Tag Archives: thriller

I Spit on Your Grave III: Vengeance Is Mine

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I did not care for the sequel to the remake of I Spit on Your Grave, which to be clear is an outstanding movie, and I will not be taking any questions on the topic. So anyway, there was a 3, and I’ve known there was a 3 this whole time, but after how down I was on 2, I never bothered. Until earlier this week, when I just bit the bullet and went for it. And you know what? It’s an actual sequel to the remake, not just another story about a different woman taking different revenge.[1]

I Spit on Your Grave III finds our heroine some years later, with a new identity and haunted by both what she went through and maybe a little by what she did. She joins a rape survivors support group thing, and makes friends with one of the other members, who is tough and brash and has some ideas about how to get justice. Then, when something goes wrong, the main character finds herself going deeper and deeper down the “justice” rabbit hole.

I said the last movie was a cross between the original and one of those European torture porn movies. This was more like a cross between the original and Death Wish. Which, both being movies from the ’70s, is clearly the better fit. The main thing I cannot figure out is if we’re supposed to root for the murders despite several lines of dialogue being way, way over the top, or if we’re supposed to think she’s gone too far and that’s why the dialogue is quite as silly as it is. Either way: man, that’s some rough dialogue.

But if she wanted to make more rape-revenge features, I’d probably get around to watching them.

[1] Also, it appears there may be a sequel to the original as well?! I’ll need to look into that.

A Nightmare Wakes

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This was a weird one, and I’m not sure how I feel about it. See, Mary not quite Shelley and Percy Shelley and Mary’s sister (I think) and Lord Byron are all hanging out at Byron’s place, just like we saw in a recentish episode of Doctor Who. And they made a bet to write a scary story, which as we all know was the genesis of a certain Modern Prometheus. Fine so far.

Only Mary also had a miscarriage, and started getting obsessed with this idea she had for a book, and Percy is getting more and more grossed out by her whole vibe, and meanwhile she’s got Victor Frankenstein (who is just Percy except dressed in black and nobody else can see him) stalking and/or courting her, and basically the whole movie is this obsession she has with her book, or maybe the book is haunting her? I was at first really unhappy because it seemed like they were saying she was being externally haunted and the book was being given to her, which is kind of a bullshit take. But I’m pretty sure it’s the obsession or maybe haunted by the book as she goes[1] but at least she’s really the one writing it angle instead, and that’s alright.

I did a shallow dive into the history of a handful of characters afterward, and while they are certainly taking some liberties here, the movie was in the end at least a reasonable fiction of how it might have happened. (But it definitely did not happen this way, all the same. Also, not for nothing, Percy Shelley, good poet though he might be, was kind of crap at being a man.)

[1] A Nightmare Wakes kind of implies the latter haunted version, but only kind of.

Emelie

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I have to say, babysitter horror movies[1] cannot possibly hit the same if you don’t have kids who need to be watched, if you are ever to leave your house and go on a date. Like, I don’t mean you have to have empathy to enjoy a film, that is not my point. I mean, having experienced the same type of movie before and after, I can tell you with certainty that the one I watched while in possession of a four-year old hit harder than the one I watched without one. And so we have Emelie, a movie about a babysitter implausibly named Anna, and about her unique methods of childcare. Subjects include pet-feeding, puberty, uncommissioned art, and hide and seek.

On the one hand, I feel like I should say more. On the other, what more is there to say? This is exactly the movie you expect it to be, and why should I spoil it for you, if you were inclined to watch it? The one thing I would say is a relatively big spoiler, but it’s worth mentioning. I liked the movie a lot better when the babysitter’s motivations had not yet been explored. That reveal was a big disappointment, even though in retrospect it also is exactly what you’d expect. Unfortunately.

Maybe worth pretending it never happened, or wasn’t true.

[1] That is, the ones where the babysitter is the threat, not the ones where the babysitters are the victims

Hunted (2020)

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Don’t hold me to this, but I think Hunted is a French movie. This is apropos of almost nothing, except that I will later use it to explain my problems with the movie, which are for the most part a little unfair.

So there’s this girl out for a night on the town, and she’s getting her flirt on, and before you know it she’s consentingly in the back seat of a dude’s car, when it suddenly turns out that he and his friend who climb into the front and starts driving, they do not have the noblest of intentions. And then she improbably escapes (not for the last time), and the hunt is on!

Anyway, French I said. One thing that I do not know is if the movie is dubbed. I think it maybe is not, but a lot of people in it, especially the primary antagonist, have incredibly annoying voices. Are their voices annoying because they do not match the person talking? I mean, that could be a sign of dubbing, but it could also just be a sign of someone with an unlikely voice. And since I already kind of hate my own voice, it feels crappy to rag on someone else’s, and yet… it was a distraction.

But the main problem is that it put me in mind of two other movies, both of which are substantially better. First, because of the woman’s ubiquitous red jacket, I thought constantly of Little Red Riding Hood, which in this context means I was thinking of Freeway[1]. And second, for pretty obvious reasons, I Spit on Your Grave[2]. And it is possible to make a mashup of two other movies stand up on its own, but this one, for whatever reason, just didn’t work for me.

Not to say Hunted did not have its charms. Here I am especially thinking of the survivalist bow-hunter mother and son, and the incredible uses of that one arrow. The pair of scenes to which I am alluding were very nearly enough to turn me around on the whole flick, so if you’re still curious, it might be worth your time after all.

[1] Unreviewed here because I saw it on The Last Drive-In, with Joe Bob’s full commentary supplanting my own, but I kind of loved it is the short version. Maybe the only dark, grimey for the sake of grime movie I’ve ever felt that way about. Starring Reese Witherspoon before she was anybody and Kiefer Sutherland before he became somebody the second time around.
[2] Which, as you know, I saw at the Alamo Drafthouse hosted by Joe Bob Briggs, back before his comeback was fully established.

Mission: Impossible – Fallout

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Another few weeks, another new Mission Impossible movie. And boy are these things getting more and more serialized!

Fallout concerns itself with all the[1], ahem, consequences of cutting the head off the Syndicate serpent in the prior film. You see, all the employees left adrift were themselves well-trained spies, so they just kept on keeping on, and now Ethan Hunt and his team have to secure a few loose nuclear weapons.

Blah blah action-cakes and chases and things, but here’s what I found most interesting about this movie after you cut past the (at this point) recycled world-in-danger plots and revenge plots and double crosses and explosions and all: Tom Cruise isn’t smirking his way through each threat anymore. I’m not sure if it’s that he’s older, or that Ethan is older[2], or that the writers want me to buy that there’s more on the line than there used to be, despite prior plots centering on a highly transmissible and extremely deadly synthetic virus and on global thermonuclear war, and Ethan not having all the answers with a snap of his fingers is the way they thought of.

Whatever it is, I liked seeing them have to work for it this time.

[1] oh hey, I just got the double entendre
[2] Yes yes, Tom = Ethan, but I really do think there’s a meaningful distinction to be drawn between the two possibilities. Tom being older is about him also having a more realistic world view and admitting that all of these things shouldn’t come so easily as they do, even in a fantasy action world. Ethan being older is about his growing awareness of his own mortality in a body that is beginning to run out of steam a little faster than it used to, as well as his growing awareness that nobody can maintain a win streak forever.

Mission: Impossible – Rogue Nation

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It has been an extremely long time since I’ve seen a new Mission Impossible movie. I dropped out right around the time they had finally gotten good, with consistent recurring characters and deep continuity and such. Of course, since I dropped out then, I only barely knew this had even happened. But there’s a new two-part… episode? I don’t really know what to call it when a movie is “to be continued” like the one I’m describing purportedly is (since I haven’t seen it yet, you see). But anyway, middle of this two-parter, and also all of the movies are extremely accessible right now, so I’ve watched a lot of them. (Rewatched, for 80% of them so far.)

The first one is from the ’90s, and it was goodish then but terrible now. The second one has a better plot, and is about the same on quality[1]. The third and fourth ones I’ve reviewed, and what you need to know is that the third one is where the continuity starts and the fourth one is the first that goes crazy with action quality that has now become the other hallmark of these movies, plus also where they prove there is continuity.

The fifth one, Rogue Nation, improves on continuity, in the sense that half of the plot is a direct sequel to and explores the consequences of number four. The other half, as with all of these movies, is Ethan Hunt trying to match wits with a world-spanning criminal mastermind and/or organization. The stakes are globally lower but have almost never been personally higher for the team, and also there are a lot of cool physical challenges (like in the fourth movie where he jumped around on that tall building in Dubai) and chases and insane plans that had better work the first time, or else someone gonna die. (Maybe Tom Cruise, if my understanding of who performs his stunts is correct.)

I guess what I’m saying is the plots are (in modernity) pretty decent, but far too intricate to actually try to summarize, plus spoilers, plus also all you really care about when you see these movies is what crazy thing Cruise will do next, and my point is: they are still delivering the goods.

Also though, what this really does is make me excited to get around to watching the Fast and Furious series, which is more or less the same. Early movies that are too old to be what you want today, plus weirdly low stakes compared to what will come later, but in the meantime with a huge focus on family and keeping everyone alive, instead of “whatever, y’all are spies, you’ll probably die soon” that you otherwise see in this kind of movie. I like it here, and I expect to like it there.

[1] except too much Face/Off energy; John Woo made that movie once and did not need to make it twice

Deliria (1987)

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I cannot say that I know much about the history or evolution of gialli, so when I claim that StageFright is a late stage giallo, you should fully understand the credentials that I’m bringing to this claim. But it’s the first movie from a guy who previously assisted Dario Argento, and it is definitely on familiar terms with “stylish”. I call it late stage because the mystery trappings have been completely left behind; you know who the killer is before a single person has been butchered. Nevertheless, you can really see the historical underpinnings between there and here.

See, there’s this extremely off-Broadway musical about female empowerment against a serial killer? rapist? who wears a giant owl head as a mask. And via a series of improbable circumstances, a crazy actor breaks out of a mental facility and gets locked in with the cast and crew while they are finalizing their rehearsals in advance of opening night. So the introductory scenes are the musical, followed by improbable circumstances, and these are followed by some relatively by-the-numbers killings throughout act two. But then in the last 20 minutes, it just absolutely springs to life. Owlhead, the last survivor, the key, the cat, the fan blowing the feathers around… it’s as though without the weight of all the rational people caring about who is doing this or why or if they can survive, keeping things tethered in their own personal trauma, the true insanity of the situation is permitted to fly free.

I know not all of them can be hits, not even all of them from the ’80s, but I really was prepared to be disappointed here, and then, suddenly, I wasn’t. Bravo!

Lo Squartatore di New York

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It might be time for me to watch a non-horror movie. Not apropos of The New York Ripper, or indeed especially of anything, just a random thought I had while gearing up to write this down.

Lucio Fulci is, with 93% certainty, not the only other director of Italian gialli films after Dario Argento. But I think it’s fair to say that if a random non-specialist in the field is making a list of giallo directors, they’d come up with Argento, and then probably, oh yeah, the other guy. Argento is certainly better, and generally more stylish. Fulci, on the other hand, is down and dirty.

Take this movie, which is nominally about a new entrant in the serial killer craze of the late 20th century, whose special power while murdering young (and young-adjacent) women is to talk in a Donald Duck voice, and eventually to taunt the police with said voice. But that’s not the actual point of the movie. The point of it is to cram in as many sex and masturbation and naked torture scenes as possible, justified by its allowance of the cop and the shrink to claim that the killer only goes after women with active sex lives.

Which, if you know how everything ends up, is incredibly fucked up in retrospect, although by then the script seems to have forgotten why this would be troublesome. In its nominal oeuvre, it’s mediocre at best. If you want to see some attractive, nude Italian women pretending to live in New York City and can ignore (or compartmentalize) high doses of misogyny, then have I got a deal for you!

[1] Not for nothing, but there are some seriously NSFW poster options for this movie. I showed… restraint.

Das Cabinet des Dr. Caligari

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I can say with a high degree of confidence that The Cabinet of Dr. Caligari is the first movie I’ve seen that is over 100 years old. I mean to say “seen for the first time”, but there’s a near certainty that it’s also the first movie I’ve seen of that age, period. So that’s something!

Here’s what I like about it: it’s terribly modern. It opens on two men on a bench. The old man says he was driven from his home by spirits, and the young one responds with, essentially, “You think that’s bad? My fiancee and I (here she walks by in a long white dress? night gown?, in a complete daze, as if to emphasize his sentence) were just subjected to a traveling carnival!” And okay, there’s more to it than that, but the whole story of Caligari and his cabinet (that is, wooden box) and the man inside who has been asleep for 25 years and can now tell the future (barkers Caligari, so you know it must be true)  and the series of murders that follows, it’s all told in this dreamlike atmosphere, and on twisted, confusing, dreamlike sets. Sure, you know Caligari is the bad guy and his pawn? accomplice? Cesare is the murderer, but the plot spins in so many directions that it’s possible to continuously speculate about what will happen next.

In conclusion, I don’t think it’s fair to say that all old movies are as good as or better than new ones. But once a movie is still widely known and available to be seen past its century mark, yeah, there’s no surprise that it’s a good one, and that it’s still just as relatable to a modern audience. Pity I didn’t watch the 4K remaster that I understand exists.

Oh, caveat: the music was mostly a terrible fit for the plot and ongoing events on screen, and that hurts a silent film a lot. Eventually I was able to mostly tune it out, at least.

Ruin Me

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I’ve reviewed at least one or two “extreme” haunted house horror movies lately, and they mostly leave me to conclude that, nah, I don’t want to go to one of those whether it’s a front for a shadowy serial killer ring or not, because I have no interest in taking a chance that they might use the spider shower ploy.

But then Ruin Me comes along, and it actually works on me. The idea is, you signed up for a horror movie weekend. That is, the small group of you thrown together by ticket purchase timing have signed your waivers and been given your safewords, and now you’re dumped off in the woods to survive the weekend. Since that’s clearly not enough to go on, there’s also a gamified escape room aspect to it, where you have to follow clues that lead you into the horror movie proper. Just sitting against a tree waiting for a killer to show up would be pretty boring to film, you know?

Here’s what makes it work, as both a viewer and as a prospective client of the real life version of the concept: there’s a real and to an extent insurmountable tension between the “is this so real because, oh shit, it’s real?!” and “man, they are doing an exceptional job here, which, honestly: if they weren’t, why did I pay so much?” scenarios.

The execution here was not quite perfect, but I’ll forgive a lot when you can keep me guessing for this long and it’s not because you just cheated to get me there.