Nattevagten – Dæmoner Går I Arv (2023) | REVIEW

(L-R) Emma (Fanny Leander Bornedal), Jens (Kim Bodnia), and Martin (Nikolaj Coster-Waldau) stop by the forensic institute in Ole Bornedal’s NATTEVAGTEN – DÆMONER GÅR I ARV — PHOTO: Nordisk Film.

Directed by Ole Bornedal — Screenplay by Ole Bornedal.

The long-awaited sequel to the once locally groundbreaking Danish horror hit Nattevagten (international title: Nightwatch — though not to be confused with the American remake of the same name also directed by Ole Bornedal) starring Nikolaj Coster-Waldau — long before he became a part of a global sensation with Game of Thrones — is finally here. Back then Ole Bornedal shook audiences with a fresh horror film that showed the local film industry that, of course, strong Danish filmmakers have it within themselves to make competent horror films, even though the Danish film industry only rarely shows that it is capable of such things. Even today effective Danish horror films are few and far between. So, has Ole Bornedal caught lightning in a bottle yet again with his horror sequel? Well, to a certain extent. While Nattevagten: Dæmoner Går i Arv (international title: Nightwatch – Demons Are Forever) admittedly does suffer from familiarity, it is still a fairly entertaining sequel about the next generation trying to clear up their parents’ mistakes.

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Pearl (2022) | REVIEW

Mia Goth in Ti West’s PEARL — PHOTO: A24.

Directed by Ti West (X) — Screenplay by Ti West.

In spite of its late release in my corner of the world, Pearl — a prequel to Ti West’s horror hit X — was initially released in the very same year as X was in the United States. Together they present us with a fascinating horror period piece exercise centered on the power of the craft of filmmaking, being and feeling seen, and the American Dream. Whereas X was set in the 1970s, Pearl takes place in 1918 and follows its titular character (played by Mia Goth), a young woman who lives with her German immigrant parents on a farm in Texas. This is, indeed, the same elderly woman that Mia Goth played while covered in make-up and prosthetics in X (one of her two roles in that film), and this film thus serves as an origin story for that character. In the film, we see how Pearl feels trapped and lonely partly due to the fact that her husband (played by Alistair Sewell) is fighting in World War One in Europe, while her strict mother (played by Tandi Wright) insists that she does chores on the farm. Meanwhile, Pearl becomes increasingly infatuated with entertainment and dancing, and she is desperate to one day get up on a stage and gain mass approval — which a theater projectionist (played by David Corenswet, who was recently chosen to be the next Superman) ensures her she is ‘pretty enough’ for.

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A Haunting in Venice (2023) | REVIEW

Kenneth Branagh as Hercule Poirot in A HAUNTING IN VENICE — PHOTO: 20th Century Studios.

Directed by Kenneth Branagh — Screenplay by Michael Green.

Trying to play an iconic character that has been portrayed by a litany of actors is a challenge. The challenge is more than doubled when you’re also the chief creative involvement shepherding the entire production. Such is the case for Kenneth Branagh with his Agatha Christie adaptation film series, in which he plays her mustachioed Belgian star detective, Hercule Poirot. After two so-so or at best lukewarm entries with his versions of Murder on the Orient Express and Death on the Nile, Branagh has taken a far less well-known story and adapted it for his third attempt. So, is the third time the charm for Branagh’s Poirot? Well, I’ll say this, it is by far the most interesting of his three Poirot whodunnit adaptations thus far, even though it’s not without issues.

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Infinity Pool (2023) | REVIEW

Alexander Skarsgård and Mia Goth with grotesque masks on their faces in Brandon Cronenberg’s INFINITY POOL — PHOTO: NEON / UNIVERSAL.

Directed by Brandon Cronenberg — Screenplay by Brandon Cronenberg.

“I could stand in the middle of 5th Avenue and shoot somebody and I wouldn’t lose voters,” former U.S. President Donald Trump said at a campaign rally in 2016. With what has happened since then — such as his supporters’ January 6th, 2021 attack on the U.S. Capitol, or the unyielding support that Trump still receives even after having been indicted (checks notes) 4 times — I think it would be fair to say that he’s probably right, even though it absolutely should not be true. Some people are just gobsmackingly blind to what is really going on — and once they find out who people really are, it is sometimes too late. Anyway, why am I mentioning this? Well, this idea that the uber-privileged have no relationship with consequences is something that has stuck with me ever since I first saw Infinity Pool, which is not at all about Trump but definitely is about who people are behind the masks that they hide behind in their outward-facing daily lives.

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Every ‘Insidious’ Film Ranked (2023)

Insidious Film Posters (2010-2023)

Recently, the Insidious and Conjuring scream king Patrick Wilson got the chance to sit in the director’s chair to direct the latest and potentially final Insidious film for the big screen, Insidious: The Red Door. As I wrote in that review, this series is the “lower-budgeted and less revered film series sibling” to The Conjuring, but it has a passionate fan base that always makes these films successful in movie theaters around the world. I quite liked Wilson’s film, but how does it compare to the other films in the franchise? Well, let’s have a look.

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Insidious: The Red Door (2023) | REVIEW

Patrick Wilson in Screen Gems’ INSIDIOUS: THE RED DOOR.

Directed by Patrick Wilson — Screenplay by Scott Teems — Story by Leigh Whannell and Scott Teems.

Insidious is just one of several horror film franchises kickstarted by modern horror icons James Wan and Leigh Whannell. Eventually, both Wan and Whannell have had to pass the director’s chair off to someone else whose job it is to not just continue the style of previous entries in these series but also someone careful and considerate enough to shepherd the values of the franchise. With 2018’s Insidious: The Last Key, the fourth film in the franchise, Wan and Whannell (who has a screenwriting credit on the film) passed the director’s chair to Adam Robitel, whose Insidious film was the second prequel film in the series, as well as the second prequel film in a row to abandon the Lambert family haunting in favor of focusing on the paranormal investigators and the psychic introduced in the first two films. But eventually, the Lambert family haunting narrative that Wan and Whannell made us so invested in with Insidious Chapters 1 and 2 (released in 2010 and 2013, respectively) had to continue. That’s where scream king and star of the original two films, Patrick Wilson, comes in — because he wasn’t just convinced to return in a significant role for the fifth and potentially final film, he also signed on for it to be his feature directorial debut. 

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The Boogeyman (2023) | REVIEW

Sophie Thatcher, Chris Messina, and Vivien Lyra Blair in THE BOOGEYMAN — PHOTO: 20th Century Studios.

Directed by Rob Savage (‘Host’) — Screenplay by Scott Beck, Bryan Woods (writers of ‘A Quiet Place’ ; ‘65′), and Mark Heyman (co-writer of ‘Black Swan’).

It’s safe to say that The Boogeyman isn’t exactly a new idea. Not only is it built on the classic boogeyman — is there something in my closet or under my bed? — superstition and childhood fear, but it has also led to several films. Uli Lommel’s 1980 film of the same name spawned two sequels in spite of so-so-to-bad reviews, and Stephen Kay’s 2005 film Boogeyman, which was a financial success in spite of poor reviews, also spawned two sequels. It’s safe to say that audiences like to be spooked by this familiar concept. Well, this week, another film of its kind was released. What is different between the previous releases and this 2023 Rob Savage film is that Savage’s film is based on a Stephen King story.

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REVIEW: Evil Dead Rise (2023)

Alyssa Sutherland’s Ellie in Deadite-form in EVIL DEAD RISE — PHOTO: Warner Bros. Pictures.

Directed by Lee Cronin — Screenplay by Lee Cronin.

Sam Raimi’s Evil Dead is one of my favorite horror franchises out there. I grew up watching Army of Darkness over and over again. This is a storied franchise capable of going both extremely gory and very zany. Yet in spite of the film series having been rebooted in 2013 by Fede Alvarez, it took another ten years for another Evil Dead film to come out (the franchise did continue as a relatively short-lived television series, though). Now, 30 years after the theatrical release of Army of Darkness and 10 years after the theatrical release of Alvarez’s Evil Dead, Irish writer-director Lee Cronin has been chosen to bring the deadites and the Book of the Dead into this decade, and he has done a brilliant job. Evil Dead Rise is a terrific continuation of the cult favorite franchise. Yes, it is indeed groovy. 

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REVIEW: We Have A Ghost (2023)

David Harbour and Anthony Mackie in WE HAVE A GHOST — PHOTO: NETFLIX.

Directed by Christopher Landon — Screenplay by Christopher Landon.

Christopher Landon is a rather interesting up-and-coming horror filmmaker. Reportedly scheduled to remake Frank Marshall’s Arachnophobia, Landon has made a career off taking well-trod genre fare and giving it a modern feel and often with a comedic slant. Among other things, he co-wrote D. J. Caruso’s Disturbia (a thriller that is so close to Alfred Hitchcock’s Rear Window in the concept that it led to a lawsuit) and several Paranormal Activity films, before he became a household name for horror film fans by writing and directing his Happy Death Day films (slasher comedies that runs with the time-loop concept from Harold Ramis’ Groundhog Day) and Freaky, 2020s horror comedy reinterpretation of the classic body swap story Freaky Friday. His latest film, We Have A Ghost, is similarly placed squarely in the horror-comedy genre-blend and it, too, wears its inspirations on its sleeves. Most of Landon’s previous films as a director have been decent-to-good, and although We Have A Ghost doesn’t reach its full potential, it’s still a pretty decent but derivative little family film. 

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REVIEW: Barbarian (2022)

Bill Skarsgård as the mysterious ‘Keith’ in BARBARIAN — PHOTO: 20th Century Studios.

Direction and Screenplay by Zach Cregger.

Zach Cregger’s Barbarian, one of the most entertaining surprise hits of the year, follows Tess Marshall (played by Georgina Campbell), as she arrives at a remote house that she has booked, only to find out that someone else, Keith (played by Bill Skarsgård), is already staying there due to the house having been double-booked. When Tess finds out that there isn’t really an open motel close by, she has to decide if she feels comfortable staying at the house with this total stranger. What she doesn’t know is that the house isn’t exactly what it seems.

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