"Sea Fever" is Pandemic Horror at Its Finest, a Jumpy, Well-Acted, and Well-Made Ride

Film Review: “Sea Fever”

IF YOU ARE UNDER THE AGE OF 14, YOU SHOULD ASK YOUR PARENTS IF YOU ARE ALLOWED, IF THEY SAY NO…IT MEANS NO!

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82/100 “sweet”

By: Keaton Marcus

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This is one of the many movies I hadn’t noticed in the dumpster fire that is 2020, and it’s an Irish Alien-spawn called Sea Fever. Obviously, it’s set in the water, but thankfully, it isn’t as clumsy as Underwater was, it is an effective, chilling and well-made horror thriller that will likely give you a few jumps, especially with the quarantine going on. The pandemic makes a movie like this relevant due to the challenges the characters have to face with a parasite latching onto their ship. Not much social distancing possibilities there, eh? Hermione Corfield leads this aquatic thriller with total confidence and conviction, giving us another final-girl that’s totally worth watching. In fact, the entire cast is at the top of their game, and despite being made on a particularly low budget, Sea Fever proves to be better than the many mediocre, expensive sci-fi blockbusters that hit the cinemas every year. And it seriously gives evidence that Irish director Neasa Hardiman can make a frequently terrifying film.

Corfield plays Siobahn, a superb biology student working on her doctorate. She gets the chance to work on a fishing boat: Niamh Cinn-Óir (a figure with deep roots in Irish mythology), owned and operated by a couple named Gerard and Freya (Dougray Scott and Connie Nielsen). Her job on the trawler is to find patterns of underwater life and “generating algorithms that predict ecological outcomes.” And the crew isn’t exactly welcoming to her, considering she’s a read-head, a terrible omen for sailers. Delving in deeper to her color-of-hair, I perceived it as a bit of a sign of bad things to come considering the myth. It’s a sharp and clever way to introduce the first issue that they face. Kudos, Ms. Hardiman. To slightly dim the bad luck, they spy orcas outside the windows, but something isn’t right. According to Siobahn, they aren’t in whales’ natural habitat. That’s the first big sign that things are gonna go amiss.

Then things begin to escalate quickly with the second…a massive red mass that shows up on the radar that appears to be approaching the boat. By the time the mass latches onto the bottom of their ship, the crew isn’t exactly peachy after they send Siobahn in to check it out. Turns out, that whatever the creature is, it’s tearing into the hull, attempting to sink the entire boat. Or is it the thing’s giant tendrils that are sticking to Niamh Cinn-Óir…But whatever is happening, they need to find out how to kill it fast. Wait, did I just type “kill it”, you may ask? You’re correct, ladies and gentlemen, the creature is alive! We sorta guess that after the crew notice a blue gel-type substance oozing into the boat. Time to take out the Xenomorph, Ridley. Shoot, sorry, time to take out the parasite, Siobahn.

Don’t worry, though, Sea Fever may seem like a tired rip-off of Ridley Scott’s franchise at first, but when the pace picks up, the tension completely overwhelms the familiarity, and that is largely due to the creepily effective set-up. Don’t worry, I won’t spoil the inciting incident or anything, but something in the first 20-30 minutes is going to make you jump out of the seat, I guarantee it. Hardiman knows how to craft this genre exercise, she is knowledgeable enough to completely subvert your expectations, and then make you feel guilty for ever doubting her. I’m not just saying that, the scares in this thing are absolutely excellent, and the cinematography just enhances it all.

Hardiman is a TV veteran who’s directed episodes of acclaimed series Happy Valley and Marvel’s superb Jessica Jones, so it’s no surprise, to be honest, when your mind is blown at the end of the film’s 90 minutes. The first big incident in the movie is, of course, no different to the one from Alien, or perhaps John Carpenter’s The Thing. And sometimes we’re left realizing that this is another creature-feature, with all of the genre tropes and stereotypes. Although not a lot of people can argue against the fact that this is an objectively good movie with flaws. Despite never truly reaching excellency due to the slow pace and lack of climactic plot points, the performances, flawless build-up and visual style bring it together well.

What really struck me was the odd timing of this film. We’re living through a pandemic right now! So why is it a good idea to release a movie about one right in the middle of it? It’s relatable, that’s why. That is another thing Hardiman just nails…the madness of living in isolation, the true horror of being alone. And then she combines it with an appropriately super-sized monster, and a truly mesmerizing, and occasionally soothing score. That’s what makes Sea Fever so eerily and effectively timed. And that is the reason why it was the right thing to do.

It also tackles the #CoronaHoax followers, completely burns their misled opinions to the ground. Not to give away anything too spoiler-ish, we find that there is a contagious aspect to what’s seeping on board, which prompts arguments on whether it’s safe to head for land. Siobahn argues that they should quarantine themselves for 36 hours before returning, taking in the risk factor of infecting people in Ireland. She asks the question of whether your one life is worth risking tons. This is a stand-out moment in the movie, and possibly my favorite scene in it. It’s the movie’s North Star, it guides it towards success, making Sea Fever the suitably engrossing catharsis we all need.

The final opinion is: Though it occasionally lacks intense storytelling, Sea Fever is a slow-paced thriller that’s well-acted, made, and full of effective scares. It just takes a bit of time to get invested…$PLURGE IT

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IN THIS ARTICLE:

Rated: NR

Genre: Horror/Thriller

Runtime: 1 hour 34 minutes

Directed By: Neasa Hardiman

"Bloodshot" Is a Mediocre Comic Book Film With Dumb Action and a Lukewarm Script

By: Keaton Marcus

DISCLAIMER: IF YOU ARE UNDER THE AGE OF 13, YOU MUST ASK YOUR PARENTS IF YOU ARE ALLOWED, IF THEY SAY NO, IT MEANS NO!

42/100 “sour”

It's director David S.F. Wilson and Vin Diesel here attempting to adapt a Valiant Comics superhero with the recent feature film Bloodshot. What's the deal, well it's pretty standard stuff, with Diesel going through his usual formula and Wilson throwing sanitized PG-13 violence around whenever he feels like it. Sure, there are a few redeeming factors, but those greatly struggle to outweigh the many flaws, which include the iffy screenplay. Massive fans of Diesel's traditional actioner routine should find some deep satisfaction but non-fan boys won't receive much other than another schlocky movie. Audiences would be able to argue that this production is marginally better than some real turkeys, but this goes without saying that Bloodshot is the first real mishap of 2020. It's still safe to say that Marvel and DC are the leading brands in both comic books and their film adaptations. To others outside of those two universes, don't mess with them.

The film is about Ray Garrison (Diesel) who after seeing his wife being killed and then himself, wakes up with superpowers in a mysterious lab. The one responsible for his powers is Dr. Emil Harting (Guy Ritchie) who is a brilliant scientist who has brought back many soldiers from death and enhanced them. Ray is first extremely grateful but after the memory of Martin Axe (Toby Kebbell) killing his wife, he seeks out revenge. Then he realizes that Emil is totally in control of him, tweaking his memories and watching his every move. Ray teams up with another enhanced soldier, KT (Eiza Gonzalez) and a genius coder named Wilfred Wigans (Lamorne Morris) to stand up against his control. The premise, at least, is solidly intriguing, but Wilson's execution overshadows an interesting idea with tone-deaf destruction.

The performances, which aren't exactly terrible, still don't shine bright in the film. Vin Diesel, whose two biggest franchises are Fast & Furious and XxX, made him the big action star he is today. Clearly, this sci-fi/superhero mash-up was trying to start a cinematic universe, but after underperforming in the box office, its a non-starter. Diesel brings his popular, gravelly voice and lots of punches, but without a solid enough script or plot as a hand to hold, he's left to flail within the action. Surprisingly, he wasn't as horrible as Tom Cruise in The Mummy, but he's no Robert Downey Jr. in the MCU. The supporting cast, led by veteran Guy Ritchie, is considerably decent as well, with Ritchie bringing reasonable charisma to his important role. Gonzalez is another female action star on the rise, but her badassery was wasted in this film. The one notable performance in this film was Lamorne Morris, who brought some much-needed humor into the grim picture.

One thing that's missing from this comic-book adaptation is the money spent on the special effects. In the monster franchises like the MCU or DCEU, the studio spends 100-200 million on average per movie, sometimes much more. In Bloodshot, Sony decided to keep it cheap, spending just 45 million on the budget. This could have been a big benefit for its box office if the Coronavirus didn't break out, but with the virus affecting the film industry, the perk didn't come to them either way. You know what did happen, though, was the heavy amount of CGI looking more artificial than usual. When visual effects look affordable in a film like this, viewers will know something's wrong, and it won't be pretty when they do. This gives me chills, but not in a good way and is a flawless example of pure mediocrity.

The final opinion is: Bloodshot gives star Vin Diesel yet another chance for some old-school action that may satisfy fans, but others will only find mind-numbing violence on top of a subpar screenplay...$KIP IT

Buy for $14.99 in SD and HD on Prime Video

Hayley Bennet is a Tour-de-Force in "Swallow", a Tense, Meaningful Thriller

“Swallow” Film Review

88/100 “sweet”

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By: Keaton Marcus

As I scramble to watch some of the smaller films released in 2020 as the year comes to a close, I was able to view thriller Swallow last night. With mediocre expectations going in, I wasn’t too excited, but it turns out that this is easily a top ten film of the year. Emotionally effective, thematically resonant and technically impressive, I was on the edge of my seat the entire time. With a refreshing concept and Hayley Bennet at the lead, it was expected that this would be at least watchable, but the film did truly blow my poorly conceived predictions away. Bennet is stirring in her breakout performance, and director Carlo Mirabella-Davis makes a contained, tense and sharply-directed film that benefits from its short running time. This is so definitely a hidden gem, and it’s even streaming on Hulu for free, so there’s nothing to lose even if you don’t like it. But not only is Swallow a very enjoyable movie, but it exceeds some of the best of all year effortlessly.

Hunter (Hayley Bennet) is a housewife with a seemingly perfect marriage and life with her extremely wealthy husband, Richie (hence the name, of course), played by Austin Stowell. However, as she goes through her day-to-day life, audiences can tell that something isn’t right with her. What could it be? She has the perfect, handsome man, a beautiful house on the water, and time to herself the entire day. I’d love that life, but there is an aspect that doesn’t feel ok. I’m guessing the film’s meaning would be the fact that she’s more or less controlled by her relatively constricting life. However, I believe that it’s more she feels uncontrollably bored, and this leads her over the edge. She develops a mysterious disorder that gives her an irresistible urge to eat sharp objects while pregnant. And, yeah, I mean sharp. From tacks and batteries to a tooth scraper, she is rushed to the hospital in one instance to intubate her. It sounds insane, but the addiction gets worse and worse, endangering her delicate marriage with Richie.

All of the performances were equally impeccable and I am delighted to write about them. Especially Bennet, my GOD. I cannot believe that she hasn’t been in bigger movies because she is an unmissable talent. Her character’s true motivations are kept generally ambiguous and vague, and that makes Hunter that more interesting to watch on-screen. Director Mirabella-Davis keeps her performance generally one-note and emotionally non-existent until the third act, which can be an issue for some people. However, I’m all for it. Why? What are my reasons for being such a stubborn person? Three words: Ryan. Freaking. Gosling. One of my favorite actors of all-time is a master at staring at the camera in films like Blade Runner 2049, Drive and Only God Forgives. Readers may deny that this takes any talent, but to pull off a blank expression with such dramatic heft is extremely impressive. Period. It’s similar with Bennet here…Her emotions are kept to a minimum to signify her attempts at perfection to please the ones around her. Then, for the last 25 minutes, Hunter’s mental state goes utterly bonkers, and Bennet’s delightful and devilish turn depicts that beautifully. Austin Stowell is also terrific as the ultimate rich asshole that acts like he’s the most generous person on earth, but in moments, he’s the absolute devil. All in all, these are two tour-de-force performances, and the film’s wouldn’t be nearly as good without them.

Finally, the direction was also superb and nearly flawless in every way. There was one major issue I had with it, but other than that, I was consistently impressed. This is Carlo Mirabella-Davis’ first major film, and as a directorial debut, it’s absolutely stunning. Slickly-directed, artfully-shot and full of colors with hidden meanings, I didn’t know it was possible to make a first movie this good. Although 2020 prevented this from becoming the next Hereditary or Get Out, I am confident that he will have another film planned in the distant future, whenever that may be. Remember, the Coronavirus can prevent releases from doing well in the theaters, but it cannot upend the quality of one in any way, shape or form. Furthermore, while I do cherish the movie, there are always the dreaded problems to explain. It was mostly the overall message of the film. I didn’t have anything against it, or what I thought it was, but it was a little too unclear and perhaps confused to really give that emotional gut-punch at its conclusion. I understand that Davis was both attempting to convey a husband’s overall control of women in Hunter’s position, and the urge to be absolute perfection that many girls and women have to deal with in our grand old modern society. It had all the right build-up, but when it was time for the punch line, I was left waiting for it to hit after whatever occurred happened. Ignore my nonsensical nitpick, and get your ass on the couch to see this film, because it’s so, so worth it.

The final opinion is: Swallow is an unnerving, disturbing and provocative thriller with brilliant performances, marking an excellent directorial debut for Carlos Mirabella-Davis…$PLURGE IT

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Rated: R (mild sexual content, language, violence)

Genre: Thriller

Runtime: 1 hour 35 minutes

Directed By: Carlos Mirabella-Davis

"The Way Back" is a Compelling Sports Drama That's Well-Acted and Sharply Directed

By: Keaton Marcus

DISCLAIMER: IF YOU ARE UNDER THE AGE OF 15, YOU MUST ASK YOUR PARENTS IF YOU ARE ALLOWED, IF THEY SAY NO…IT MEANS NO!

85/100 “sweet”

Director Gavin O'Connor has returned with star Ben Affleck in this new sports/redemption drama about getting a second chance, dubbed The Way Back. Principally, the film plugs in the familiar sports story into a stellar alcoholism piece, and it works spectacularly. Affleck fits right in, considering this is seemingly autobiographical for the actor and extraordinarily tough to watch. To make it far higher than the average tear-jerker are the performances, direction and compelling characters that make it well worth your money. The film is particularly slow-moving, but when it gets to the basketball games, you'll be cheering for Affleck's underdog set of players. The running time is right on the money, clocking at about 105 minutes and despite a somewhat formulaic approach to its heavy theme, the emotional knife that continues to stab you through the heart while watching will keep you intrigued. Hey, perhaps Affleck will start making some real pictures again, starting with this very convincing movie.

Audiences look upon Jack Cunningham (Affleck), a former star basketball player in his high school turned construction worker. He's a drinker, divorced and utterly depressed. However, when the head coach of the Bishop Hayes basketball team has a heart attack, Jack is asked to come and coach the team during the season. With a team of only ten players, and not possessing enough skill in the game, Jack must attempt to coach the team into the playoffs, and potentially to victory. It may recall some of the old-fashioned underdog sports movies such as Rocky or The Mighty Ducks, but with a far more intense approach, The Way Back still succeeds. So yes, a few people may feel that the plot veers towards the sentimental territory, but the vast majority of the time, audiences are focused on the ups and downs of Jack's life.

Speaking of ups and downs, Ben Affleck has had several of those during his mostly successful career. He's directed and acted in several acclaimed films such as Goodwill Hunting, Argo, Gone Girl and more, but he's been going on a somewhat downward trend these days. His first movie in the DCEU as Batman was Batman v Superman: Dawn of Justice, which made some serious dough but flailed with the critics. What's even worse was his second superhero film, Justice League, which didn't just get negative reception, it also flopped in the box office. It isn't exactly confirmed that this film will save the actor. However, with his brilliant work in the central role of Jack, this could be the start of a new era for him.

Let's just say one thing for sure: Gavin O'Connor really knows how to direct a movie. After directing two sports flicks with Miracle in 2004 and Warrior in 2011, he's got one part of the film down. Though he's not just experienced enough with sports movies, O'Connor also helmed the Affleck-starring action flick The Accountant with great success. With this guy sitting in the chair, and a very solid screenplay written by Brad Ingelsby (Run All Night, American Woman), you've got a good film. It's too bad that the Academy Awards will likely ignore this small project, but it's still a pleasure to know that O'Connor is truly a great fit for Affleck. This movie may not be the most likable flick in times like these, but if the film is good enough, you'll forget COVID-19 exists today. Just remember people, bring the tissues.

The final opinion is: "The Way Back" is an excellent sports drama that features a compelling Ben Affleck that boasts an exceptional if sentimental storyline that takes you through some heavy, timely themes...$PLURGE IT

Rent for $5.99 or Buy for $19.99 in SD and HD on Prime Video

Box Office Info:

Opening: 8.1M

Domestic Total: 13.5M

Worldwide Total: 14.5M

"The Invisible Man" is a #MeToo Horror Film With Guts and a Stellar Lead Performance

By: Keaton Marcus

DISCLAIMER: IF YOU ARE UNDER THE AGE OF 15, YOU MUST ASK YOUR PARENTS IF YOU ARE ALLOWED, IF THEY SAY NO…IT MEANS NO!

91/100 “sweet”

Whoever thought that a reboot of the corny, yet iconic Universal monster would lead to one of the best horror films ever made. Yes, I'm trying to say that Leigh Whannel's thriller-esque take on "The Invisible Man" is a shockingly tense, well-acted, visceral and terrifying achievement for the genre. Led by a terrific and empowering Elisabeth Moss, this flick not only takes thrillers to the next level, but it also injects more than enough hints of #MeToo to get its point across. The camera-work is astonishing, and the most impressive thing is, the movie was made on a scant seven million dollars. Whannel's technical talents have made this low-budget film look better than any expensive, run-of-the-mill action movie, and that's something to boast about. The score is nothing short of excellent, and the somewhat feminist allegory marks a significant change from its source material. These factors also make the movie a lot more unique than the traditional reboot. And instead of copying the source's story it invents something new, which is a rare thing to come upon.

The movie starts right in the thick of it, with Cecilia Kass (Moss) attempting to escape from her abusive and controlling husband Adrian Griffin (a stellar Oliver-Jackson Cohen). After Cecilia successfully runs away with the help of her sister Emily (Harriet Dryer), she then finds out that Adrian killed himself in his own house. Now trying to close the door on her past demons and staying with cop James Lanier (Aldis Hodge), a sequence of unexplained events begin to occur. When Cecilia suspects that Adrian may have found a way to become invisible and stalk her, she must try to prove that not everything is what it seems. This premise could have been hilarious, a joke for all I care, but I was on the edge of my seat the entire two hours.

If one thing is guaranteed it is that Elisabeth Moss is a tour-de-force in the leading role. She plays Cecilia, who after escaping from her rich husband, becomes paranoid that something or someone is stalking her, watching her every move. It's darn terrifying all right, and Moss nails nearly everything with a flawless performance. Also, the actress has become yet another excellent lead role in horror, and her film has joined in with all the greats: "The Shining", "A Quiet Place", "Halloween" and more. But Moss's performance outshines those in a typical slasher flick and her co-star Oliver-Jackson Cohen makes for a competent villain that may not be as iconic as Jack Nicholson was, but he's damn good. The supporting cast is also top-notch, Aldis Hodge and Harriet Dryer are both superb in their respective roles. Teen actress Storm Reid has also excelled in her modest role as Sydney. The cast isn't star-studded, which is just how it needs to be, fresh and talented.

Remember the anticipated launch of the Dark Universe in 2017, a cinematic franchise that was attempting to bring back all of Universal's classic monsters to life? Well turns out the first film in that hunk-of-junk had to be the Tom Cruise-starring, ill-fated "Mummy" reboot. And after Cruise's "The Mummy" hailed disappointing box office returns and lackluster critical reception, the cinematic universe was dead. Shockingly, Whannel has somewhat brought back the attempted series to life with this small, but incredible film. Despite being an R-rated thriller that doesn't focus on big action sequences, this could mean something new will be arriving. Perhaps not a direct sequel to this movie (which I'd be down for), but taking a similar formula from this flick and injecting them into let's say..."Dracula". It could work, especially since this movie is a masterpiece.

The final opinion is: This revisionist take on "The Invisible Man" features an Oscar-deserving performance by Elisabeth Moss, sharp direction, excellent work on the camera and a stellar new villain for horror...$PLURGE IT

Rent for $19.99 in HD on Prime Video

By: Keaton Marcus

Box Office Info:

Opening: 28.2M

Domestic Total: 64.8M

Worldwide Total: 122.8M

The Invisible Man

By Quinn Marcus

The Invisible Man

(2020)

Age: 14+

87/100: Sweet

“Surprise!” The Invisible Man was directed by Leigh Whannell, director of Upgrade and Insidious: Chapter 3. In a desperate attempt to leave her abusive fiancee, Cecilia Kass escapes their house one night. Only to hear that he had soon after taken his own life and given her his fortune. However, when strange coincidences start to become threats to Cecilia’s life, she attempts to prove that her fiancee has somehow made himself invisible and is stalking her.

Pretty spooky, if you ask me, in fact, this story gave me the chills. After finishing the film I was forced to think that someone was watching me at all times. The frightful effect that the film has on you is enormous, but holy sh-t is it a fun ride. Before I go on babbling about how freaking good it is, let’s talk about a few nitpicks I noticed. 1. Why is the invisible man so strong? Later in the movie, Cecilia and the invisible man have a fight, somehow, he’s able to pick her up around the neck with one hand and throw her across the room. This isn’t the only time his massive strength is showcased. While it does look awesome, it just doesn’t make any sense. In fact, although his character is psycho, he seems pretty scrawny. 2. The invisible man is somehow really stealth. I mean seriously, we may not be able to see him, but does his invisibility suit really prevent the characters and us from hearing him as well? Because that wasn’t explained either. 3. Cecilia had some very easy ways of proving that she was right. I won’t explain this point as it goes into some spoilers, but there were a couple of instances where she could have proven her invisibility theory correct by documenting certain things, etc. While these things aren’t necessarily terrible, I just found little pieces of the story that could have had a better explanation. Then again, for all the horror movies I’ve seen, there are always moments like these.

Now time for the amazing side of things. I would grab a bucket of popcorn or something to eat or drink because you’re going to be reading for a while. 1. The camerawork is fantastic. I wanted to talk about this first because it’s the thing that stood out to me the most. The cinematographer, Stefan Duscio clearly knows how to shoot a horror film. There are some shots that are utterly terrifying, ones that truly make you feel like you and Cecilia are being watched. Every scene is filmed in a specific, creepy style that undoubtedly pulls you deeper into the story. 2. The directing is very well done. As a director who has only completed 3 films, I was generally impressed with his obvious skills. Leigh Whannell managed to expertly craft an almost perfect horror film, providing a perfect mix of fun and terror. 3. The writing is (mostly) great. Despite the small inconsistencies with explanations in the story. The script effectively crafted deeply understood characters revolving around Cecilia whose well-written insanity and empowerment were both brilliantly handled by a fantastic Elisabeth Moss (we’ll talk about the cast later). 4. The soundtrack surprised me. The haunting musical score for The Invisible Man was just another one of the things that blew me away. It built upon the tension-filled atmosphere. Not relying on draining out all the noise just before a cheap jumpscare occurs like in so many other modern horror flicks today.

Overall, I had my expectations for The Invisible Man and this film surpassed all of them. It was well written, well-directed, beautifully filmed, and had a surprisingly effective soundtrack. 

The cast including Elisabeth Moss (The Handmaid’s Tail), Oliver Jackson-Cohen (The Haunting of Hill House), and Aldis Hodge (Hidden Figures) all had very dedicated performances. While the rest of the cast was great. Elizabeth Moss is truly the whole movie, the real star of the show. She depicts her characters slowly forming insanity and torment with her own unique style and a large amount of emotional depth.  

Although including a couple of semi gory scenes, The Invisible Man is a little tamer when it comes to other horror films. It has its fill of scares and a ton of tension. People are seen shot, killed and hurt by the invisible man. Cecilia is tortured psychologically while trying to prove that she’s right. There is barely a speck of romance in the film. However, Cecilia is a strong female role model who despite everyone treating her like she’s crazy, doesn’t give up.

"The Lodge" is an Ice-Cold Psychological Thriller with Stunning Cinematography and Performances

“The lodge” film review

82/100 “sweet”

Why did this have to come out after Hereditary?

Yeah, I know The Lodge was initially released in festivals late 2019. Readers must be like: “Then why the hell are you putting this in the 2020 section?” Because it actually got its official theatrical release in the US in February earlier this year. Apologies for getting off-topic, but this is a damn good, darkly atmospheric, tension-filled horror thriller that feels a little too close to home during quarantine. In an era where we have seen diminishing returns for the genre, this isn’t only terrifying, but the performances are all sublime. Prominently Riley Keough, who portrays quite the interesting character. Really the only thing from me declaring this a masterpiece is the third act twist that missed the mark. It wasn’t bad or anything, but it was a little out-of-left-field. Otherwise, I was consistently entertained, at the edge of my seat, always waiting for the next unpredictable scare. Directors Veronika Franz and Severin Fiala are clearly skilled, and this marks a striking follow-up to their supposedly fantastic debut, Goodnight Mommy.

In the movie, we follow two children, named Aiden (Jaeden Martell) and Mia Hall (Lia McHugh). Their father, Richard (Richard Armitage), is currently going through a rough patch in his relationship with their mother, Laura (Alicia Silverstone). However, when Richard tells Laura that they need to finalize the divorce since he’s supposed to marry Grace (Keough) in the not-so distant future, she unexpectedly kills herself. Christmas is on the way, and despite the recent tragedy, Richard has decided to take Grace and his two children up to a secluded lodge in the mountains for the holidays. Aiden and Mia, clearly depressed after their mother’s suicide, do some research on Grace and find out that she was apart of some insane religious cult lead by a mentally-ill man. Totally normal step-mom, right? Yeah! Now suspicious and still mourning, it’s the perfect set-up for the worst trip ever. When Richard leaves the three to work in the city for a couple days before promising to return on Christmas day, food and clothes begin to go missing among other mysterious things as Grace, Aiden and Mia slowly lose their sanity. Call it a wannabe The Shining or pretentious bullshit, but don’t forget to judge it on its own merits, and it has many.

First of all, the acting. The three main performances, including the two child ones, are absolutely fabulous, and I’d love to see all three in more roles. Riley Keough, known for Mad Max: Fury Road and Logan Lucky, finally gets that spotlight she so desperately needed in her career. Both compelling and horrifying, the actress makes audiences want to root for and kill Grace simultaneously, and it can be incredibly entertaining to witness. In places, she’s the sweetest person in the world, and in most others, she’s the agent of the devil, the ultimate symbol of evil. Her versatility brings depth and intrigue to the character, and the filmmakers never really gives us straight answers, which is what I have been admiring about some of the better horror movies released in the 2010s. Jaeden Martell continues to knock it out of the park each performance he gives. After having his breakout debut with It a few years ago, the kid has been giving stellar outings after stellar outings in films like Knives Out, The Book of Henry and Apple TV+’s mystery series Defending Jacob. Similarly to Keough, after several supporting roles, he gets to be the main character again, and it works. Martell’s acting proves that he has to be one of, if not the best child actors working today. Lastly, Lia McHugh hasn’t truly been in any real roles before due to her even younger age, only briefly appearing in Hot Summer Nights. However, you can tell that her performance in The Lodge jumpstarted her career because she’s already confirmed to be in the anticipated Marvel film Eternals. And it’s well-deserved.

Despite all of the great things I just mentioned about the movie, the cinematography is probably my all-out favorite aspect of it all. The framing is astounding, every shot breathtaking, the color palettes gorgeous and depressing, and the direction skilled and concise. The stark contrasts of white and the silhouettes of the film’s characters are gorgeous, and this has to be one of the best-looking films I have seen all year. Overall, in terms of technical achievement, this would be a perfect film if not for its few problems outside of the immaculate editing and fantastic low-budget, claustrophobic visuals. There’s more. The musical score in this sounds evil, and the use of short, almost off-tune strokes on the cello and violin have a haunting beauty to it that perfectly suits the movie. For fans of atmospheric horror and disturbing visuals, this will feel like therapy to you. Advocates of slasher films, on the other hand, will find precious little to cherish. I know I sound pretentious and irritating, but isn’t what I just stated sort of true? I reckon it is. There are, however, some issues that lie in all the greatness surrounding them. For example, the third act twist was basically pinning Keough’s character, who we knew was a little bit nuts, going to the extent of killing Richard at the very end. Although Grace isn’t exactly sane, that just isn’t in reasonable length. This makes the entire last 20 minutes a fairly disappointing experience, unfortunately. Otherwise, I don’t know for sure if they had already wrapped up the entire story before Hereditary was released, but if it wasn’t, this feels too inspired by that movie, which is also better. Besides these two problems, this is a ruthless, visually sumptuous horror flick that will have images stained in your mind long after the credits roll.

The final opinion is: Despite questionable, occasionally derivative plot points and an unrealistic end twist, The Lodge is a mostly original, beautifully-made and directed horror movie with stellar performances, a haunting soundtrack, and immaculate editing…$PLURGE IT

"Birds of Prey" is the Fantabulous, Anarchic and F...ing Crazy Freedom That Ms. Quinn Needs

By: Keaton Marcus

DISCLAIMER: IF YOU ARE UNDER THE AGE OF 16, YOU MUST ASK YOUR PARENTS IF YOU ARE ALLOWED, IF THEY SAY NO…IT MEANS NO!

84/100 “sweet”

After being thrown around amidst all the painful action sequences and tired special effects in "Suicide Squad", Margot Robbie's Harley Quinn finally gets the justice her iconic character needs with the truly fantabulous "Birds of Prey". It's gleefully violent, hilarious, a lot of fun and it’s most likely one of the best DC flicks of all-time (the greatest in the DCEU). With a charismatic supporting cast, a killer lead performance, and a fresh injection of a catchy, bad-ass soundtrack--these Birds soar, they fly high. Ewen McGregor's narcissistic, often entertaining villain Black Mask breaks new ground for comic-book antagonists...and leaves the viewers wanting more. First-time director Cathy Yan additionally keeps the colors, and zany action going in the right direction, never missing a beat. Sure, it may not have the broody, honestly tedious darkness of some of the DCEU's earlier efforts, but it has the action of "John Wick", and that's truly something. A certain warning could be that this is certainly not a clean film, it could be considered a mess by many, but can you imagine a Harley Quinn origin without the disorder.

The movie kicks off with Harley (Robbie), on a roller-skating team, and having a bit of a mid-life crisis after breaking up with the Clown Prince of Crime (and no, there's not any Jared Leto in here). After having a revelation, so to speak, she cuts ties with the Jokes, and finally has the emancipation she deserves. However, when Cassandra Cain (a wonderful Ella Jay Basco) pick-pockets a valuable diamond from the notorious Roman Sionis a.k.a Black Mask (McGregor on acid), she becomes a 500,000 dollar target for every assassin in Gotham. This forces Quinn and several rag-tag anti-heroes such as Huntress (deadpan humor by Mary Elizabeth Winstead), Black Canary (Jurnee Smollett bringing the voice) and the ex-detective Renee Montoya (a hardcore Rosie Perez) to team up against the evil corrupting the city. Juice that plot with humor, feminism and some of the sharpest direction I've seen in awhile, and you've got "Birds of Prey".

Margot Robbie truly gives THE impeccable comic-book performance, something that hasn't been done in a good while. And when Robbie begins to start her routine all over again, she hands over the baton to other cast members until it becomes a relay race of excellent acting. Still, it will always be Robbie's Harley that steals the show. Her energetic showcase in "Suicide Squad" was the only passable thing in the movie, but you only got a fraction of her talent. In this sequel, double that, and add some sprinkles on top. Not only is she making her way in the comic-book universe, but this actress has been in both "Bombshell", "Once Upon a Time in Hollywood", "Mary, Queen of Scotts" and more. Principally, she's nominated for an Oscar this year, and her reign of superb outings over other actresses of the generation won't end soon.

Whether it’s Obi-Wan Kenobi peeling off victims' faces or Harley Quinn running for her egg-sandwich (and her life), director Cathy Yan makes her bones with an anarchic, hyperactive, colorful anti-hero origin story that makes faultless use of the film's bright and eccentric characters. There's a certain creative style to the flick as well, similar to Guy Ritchie's, but new and improved. What obviously differs it from the common blockbuster is forgetting to slam some flashy effects on top, and going full-throttle on humor, blood, and guts, and incredibly setting up a potential new franchise. Really, there's not a concrete way to describe this. It may or may not be on coke the entire run-time, but this fast-paced, Harley-featuring epic proves that comic-book films don't need space battles to be good.

The final opinion is: "Birds of Prey" is a colorfully-made, juvenile, showcase of how much damage Harley Quinn and her Birds can do in 100 minutes--a free-for-all, anti-hero origin that feels superior to even the best efforts in the genre...$PLURGE IT

Rent for $5.99 or Buy for $19.99 in SD and HD on Prime Video

By: Keaton Marcus

Box Office Info:

Opening: 33M

Domestic Total: 84.1M

Worldwide Total: 199.1M

"Gretel & Hansel" Is a Bit Slow, but it's a Visually Arresting and Well-Acted Horror Spin

By: Keaton Marcus

IF YOU ARE UNDER THE AGE OF 14, YOU SHOULD ASK YOUR PARENTS IF YOU ARE ALLOWED, IF THEY SAY NO…IT MEANS NO!

72/100 “sweet/sour”

Finally, a different horror movie, a fright fest that stands out from the massive crowd of run-of-the-mill films from this genre. This savior is Oz Perkins' take on the classic grim fairy tale, now dubbed Gretel & Hansel. This adaptation goes deeper into Gretel's character and plays as a wickedly dark coming-of-age story in some moments, just with some witchcraft added to it. I get it, this is a Hollywood movie released in January, the month where the film industry dumps a lot of trash in. However, this gorgeously filmed movie is an extremely creepy, if not terrifying, well-acted and visually impressive production. There's a lot of flaws to it as well, with it feeling remarkably slow, even over just 87 minutes, and the ending feels a little too immediate to close out the terrific build-up. So it does feel like a lot of eerie imagery and not a lot of screenplay, though you'll be scared enough to perhaps forgive it.

The film is solidly faithful to the original story, though it does add a few changes. In this adaptation, Gretel (Sophia Lillis) and Hansel's (Sammy Leakey) father had already died, and their struggling mother is forced to kick them both out of the household. The two then wander off into the outside world, first meeting a hunter (Charles Babalola) who directs them to possible work. However, while they are walking in the woods they stumble upon a mysterious house home to a strange woman named Holda (Alice Krige) and later find that it's a nexus of terrifying evil. There are basically only three big characters, Gretel, Hansel, and the Witch, with all of them having terrific performances. Although there's not much going on story-wise.

The cast is possibly one of the best parts of this film, with it being led by the star on the rise Sophia Lillis. Lillis is making quite a career for herself, starring in the hit Stephen King adaptation It and this year's show I Am Not Okay With This, both "sweet" on the Lemonradar. In her newest performance, she takes control as Gretel, giving a remarkably strong outing and bringing new life to the iconic character. They play her role as a bit of a female empowerment play as well as a coming-of-age story of sorts. A lot of it is about Gretel finding who she is and learning how to grow up. Notwithstanding Lillis's solid performance, Alice Krige portrays the Witch devilishly good. Krige is on a level of creepiness that most horror villains fail to achieve and she delightfully delivers a more-than-satisfying performance in what could have been the laughing stock of the year.

What's really special about this film though is that it wants to stand out from the crowd. The whole affair feels very indie and small, with only three significant characters and one foremost setting, the Witch's house and a little around it. A pretty impressive factor is that these guys only had five million dollars to make this movie, and they made it hella creepy, that's for sure. It's a very atmospheric, visually incredible creation tied together with a hauntingly beautiful soundtrack. The screenplay and story feel a tad fatigued, though for the eyes it's a real treat. The characters aren't very developed either, which can be an issue, though, besides scattershot backstories, the actors thrive in their roles. Director Oz Perkins also has a significant style, one that works with this dark spin on the fairy tale. Unregarding the lack of intelligence, see this film for the sheer visual creativity and scares. Trust me.

The final opinion is: Oz Perkins' Gretel & Hansel is a hauntingly beautiful if tiredly written piece of visually impeccable cinema that benefits from strong performances and a creepy, isolated setting.

Buy for $14.99 in SD and HD on Prime Video

By: Keaton Marcus

Box Office Info:

Opening: 6.1M

Domestic Total: 15.3M

Worldwide Total: 21.2M

"The Turning" Will Leave Viewers Unfrightened, Bored and Desiring They're Cash Back

By: Keaton Marcus

DISCLAIMER: IF YOU ARE UNDER THE AGE OF 14, YOU SHOULD ASK YOUR PARENTS IF YOU ARE ALLOWED, IF THEY SAY NO…IT MEANS NO!

24/100 “D-Sour”

Wow, this thing's a real stinker. Floria Sigismondi’s adaptation on the classic horror novella The Turn of the Screw has finally hit the big screen, dubbed The Turning. The result is beautifully made garbage, made to be forgotten and thrown away without having any memorable moments. The film may be very nice to look at, but that can only rarely distract from the cheap jump scares and the abrupt, unsatisfying ending that closes out an already terrible 94 minutes with something worse. This is the case with most PG-13 horror flicks, but this type of movie is beginning to go down the drain. It may have ghostly specters in the distance and gorgeous contrast between the characters' clothing and the background, but something that it's lacking in is the scares! I get terrified at many simple things and this film couldn't even do that for me. I can't wait for this movie to leave my mind.

The movie is about a young woman named Kate (Mackenzie Davis) who quits her job as a teacher and decides to become a governess at a mysterious estate home to two children whose parents died. However, she meets the two kids, Flora (Brooklynn Prince) and Miles (Finn Wolfhard), she begins to realize that there is more to the story. Then, unexplained events begin to occur around the house. Principally, it's the typical creepy children story that's been told many times before. But they could have at least made it chilling. Just one good scare? A single fright to satisfy horror-hungry viewers? Well, sadly, that didn't happen.

The cast, which actually consists of some talented people, were mostly mediocre as well. Lead by Mackenzie Davis, who starred in last year's Terminator: Dark Fate (and was the best part about it), tried her very best but could rarely overcome the plodding screenplay and uneven direction which dragged the actress down a little much. Heading the supporting cast was another prominent actor, Finn Wolfhard, who's starred in both It and the viral Netflix sci-fi series Stranger Things. Remember, he also had a role in The Addams Family reboot last year. Not even Wolfhard could save the movie, acting much like a sexual predator throughout the movie. That's right, watching Davis' role while she sleeps, telling her she looks "good on a horse" and pretty much just acting like a total weirdo. Brooklynn Prince, however, did bring some charm into her role, but her part was too small to have any real effect.

Really, the only thing that's truly terrifying about this movie is the idea of a possible sequel. Though the disappointing box office performance did sort of cut that possibility, the ending sure is a cliffhanger. A cliffhanger that moviegoers will despise for the rest of their lives. Possibly the only memorable part of the whole affair was the worst bit, the conclusion. I won't spoil anything about this ending, you'll have to witness this piece of trash yourselves, but don't say I didn't warn you. Hopefully, the stars got a lot of cash for unfortunately being in this heap of burning garbage, that's all I have to say to them. One thing's for sure though, Henry James must be Turning in his grave. Pun intended.

The final opinion is: Stylish, yet contrived and boring, The Turning is a visually impressive trash heap that suffers from the tired direction, a sloppy screenplay and a sluggish ending...$KIP IT

Rent for $5.99 or Buy for $19.99 in SD and HD on Prime Video

"Bad Boys for Life" Wakes Up the Dormant Franchise With Some Good Old Fun

By: Keaton Marcus

DISCLAIMER: IF YOU ARE UNDER THE AGE OF 15, YOU MUST ASK YOUR PARENTS IF YOU ARE ALLOWED, IF THEY SAY NO…IT MEANS NO!

78/100 “sweet”

I suppose third time’s a charm for co-stars Will Smith and Martin Lawrence with their bombastic buddy-comedy franchise "Bad Boys". This one, dubbed "Bad Boys for Life", makes solid usage of one-liners and profanity, while combining the comic-relief with some terrific action sequences. It's gleefully violent, high on explosions, and surprisingly injects a decent plot into a trilogy seemingly lost in exposition. Principally, it's one of those dumb movies that you'll have a lot of fun at, but the belated third installment also has a substantial amount of heart, which is what was missing from its two predecessors. There are better flicks than this, but if you're only looking for some innocent laughs, and some 90's chemistry between Smith and Lawrence, you will cherish it. What's the point? Well, the idea is that without director Michael Bay, it may be possible to create a new beginning. Kick-ass invention.

Here's the pitch. Loose-cannon detectives Mike Lowery (Smith) and Marcus Burnett (Lawrence) are getting old. Well, not exactly, the iconic duo has reached the daunting period of middle-age, and Marcus is waiting for the right moment to retire when he has a child. However, after Mike is shot several times by a mysterious assassin, both of them are pulled back for one final ride as Bad Boys. Despite Lowery insisting on them working alone together, Burnett calls in the elite AMMO squad to assist them in taking down the killer. Directors Bilall Fallah and Adil El Arbi cleverly play with age as they pair up the two middle-aged detectives with what Smith dubs a "High School Musical boy-band with guns". It's a hilarious, pleasant surprise.

They may not deserve it, but Smith and Lawrence's chemistry alone should put them on the shortlist of underrated performances that go ignored by the Academy Awards. Smith, who's been busy the past year, has starred in three flicks in 2019, including "Gemini Man" an "Aladdin" reboot and the animated film "Spies in Disguise". With this now under his belt, three of his four past credits have been hits financially, and occasionally critically. On the other hand, Lawrence has been having a slump, with his last well-received film being in 1990. This could be the start of his comeback. Whether it's Lawrence dubbing themselves the "good men", or Smith styling in his Porsche audiences for sure will get a kick out of it.

So what did the third movie get right that the two originals didn't? First off, remember "Bad Boys II", released in 2003 to a slew of negative reviews? Bay might have included loud action sequences, but the comic timing fell short, and the chemistry seemed a tad off. So right off the bat, the performances are far superior in this 2020 "threequel". Second of all, even back then the original, opening in 1995, seemed a bit outdated, and so were the jokes. Fallah and Arbi got right what Bay did wrong, and certainly gives the franchise an update. Whether the cinema is a fan or not of the originals, it's quite nearly impossible not to enjoy this 125-minute romp. It'll make money, it's a hit with the critics, and I'm already highly anticipating the fourth installment. Whatcha' gonna do?

The final opinion is: "Bad Boys for Life" reinvigorates the long-dormant franchise with a solid plot, excellent action and winning chemistry between its two likable co-stars...$PLURGE IT

Rent for $4.99 in SD or $5.99 in HD and Buy for $19.99 in SD and HD on Prime Video

Box Office Info:

Opening: 62.5M

Domestic Total: 204.4M

Worldwide Total: 419M

"Underwater" Has Visual Flair and Entertainment Value at the Expense of a Derivative Story

By: Keaton Marcus

DISCLAIMER: IF YOU ARE UNDER THE AGE OF 14, YOU SHOULD ASK YOUR PARENTS IF YOU ARE ALLOWED, IF THEY SAY NO…IT MEANS NO!

57/100 “sour”

Did this Alien rip-off partly work? I mean could a William Eubank helmed underwater Ripley-type adventure actually be mildly successful? Well, Eubank's recent film Underwater is intermittently thrilling and benefits from some strong performances, despite its plot being largely derivative and it jumping the shark towards the end. The talented actress Kristen Stewart leads this project to a decent victory, although failing to go much beyond the familiar premise. This 95-minute horror-thriller infused with sci-fi elements may borrow off of similar projects, but that still doesn't quite stop it from packing some fun into the whole affair. Comparing this movie to Alien or Aliens would be like putting The Meg up against Jaws, you can't put them in the same league, but that doesn't mean that Underwater is without its own merits. Fans of the genre should find more than enough to satisfy, although moviegoers looking for another classic will absolutely detest this.

The film is about several researchers who go underwater on a deep-sea drilling investigation started by the company Tian. The six crew members are led by Norah (Stewart) who's station has a pressure breach and is destroyed, but she and Rodrigo (Mamoudou Athie) narrowly escape. The two find their way to another compound, meeting up with the Captain ( a wasted Vincent Cassel, but he still got money!), Paul (T.J. Miller with comic relief), Emily (Jessica Henwick) and Smith (John Gallagher Jr). The six now must find a possible way to get to the surface, but a lack of oxygen isn't all that's endangering their lives. Cue the aquatic Xenomorphs. Yeah, we've seen in this all before, whether it's in space or the deep depths of the ocean, but it's still entertaining.

Audiences won't be able to help to compare Kristen Stewart's performance negatively to Sigourney Weaver, but Stewart still leads with conviction. The visual effects are the stars of the show and the screenplay doesn't do wonders for Stewart's character, though the Twilight actress still brings confidence to the role. The supporting cast doesn't surprise, with Vincent Cassel here to pick up his paycheck, but they weren't exactly poor either. One character has to bring comic relief in a movie like this, and that role is T.J. Miller's Paul, who despite fighting controversy, still stands tall with laughs. Miller was a delight in 2016's superhero comedy Deadpool and plays another jokey character in this. What constantly happens in this movie is I got annoyed by the fact that I felt as claustrophobic as the characters, though Miller is always here to save the day.

The budget is around 65 million USD, much more than the common horror film though not as much as the 140 million spent on The Meg. The cost shows in the movie, however, and audiences should be impressed with the stylish direction by Eubank and the visual flair. That could possibly be enough to slightly outweigh the film's many flaws. What really drags this movie down is the ending, where the remainder of the crew goes up against this god awful giant sea creature. Sure, it may be nice to look at visually, but what started with a creature feature on a smaller-scale nearly turned into a Godzilla movie. Besides the embarrassing finish, there's still much to find with fans in this slickly made piece of derivative fun. I had a good time, and many other viewers will as well, just don't look for anything other than that.

The final opinion is: Underwater is mildly entertaining and visually slick, but it borrows off of too many other projects and doesn't bring enough fresh ideas to the table...$KIP IT

Box Office Info:

Opening Weekend: 7M

Domestic Total: 17.2M

Worldwide Total: 40.8M

Rent for $5.99 or Buy for $14.99 in SD and HD on Prime Video

"1917" is an Immersive, Beautifully Made Film on WW1

By: Keaton Marcus

DISCLAIMER: IF YOU ARE UNDER THE AGE OF 15, YOU MUST ASK YOUR PARENTS IF YOU ARE ALLOWED, IF THEY SAY NO…IT MEANS NO!

96/100 “sweet”

Let's just say that 2020 is off to a stunning start with Sam Mendes' newest production "1917". As emotionally wrenching as it is a magnificent technical achievement, this dazzling look at World War One is lifted by beautiful cinematography and excellent performances. The cast is largely unfamiliar but impeccable, the budget is expensive but terrifically used and the character development is top-notch. Not only does it hit all the bars perfectly, but Mendes has such a keen eye for detail that it may be more epic and harrowing than even Christopher Nolan's "Dunkirk". This tale of heroism may spend much of its time on perfecting every shot, but it also makes breaking the boundaries of the war genre seem a little too simple. Slickly made, dramatic and groundbreaking, this R-rated picture is some of the best cinema of all-time. There's not a flaw in it, its briskly paced and is effortlessly entertaining. This is why we go to the multiplex.

The first incredible shot in the movie is focused on its two charismatics, surprisingly complex characters: lance corporals Schofield (a patriotic and incredible George MacKay) and Blake (a supporting, but still stellar Dean-Charles Chapman) who are caught napping in the fields. The two British soldiers are sent back into the trenches to General Erinmore (the stiff-lipped Colin Firth) for the literal mission of their lives. The men have been tasked to deliver a message deep into enemy territory to stop 1,600 of their soldiers from walking into a trap that will cost many lives. It may not be based on a true story, but Mendes sure plays the heck out of it and executes it better than many. Call the mission unrealistic, but any arguments will be simply overwhelmed by the magnificent movie.

More than anything, you will be enchanted by the effort put into the performances. George MacKay, known for little credits, finally gets his star-making role as Corporal Schofield. MacKay makes usage of the remarkable screenplay and exceeds in giving a nuanced performance in a tricky role. While their parts aren't quite equal, MacKay still has heavenly chemistry with Chapman as they embark on their brutal journey. What happens when you're a little fatigued of solely relying on a performance? You won't be! The effects, direction, and pitch-perfect run-time are also positive factors. In the many years that I've been an avid watcher of film, I don't believe that I've been in this much awe. Much less from a duo of simple, yet killer performances.

The cinema will have already seen many tricks up the film's sleeve, but none this good. Readers must be wondering what the hell I'm talking about. Academy-award winner and cinematographer Roger Deakins (Blade Runner 2049) has completed a movie in one continuous shot. Or so it seems. Audiences may not be able to tell whether this is a hoax or not, but it sure seems damn realistic. It's almost like a video-game, you follow the two main characters through the thick and thin, and meet interesting little roles along the way. Immersive is the word to describe the sensation, but also just amazingly easy to geek-out on. Deakins makes the trick convincing, but then the shots just get a tad too sophisticated, and you wonder if any of this is even genuine. Regardless, it's still a gorgeously made, well-acted, hard-hitting and cruel production that deserves great acclaim.

The final opinion is: Sam Mendes' "1917" features masterful cinematography, and makes for a compelling new war film with a star-making performance by George MacKay...$PLURGE IT

This movie was released in only a few theaters in 2019, but is going to over 3,200 theaters on Jan 10th, so we consider this apart of our 2020 reviews page.

Box Office Info:

Opening: $576,216 (limited release)

Domestic Total: 159.2M

Worldwide Total: 368M

Rent for $5.99 or Buy for $19.99 in SD and HD on Prime Video

1917

Rent for $5.99 and Buy for $19.99 in SD or HD on Prime Video

By Quinn Marcus

(2020)

AGE: 15+

95/100: SWEET

So What's The Story?

1917 tells the story of two young British soldiers in WW1. Both soldiers, Lance Corporal Scholfield and Lance Corporal Blake are given the task of stopping an attack on the Germans. If they fail to do so, the British will lose 1600 men, one of which is the brother of Blake. Together, these two men must travel through the perilous ruins and treacherous dangers that await them. Is It Worth Your While? 1917 is arguably the greatest war movie ever made. You might be thinking, now isn't that a pretty profound thing to say? Well, I'm telling you, there is nothing to question about this spectacular movie. There have been many good war films, my favs include Saving Private Ryan (85% sweet) and Gallipoli (85% sweet). Both of which were able to bring alive the true complexity and emotion of war. However, they were not groundbreaking achievements like this. Think of it this way, there has not been a film that has taken such a risk as to change the way filmmakers look at cinema. Sure, new shots can be taken, new performances can be surprising or amazing, but this was a film that made a huge change.

A quarter through the movie, my papa whispered in my ear "Have you noticed that there hasn't been a single cut?" Now, of course, I had noticed it, but I was so immersed int the film that I barely thought about it. "It's like a video game," my brother had said. Most new video games today work as a one-shot scenario, you travel with your character, fight, meet some people along the way, but there's rarely a cut. Some experts classify video games as immersively addicting. This film is not a video game, but it certainly has similarities. Making a film in one shot is not easy to do. Whether they did cut a few times without the audience knowing, it's not that simple. Actors need to memorize the entire script if a crew member makes a mistake halfway through shooting, they need to start again. It's tiny problems like these that could disrupt the whole operation. Then again, with a director like Sam Mendes in the chair, nothing can stop him from making it work. Sam Mendes has gone for long shots before, for example: In the James Bond film Skyfall, a beginning scene is eight minutes long with no cuts! Now just imagine extending that to a full-length feature. Now, there is an obvious blackout in the middle of the film, but you can't expect the crew to go through the entire film without a break. It's one of those films that people will talk about forever, "Hey remember 1917, the first film to be one shot?" One scene was super inspiring where George Mckay is running across the field full of explosions trying to get the message through. The soundtrack and intensity of that scene are incredible. Overall, 1917 is a beautifully filmed, well-done amazing addition to the war genre that is important to see.

How Was The Cast?

The two mains in 1917 had the hardest job of any cast member, Both cast members, George Mckay (Lance Corporal Scholfield) and Dean-Charles Chapman (Lance Corporal Blake). Seemed as if they were put through extreme labor during the shoot. However, the more qualified the actor, the better. There is a surprising twist about halfway in the movie when the character we thought to be the main, just so happens not to make it during the movie (no spoilers as to who). So, one of the actors is to take the rest of the journey alone. This actor struggled through rivers, rubble and a load of dead bodies. It's hard not to give him some recognition. Both mains had impressive emotions which provided a fiercely realistic performance. After this movie becomes huge in the box office, every director is going to be wanting these two. These two cast members are truly the definition of amazing.

Aging 'World War I'

1917 has bloody, dead bodies practically everywhere. One of the characters sticks his hand inside a dead German soldier. There are a few jump scares. Explosions, gunfire and a whole lot of running make as a big part of the film. Characters are often put in peril, there is rarely a time where the film is peaceful. If you're a teen or above who is a fan of a gory, entertaining war film, be my guest.