Happy Halloween!

 

I wish you a happy Halloween, and a wonderful time with scares and snacks. Have a great and spooky October!

Last horror film watched: 28 Years Later 

Next horror film to watch: I Know What You Did Last Summer (2025)
 
Top five horror films to see:    

The Last Voyage of the Demeter

Weapons 

Willow Creek 

Lake Effect                                       

Skinamarink       

Review -- Divinity

                                     

There is not enough attention being paid in current cinema culture to oddball, bizarre, often literally out-of-this-world themes. Science fiction in particular has room for such topics, with its modus operandi lending itself well to curiosities. Most recent science fiction entries have either dealt with warfare (The Tomorrow War), dystopia (Mickey 17) or AI threats (Afraid or, if you want to go all fancy and stylized, AfrAId), with rarities like The Substance and Titane daring to do something different. One of the most unique movies that you will ever see, Eddie Alcazar's Divinity blends techniques and themes to create a truly original genre piece dealing with timely questions and dilemmas. 

While future Earth is grappling with infertility, scientist Sterling Pierce (Scott Bakula) is working on a serum called Divinity that could solve the crisis and eventually lead to immortality. Years after his death, his eccentric son (Stephen Dorff) has taken over production, with the drug now being abused for superficial purposes. One day, two alien brothers (Moises Arias, Jason Genao) kidnap Jaxxon and inject him with an overdose of Divinity, all while a group of women led by the mysterious Ziva (Bella Thorne) prepare their plans for a new world order...

A movie that transports you into another realm, Divinity is Alcazar's second science fiction feature after 2018's Perfect. It follows his lyrical, haunting and deeply moving short Vandal -- if you have not seen it, go to Youtube right now and watch it. Do not wait. But I digress. Divinity employs techniques such as black and white cinematography and stop motion animation for an experience that is both claustrophobic in its oppressive themes and freeing in its bold vision. Had it been in color and looked like your everyday blockbuster, it would have lost a lot of its flair; the black-and-white esthetic gives the story a sense of a techno dystopia, of a society that has got so lost in its false ideals and artificial promises that there is nothing left. Even though we follow merely two corners of this world -- Jaxxon's kidnapping and torture, with occasional glimpses at the Pure women, unaffected by Divinity -- these scenes alone are unusual and jarring enough to show the cold sterility of this unenviable future and the effect would not have been the same if Alcazar had used a broader palette. The animation is also an unexpected, artistic touch, further showing what kind of zany universe we are dealing with. Nothing is what it seems and you will definitely see what you do not expect.

The theme of infertility has been explored quite a few times in science fiction and speculative fiction, most notably in Children of Men and The Handmaid's Tale. Instead of depicting it as a catalyst for societal collapse, Divinity examines it as motivation for corporate greed and relentless hedonism. It is easy to imagine anyone from the 1% making decisions about women's bodies and choices, especially if they manage to seduce ignorant masses as a side effect; on that note, the timely nature of the movie's themes is chilling. I do wish that Alcazar had delved deeper into this aspect, since this part of the story could have made the movie evolve into an even more profound social commentary. I also wish that we could have seen more of the Pure women and their agenda. This movement does not appear too different from the Divinity crowds; both groups are cults in their own way, discouraging individualism and independent thought while looking out for their own. In that regard, cult behavior and mob mentality are also subjects that the movie could have had a field day with.

The cast is well chosen. Dorff is excellent as an offbeat scientist who fails to see the forest for the trees, whose ideals have turned into mere materialism along the way and who ends up paying a karmic price for his greed. Arias and Genao are offbeat and unpredictable as the two alien kidnappers, while Tran is ethereal as Nikita, a woman with a secret. Thorne is good as the enigmatic leader of the Pure movement and so is Bakula as the scientist who opens Pandora's Box when it comes to one of humanity's greatest yearnings.

A trippy journey into a strange world, Divinity deals with some well-timed topics wrapped in a rich and innovative ambience. Reminiscent of German expressionism and its emphasis on visuals and inner life, the movie is a true original in a sea of sequels, remakes and reboots. I look forward to seeing what Alcazar does next. Lose yourself in his microcosm of cold-hearted immortality and be thankful that this reality is not yours.

10/10

Trailerblazing -- The Running Man (2025)

The Running Man (2025) -- November 7, 2025 -- directed by Edgar Wright -- starring Glen Powell, Josh Brolin, Michael Cera, Colman Domingo, Katy O'Brian, Lee Pace 

                      

Like many others who are fond of the 1987 prescient original, I was on the fence about The Running Man remake. Knowing that it would be co-written and directed by Edgar Wright -- he of subversive cinematic humor and the Three Flavours Cornetto trilogy -- alleviated my concerns and the trailer definitively dispelled them. More aligned with the bleak Richard Bachman... *ahem* Stephen King novel that was the basis for the 1987 movie, the trailer shows a colorless dystopia in place of the colorful and deadly spectacle of Paul Michael Glaser's work. Also, instead of being forced to compete, Glen Powell's Ben Richards volunteers for The Running Man game show in order to save his sick daughter. On that note, the movie seems like an opportunity for Powell to flex some different acting muscles. Co-starring Josh Brolin, who seems delightfully maniacal as a new iteration of Dan Killian, as well as Michael Cera, Colman Domingo, Katy Brown and Lee Pace, this seems like one of those smart remakes that keep the most significant elements of the original story while injecting it with something fresh and new. In this case, one of those fresh elements are the action sequences -- what is happening with that staircase and those phones??? I also like the idea of expanding the action beyond an arena and having the Hunters everywhere. The new Running Man looks timely and thrilling, giving the impression that it will leave you breathless, pun intended.

Trailerblazing -- I Know What You Did Last Summer (2025)

I Know What You Did Last Summer (2025) - - July 18, 2025 -- directed by Jennifer Kaytin Robinson -- starring Chase Sui Wonders, Jennifer Love Hewitt, Madelyn Cline, Tyriq Withers, Freddie Prinze Jr., Billy Campbell

 

Coming at you in full slasher mode, in what seems like the perfect blend of old and new, the I Know What You Did Last Summer reboot gets a new crop of teens ready to start receiving those pesky letters. Comfortingly, the 90s are also back, with Jennifer Love Hewitt and Freddie Prinze Jr. reprising their roles from the 1997 original and its 1998 sequel. Apparently, the new movie is bloodier than the previous ones, which makes sense with the updated story taking place in a world that is much more chaotic and violent than the world of the late 1990s. The new cast also includes Chase Sui Wonders, coming off fresh from the success of "The Studio"; Madelyn Cline of "Outer Banks" and Boy Erased; and Jonah Hauer-King of "World on Fire". The trailer does a great job of not revealing too much of the plot and showing just how well director Jennifer Kaytin Robinson ("Love Life", Do Revenge) manages to keep the spirit of the original alive in a new story about a killer stalking a group of friends with a secret. This reboot looks like an entertaining slasher and a satisfying throwback to a simpler time.  

Review -- Gunslingers

                             

The Western genre has been going through quite the resurgence in recent years. From Tarantino's The Hateful Eight to the bloody remake of The Magnificent Seven and to the Western Americana esthetic of shows like Yellowstone and Landman, the genre has been steadily regaining popularity. Having helmed a few Westerns like the effective Dead Man's Hand, director Brian Skiba is back with an all-star cast in a unique story.

Thomas Keller (Stephen Dorff) is a man on the run after accidentally killing a member of the Rockefeller family in a skirmish that supposedly left Thomas's brother Robert (Jeremy Kent Jackson) dead. He comes across a town called Redemption that serves as a haven for wanted men and women, housing a bunch of misfits led by spiritual leader Jericho (Costas Mandylor), who helps organize mock executions so that the residents are safe from the outside world. However, a posse led by Robert who survived the initial shootout soon comes to town, not intending to leave until they find Thomas and leaving a trail of bodies in their wake...

The narrative is an old fashioned revenge and vindication story that benefits greatly from the cast chemistry and the beautiful cinematography by Patrice Lucien Cochet. Some reviewers have criticized the color palette, but its misty and somber quality fits the themes of crime, sin and isolation well; any kind of bright coloring would have been out of place. The movie blends its visuals with its topics seamlessly, something that not many works manage to do. There are also some great landscape shots which contribute to the sense of the characters' inner and possibly innate wilderness and the outer wilderness that they have been exiled to.

The subject of sin, punishment and absolution is one that not many recent movies have delved into; You Should Have Left comes to mind as a rare example of a work that examines the subject in an innovative way. Gunslingers does something bold and different. It does not allow for much emotion or sentimentality to interject with its characters' journeys, being as pragmatic with its treatment of the Redemption residents as they themselves are with their brutal and self-sufficient lifestyle choices. Not knowing what awaits from day to day and the inevitable consequences of reckless and lawless decisions are depicted in a bare-bones approach by Skiba, without frills or additions, stripped down to survival of the fittest. The movie creates art out of its no nonsense perspective.

That point brings me to an aspect of the movie that I wish had been developed further. The lives of Redemption residents are at a virtual standstill and that type of human existence would have been fascinating to explore, so I do wish that a number of the supporting characters had been better developed. Apart from a few references, like Lin (Tzi Ma) talking about his past and occasional details about other denizens' lives, we do not get a full picture of what this kind of life would do to a person and how it would contrast with who these people were before they were rescued from themselves, so to speak. It would have been interesting to mix a bit more philosophy and psychology into the story, particularly because of its themes.

The cast does great work and have a believable, comfortable rapport. Dorff gives a subtle, understated performance and is especially nuanced in the first and last few scenes. The actor is always so good and spontaneous, one does not even notice that he is acting, and this performance is yet another one that shows his range. Nicolas Cage does quirky like no one else and he is completely unleashed here, playing an eccentric character that has found his home among other outsiders. Heather Graham is always a cool presence and here she elevates what could easily have been a damsel in distress in another filmmaker's hands. On that note, the female characters of Gunslingers are impressive, possessing agency and authority and never waiting on the sidelines to be saved.

Gunslingers is an engaging movie with a compelling story and fine performances. It is a Western piece that feels like a play with its set-up at times, which suits the narrative arc, makes it intriguing to watch and might possibly even make you think about life. Pay a visit to Redemption. You will be glad that you did.

9/10

Trailerblazing -- The Woman In The Yard

The Woman in the Yard (2025) -- March 28, 2025 -- directed by Jaume Collet-Serra -- starring Danielle Deadwyler, Okwui Okpokwasili, Russell Hornsby

 

Blending Us and Candyman vibes, the new movie from Orphan director Collet-Serra appears to be an original ghost (or demon? Or something else?) story. The appearance of an entity clad in black in a family's yard seems to be the catalyst for a whole lot of mystery, which is an always welcome element in horror; just ask Strange Darling and Barbarian. Trailers that show hints of events and just enough of the narrative without making major reveals are a rarity, so seeing one is rather refreshing, not to mention intriguing. Deadwyler has been having a lot of success in recent years with her powerful turns in Till and The Piano Lesson, while Hornsby appeared in last year's The Supremes at Earl's All-You-Can-Eat. The trailer also brings urban legends to mind and we are about to find out if the movie resurrects or invents one. It looks like a unique genre piece, with a number of twists and surprises to unravel.

Trailerblazing -- Drop

Drop (2025) -- April 11, 2025 -- directed by Christopher Landon -- starring Meghann Fahy, Brandon Sklenar, Violett Beane, Ed Weeks

 

 

 

The prolific Blumhouse will greet spring with this offering about a widowed mother who goes on a date and becomes entangled in a murderous conspiracy. The movie gives off serious Red Eye vibes with a similar kind of narrative -- a lone female protagonist getting caught up in a game of cat and mouse -- and looks like it could be a sleeper hit like the Wes Craven feature. Based on the trailer, the way modern technology gets incorporated into the proceedings is an intriguing and integral aspect of the screenplay. Fahy, who made a splash in Season 2 of "The White Lotus", gets another juicy role in this piece, while Sklenar is coming off of the success of the controversy-filled It Ends With Us. Seemingly brimming with nail-biting moments, Drop also boasts vivid cinematography by Marc Spicer (Lights Out, Escape Room) and marks the first thriller for director Landon. It appears taut and suspenseful, with an appealing cast and interesting characters, and it might just start a welcome revival of action thrillers.