, it turns out he holds one of the nine “Pieces of Eight,” and thus he must attend the Brethren Court of pirates with this important and mysterious object. Upon finding Jack in his unpleasant Underworld, he is hallucinating and even more insane than is generally accepted as normal…for Jack anyway.
It seems that each Pirates installment introduces a new pirate captain—which basically adds a new person with their own backstabbing agenda. We had Jack, Barbossa and Davy Jones (Bill Nighy; Underworld, Shaun of the Dead, Jack the Giant Slayer), and now we find Captain Sao Feng. The numerous double-crosses from Dead Man’s Chest (2006) persist with Turner needing the Pearl to save his father from Davy Jones, Lord Beckett holds Davy Jones’ heart as collateral for his pirate services, Sao Feng turns on Jack and Sao Feng turns on Turner after Turner turns on Jack and Barbossa, and Davy Jones apparently had always been at odds with the swamp witch (Naomi Harris; Skyfall, Spectre).
If this was all starting to sound a bit crazy, hold on, there’s more. This movie features ship-to-world flipping, the edge of the world, a zoinked out Jack, catastrophic whirlpools and destructive armada seafaring battles. We also follow the trajectories of two pairs of love interests (sort of hinting at a third, and joking a fourth), with one (Elizabeth and Will) spanning the entire franchise thus far and another that I dare not spoil (because it’s neat and sort of integral to the plot).
But despite all its craziness, it has brought clever and satisfying semblance to some formerly trivial familiarities (e.g., the wooden eye, the swamp witch, how Davy Jones got his tentacle beard). Not only that, but we build the mythology of the trilogy (now one of five films). We have added a God, a Pirate King, the actual Pirates’ Code and power structure, and the supernatural rules governing the Flying Dutchman and its captain’s heart. These concepts are so cool but…I won’t say they fall flat. But they miss the mark a little.
You see, this is an immensely entertaining Summer blockbuster popcorn flick. However, at the end of the day, this strikes me as by far the least impressive of the first three Pirates films. I can rewatch The Curse of the Black Pearl (2003) forever and I’d subsequently enjoy following it up with Dead Man’s Chest (2006). But I’m content to say that At World’s End will be viewed the least of the three. Sure, the action is fun (loads in fact) and the effects are solid (especially Davy Jones and his Flying Dutchman crew), but the urgency really isn’t there and I just don’t care what happens between my oohs and aahs.
It almost feels like four or even five film plots of conflicting motives and love interests and good guys and bad guys got shoehorned into one messy trilogy. It makes it hard to get invested, but there’s a lot of neat stuff here, too.
This third epic installment closes just as its predecessors: with an in-your-face revelation of what adventure is to come next!
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John’s Horror Corner: Demonic (2015), more paranormal investigators getting in over their heads, as usual.
MY CALL: Good but not great, satisfying yet poorly-written, and made proficiently enough to be a jumpy-fun movie night. MORE MOVIES LIKE Demonic: It’s not at all fair to compare them, but Poltergeist (1982, 2015), Grave Encounters (2011), Paranormal Activity (2007) and Insidious (2011).
Years ago this film initially hit the rumor mill hard and now, years after its premier release (in Asia, Europe and South America, 2015), it curiously has yet to find US distribution. Director Will Canon is a relative newcomer to the horror game with this obscure-by-distribution film—also released under the titles House of Horror, La Casa de Demonio, Demonsko, A Casa dos Mortos, House of the Dead and Haunted. What got me interested was that this was backed by James Wan (The Conjuring, Dead Silence).
Responding to a call at a purportedly abandoned murder house, Detective Lewis (Frank Grillo; The Purge: Anarchy, Mother’s Day) finds the remnants of a satanic ritual and the mass murdered bodies of those who performed the dark rite. During Lewis’ investigation, we jump from the present to the past and observe the events that transpired. Meanwhile in the present, the best answer Dr. Elizabeth Klein (Maria Bello; Assault on Precinct 13, Lights Out) questions can get from the lone survivor is “the house did it!”
John (Dustin Milligan; Shark Night 3D, Slither, Final Destination 3) had been having visions of his dead mother; a haunting perhaps. He seeks the help of paranormal specialists and ghost hunters Sam (Alex Goode), Donnie (Aaron Yoo; Disturbia, Friday the 13th), Jules (Megan Park; Diary of the Dead), Michelle (Cody Horn; Magic Mike) and Bryan (Scott Mechlowicz; EuroTrip). To quell these visions, they return to the haunted house to set up cameras, conduct an evocation (a séance), and try to prove the presence of spirits. The plot is already a bit shaky here. It is suggested that his haunting will persist unless he returns to the house, but there isn’t even a hint of explanation as to why.
Upon arrival to the house the “camera set-up routine” serves as an ice breaker in these ghost hunter and haunted house movies. This is where the film finds its personality. We’ve seen similar scenarios in Poltergeist (1982, 2015), Grave Encounters (2011), Paranormal Activity (2007) and Insidious (2011). We get the lay of the land, find some creepy clues, get to know our protagonists’ quirks, and maybe even some supernatural things happen right under our investigators’ noses as they position their hardware in the homes of feisty poltergeists.
This film features some found footage (maybe 25% of the movie), but it is definitely not a “found footage” horror. It’s not particularly awesome (yet no explanation as to why this 2015 film still hasn’t had a US release in 2017), but I certainly find it entertaining. I’d even watch it again. The atmosphere is more than creepy enough (though it pales compared to Paranormal Activity, Insidious, The Conjuring, Dead Silence, Poltergeist, etc.), there’s a couple of jump scares, and couple of legit scares. While most of what we see are brief spectral figures and doors opening and shutting on their own, they seem to be executed proficiently enough to elude actively feeling “old hat.” In fact, no lie, these jump scares were REALLY FUN! There’s little to be said for clever or innovative or original content. Just good, plain, consistently capable execution for maximum jumpiness. Its greatest shortcoming is that the story is very thin. The end gets more than a bit wonky, but it’s nothing I can’t forgive for the fun ride.
This honestly deserves a wide release. It may get panned by critics, but it’s a fun date night, it would make money (the budget was only $3 million), and no one would leave feeling cheated.
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The MFF Podcast #97: “What if” Volume Two
You can download the pod on Itunes or LISTEN TO THE POD ON BLOG TALK RADIO.
If you get a chance please make sure to review, rate and share. You are awesome!
The MFF podcast is back and we are asking tough questions and coming up with stupid answers. Have you ever wondered what would happen to Samuel L. Jackson if he was in Tremors? Have you ever pondered whether E.T. might like brisket instead of Reese’s Pieces? If you enjoy coming up with random questions and answering them with randomness you will love this sequel to our original
“What if” pod.
What if the Money Pit took place in the Sarlacc Pit?
As always we answer random listener questions and ponder what would happen if Liam Neeson(s) couldn’t run all night. If you a fan of the podcast make sure to send in some random listener questions so we can do our best to not answer them correctly. We thank you for listening and hope you enjoy the pod!
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MY CALL: This sequel is a blast. Admittedly, it’s much harder to get into with this very messy plot, but the effects and action and scale retain its ranks high among popcorn adventure films. MORE MOVIES LIKE Pirates of the Caribbean: First things first: you better see The Curse of the Black Pearl (2003; the BEST of the franchise, in my opinion) before you see this! People who love this likely prefer grand-scale worlds as found in the Harry Potter films (2001-2011), The Lord of the Rings (2001-2003) and The Hobbit trilogies (2012-2014), Jurassic Park (1993) and The Matrix trilogy (1999-2003). I’d also strongly recommend the STARZ series Black Sails (2014-2017; 4 seasons).
With Pirates of the Caribbean: Dead Men Tell No Tales coming out (2017), I felt the need to revisit the Pirates anthology. Having covered The Curse of the Black Pearl (2003) last week, it’s on to Dead Man’s Chest to continue this outstanding adventure franchise that I continue to adore.
This epic saga sequel does many things its predecessor did not. We open on a much darker note with Miss Swann (Keira Knightley; Domino, Love Actually) and Will Turner’s (Orlando Bloom; The Hobbit trilogy; The Three Musketeers, Troy) freedom and lives at stake, the crewmen of the Black Pearl have lost faith in their quirky Captain Jack Sparrow (Johnny Depp), and our new villain Lord Beckett (Tom Hollander; Mission Impossible: Rogue Nation, Taboo) is far less likable than was Barbossa (Geoffrey Rush; Gods of Egypt, The Warrior’s Way, The King’s Speech).
Despite the grimmer opening, we see many fleeting notions from part 1 brought to light as Jack’s broken compass finds purpose (destiny, in fact) and his scar-branded wrist’s origin is explained. Both of these mysteries, it seems, are linked to the menacing Lord Beckett’s desires.
But what hasn’t changed at all is Gore Verbinski’s fine eye for grandiose scale and gorgeous camera work. Squirrely as ever, Jack Sparrow’s shenanigans continue as he poses as a cannibal chief and is chased across the beach by the whole tribe in a laughable trailer clip. His twitchy mannerisms are back in full idiosyncratic force and if his character was the reason you bought this, then it’s worth the price of admission and then some. But most characters’ motives have become blurred in this complicated sequel.
It’s really hard to get behind our protagonist in this sequel. Because…who exactly is the protagonist? In part 1 Barbossa was bad and Jack was the antihero who teamed up with Will and Elizabeth while Norrington and the Governor got in the way, although well-intentioned. The plot was actually rather complicated—but it was well-explained, justified, and easily followable. Now in part 2 the cephalopod-faced Captain Davy Jones (Bill Nighy; Underworld, Shaun of the Dead, Jack the Giant Slayer) is the bad guy, but Lord Beckett is sort of another equally dangerous bad guy from the sidelines, Norrington wants to double cross Jack to get his rank back from Beckett, the Governor is dealing with Beckett to save his daughter Elizabeth, Jack double crosses Will to save himself from Davy… the convolution goes on and on and it really makes it hard to root for anyone. When everyone is double crossing everyone else, who’s the hero? Apparently, it’s Will and Elizabeth against everyone else…sort of.
The Flying Dutchman is fantastic. Jones’ malformed crew are an awesome spectacle and a worthy follow-up to Barbossa’s undead pirates, with Davy Jones at least nearing the menace of Captain Barbossa and the crew’s sea affinity/curse affording every bit the supernatural touch we desire. 
Despite all this Herculean effort in adding numerous new personalities to our story (e.g., Davy Jones, Beckett, the Witch, Bootstrap Bill), something is missing from this film—from the whole experience. The Curse of the Black Pearl (2003) created a vast world plentiful with characters, but Dead Man’s Chest seems only to have regurgitated that world (just picking up where we left off). And while there is more world-building, our new curse swings in on the coattails of part 1’s Aztec gold and hits with a bit less impact in the flurry of conflicting character motives.
Yes, I’m loving all the action and effects and seafaring ship fights and swashbuckling. But the story fails to sweep me away as did part 1. Perhaps I was enamored by part 1’s world-building, but I was so much more invested in it, too. This sequel is very cool; a great popcorn flick loaded with interesting creatures and a great premise. But “cool” doesn’t move me, it just entertains.
But let’s talk about its popcorn appeal since this is an OUTSTANDING popcorn movie. Much as being introduced to Avatar’s (2009) flora and fauna, our eyes are candied with the fine CGI details of Davy Jones and his Flying Dutchman. Like the shock of red hair in Brave (2012), each of Jones’ beard-like tentacles move independently with their own personality (it’s quite a sight) and, of course, Nighy brings a splendidly enjoyable personality as well.
Meanwhile the ship is festooned with clam clusters that seize shut with the movement of passers-by or the pound of a peg-leg on a floor board, giving the Dutchman a proper life of its own. In fact, while aboard the Dutchman or among its crew there’s always something moving in the background on the characters—sea anemone mouths, Davy Jones’ tentacled pointer finger that seems to have a mind of its own, spider crab legs twitching on someone’s back, a moral eel peeking from a stomach hole. These small yet satisfying details are rich throughout the film and contribute to its ongoing rewatchability.
A big selling point in the trailer was the Kraken. Yeah, it’s neat. To a keen eye, the CGI held up…okay, I guess. It’s clearly not so wowing as it was in 2006, but this thing is still a joy to watch and it gets a lot of screen time as its slimy, suckered, wandering tentacles ravage, crack and splinter huge ships to shambles and fling the crew about. And when it roars jettisoning mucousy muck all one can do is laugh.
Our plot finds incomplete resolution by its end, which harbingers the return of Barbossa to rescue Jack in part 3. This sequel is loads of fun but, as is the fault of many trilogies, this part 2 exists largely to bridge characters from part 1 and set the stage for part 3. However, with that said, I feel like I enjoy it more now (having seen it before, and now along with part 3) than upon its initial release. In other words, it wasn’t a great sequel back when there were only two films, but it serves as a finely enjoyable 2nd installment of an anthology of now 5 films.
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John’s Horror Corner: Sinister 2 (2015), an unworthy sequel squandering its boogeymen Bughuul for creepy ghost kids.
MY CALL: I guess it’s watchable, but this sequel really isn’t worth it. MORE MOVIES LIKE Sinister 2: Well I, for one, loved the first Sinister (2012). But in all fairness, people have different taste. So, here’s a second opinion (review here) from the other half of MFF. For more murderous horror twins, try Goodnight Mommy (2014).
Fleeing an abusive husband, Courtney (Shannyn Sossamon; Wayward Pines, Sleepy Hollow, One Missed Call, The Day) secretly moves to a family-owned property with her twin sons, Dylan and Zach. Little did she know, something awful happened at the property.
Her sons are the worst twins ever. They fight constantly and rely on each other for nothing. Dylan is a special boy. He’s been seeing the boogeymen in his closet, having freaky nightmares and macabre daytime visions, and he has some ghostly young friends who share old 8mm family snuff films. For whatever reason, Zach not only knows about all this, but he’s jealous!
Our now-ex-deputy (James Ransone; Sinister, Prom Night) senses the horrors that befell the Oswalt family (in part 1) will somehow happen again at Courtney’s hideaway. He befriends, warns, and protects Courtney and the boys. Then, you know, things get worse.
Even when we see them coming, some of the death scenes are unexpectedly shocking. They feature immolation, alligator attack, electrocution…but they seem to fall short of the horrifying impact they had in part 1. We seem to just be going through the motions. It feels like the filmmakers tried, but were just less inspired than the original Sinister (2012) team.
Moreover, Bughuul just didn’t feel right. He seemed more… “human.” Less other-worldly; less demonic. Bughuul, the eater of children, remains unnaturally unnerving. But however creepy he is in this film, it’s still notably “less” than he once was.
Another downgraded aspect of this sequel is that everything seems too “organized.” Bughuul has hired kid ghost interns to do his recruiting and he seems to be running an undead kinder-horror school complete with a home video film curriculum. There’s practically a schedule and demerit system. The terror of discovery (previously endured by Ethan Hawke) just isn’t here, and it’s the very thing that gave the original it’s gut-punching impact. At least it’s rated-R—as horror should be.
None of part 1’s soul-rattling magic is to be found here in director Ciarán Foy’s (Citadel) sequel, and the third act is most disappointing of this sequel. Sigh… oh well. The film was mildly entertaining and I don’t regret giving it a shot. But, that said, I’m not recommending this to anyone. It really has no merits. Shame.
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