Victor Crowley

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Breaking my rules today. I will review a movie I watched with Joe Bob Briggs’ commentary segments and, in this case, most of the cast and crew in attendance as well. It seems only fair after having done the first three in a row, though.

Victor Crowley is, for some reason, not named Hatchet IV. You would think, with the writer-director in attendance, I would have found out why not. But: nope! I can speculate, though. See, this movie does not pick up immediately after the last one ended, for a fourth night in a row of brutal mayhem. It seems that they actually [spoilers for previous movies in the Hatchet series, avoid if you prefer, last chance, here they are!] succeeded in lifting his curse, and he’s been truly dead for the past ten years. Who would have thought. (Also, this movie was made ten years after the original, so, nice.) These reasons seem valid for switching up the title scheme, right? Sort of? Maybe?

Anyway, there’s a survivor who people hate for making money off all those deaths and also maybe they think he did the murders, since who’s going to believe a ghost story with no ghost left? (I found the first part of that really annoying, since he’s not just profiting off death and misery, it really was his story to tell. But whatever.) And there are people hoping to make a movie about the legend, and there’s a crappy talk show subplot, but eventually the two things you really care about do happen:

  1. Everyone winds up in that cursed swamp again.
  2. Somebody makes a rookie horror movie mistake about saying curses out loud.

And then we’re once more off to the races. I have been all but promised a Hatchet V, and you just know it’s going to pick up immediately where this one left off, and I am there for it. I mean, if you can go to movie theaters without dying by then.

Hatchet III

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Later, they made Hatchet III.

I really respect where this is going. The movie starts on the morning after Hatchet II, which is to say two mornings after Hatchet. This is still one continuous narrative, even if one character has changed actors and one actor continues to show up as new characters. But then, that latter is part of the joke.

Another thing I appreciate is that they got the urge for overwhelming gore out of their system last time, so this one could be funny again. And it was. Possibly made even more funny by catharsis based on recent events, but watching Victor Crowley versus a Sheriff’s Department and also a SWAT team? I may well have found myself fascinated for twice as long, if he’d just kept killing people in new and inventive ways. (Just like in real life, I was sad for the one to possibly three of them who didn’t deserve what they got.)

Basically, if you like slasher movies enough to find them inherently funny, and want to watch modern films by someone who loves the genre just as much, and is in on the joke right along with you, this is a can’t miss series. Each entry adds just enough new material to not feel like a retread, while otherwise entirely being a retread, just as God and John Carpenter intended.

Unlike last time, though, I’m actually not sure how there’s room for another sequel. That actually felt like the end?

Hatchet II

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Apparently, the second Hatchet movie had some problems getting past the MPAA without deep, deep edits, most of which were taking over-the-top gore scenes and making them shorter, which for some reason is less offensive. They also pulled some mutilated genitalia scenes and about five seconds of transition from sex to necrophilia, both of which were critical to the plot.

Thankfully, the Prime Video people mislabeled the rated R version, so I got the unrated version instead.

Hatchet II is in the very small class of perfect horror movie sequels that understand how sequels should pick up immediately after the prior movie ended[1]. Final girl Marybeth is ready to plunge right back into the swamp to retrieve the bodies of her dead family folk and just maybe take revenge on the wielder of the eponymous murder weapon[2], with help from voodoo entrepreneur Tony Todd and his band of merry redneck mercenaries. Will it work? I mean, maybe, but I have it on good authority that there are (at least) two sequels left, so, well, you do the math.

In short: not as good, nor as funny, as the original, but what it lost in comedy plus originality, it more than made up in commitment to grossing out the plebes. I ain’t mad at it.

[1]Aliens gets a pass on this. “Sure”, you may be thinking, “57 years isn’t immediate!” But thanks to cryogenics, it was immediately for Ripley, and that’s what matters here.
[2] ssshhhhhhhhhh

Hatchet

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So there I was, ready to watch the second movie in Joe Bob’s slumber sleepover thingummy that aired a week or so ago, when I find out, oops, it’s Hatchet Four in disguise, and here I am never having watched Hatchets One through Three. And, in maybe the least likely turn of events in streaming history, all of them are available on services I already have!

Well, okay, not quite. The first one was on Plex, which I understood to be a way to stream things you have the data file from your data repository to your screen, but apparently they also have a commercial service with random shows and movies on it as well? Which is weird, but unedited plus commercials is as good as I was going to get.[1]

Hatchet, then, is the story of Victor Crowley, a deformed backwoods mutant with a tragic past who is now maybe a ghost or maybe just still alive, but either way, he doesn’t like it when you go to his part of the swamps outside New Orleans. Which is exactly what an old touristy Midwestern couple, a Girls Gone Wild knockoff producer and his marks, a couple of guys in town for Mardi Gras, a sullen girl with her own agenda, and their spooky nighttime ghost tour guide do. So, y’know, big mistake.

Consequences include body parts flying everywhere, multiple alligator attacks, enough breasts to believe this could have been made in the ’80s, blood sprays upwards of 20 yards, and laughs every couple of minutes. I know I was just complaining about what makes a horror movie also a comedy (and more to the point what doesn’t), but this is just one step shy of being a snarky self-aware post-Scream horror movie, except that nobody winks at the camera even once. There are trope jokes everywhere, there’s just not anybody using the script to say see, look at this trope! I have three sequels to get through over the next not very many days, and I really hope this trendline continues.

[1] Unless I had remembered earlier than two thirds of the way through the movie that I’m pretty sure I have this one on DVD (or maybe Blu-ray, who knows?). I miss when there was a wall of movies I could look at before making mistakes like this.

Bride of Re-Animator

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Sad thing number one: I do not have a review of Re-Animator, since I first watched it in its entirety on Joe Bob’s show, and it seems wrong to write reviews for movies I watched with a commentary track (essentially) by a different reviewer. But suffice it to say it was pretty great.

Bride of Re-Animator is… well, it’s not the world’s greatest sequel. I had a whole rant prepared here about how people keep calling these comedies. And I mean. Jeffrey Combs’ turn as Herbert West, the research doctor who keeps trying to perfect his re-animation formula to defeat death, is reliably hilarious. But a funny character does not a comedy make, when the rest of the movie is so dark and serious and tragic, I would have said.

But then I started thinking about things like how annoyingly extraneous I found the cop who was still trying to solve the mystery of the massacre at Miskatonic University last year, only he gets too close to the truth and ends up dead then not-as-dead, and now he’s just an annoyingly non-funny slapstick obstacle for our heroes(?) to overcome, and… oh, that’s what they mean. It’s comedic, it’s just not funny and fails to match the tone of the rest of the film. And the first movie was like that too!, except the funny things were in better balance and were actually a little funny, whereas this is all, cool plot, but you forgot to make the funny parts, so I’m just going to shoehorn those in now, okay?

All that to say, sad thing number two: If they had let West be funny and left the rest of the movie as the slow devolution into tragedy of the other main character, who had survived his tragedy of the first film mostly intact, this might have been a great sequel. It is perhaps obviously also a re-telling of Bride of Frankenstein, and those parts work until the end, which fell a little flat. But I think I have to blame that on the shoehorned comedy disrupting the tragedy too much.

Don’t get me wrong, I still liked it. Almost entirely on the strength of Combs’ West, sure, but that was also true of the much better first movie. Because he’s just such a great character! …but probably don’t be dead or have a potential to be dead anywhere near him. He’s, uh, definitely more into science than morals.

Peace Talks

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The first thing to say about the new Dresden Files book is, unfortunately, damned near the only thing to say about it. Peace Talks is half of a book.[1] I don’t mean that it ends on a cliffhanger, although it does that. (And I think it may be the only book in the series that has ever done that, including Changes.) I mean that things I want to talk about, although they would be spoilers, I can’t. Well, I could in person, if it were a TV show and we were on the same episode, or if the person I was reading along with was on approximately the same chapter.

But I can’t say that Harry’s actions lack [spoiler here] in a review of the book, because maybe they stop lacking that spoiler a few chapters from now, in the second half of the story. That’s what I mean when I say it’s half a book. The main plot advanced to a cliffhanger, which is fine, and one interpersonal plot actually found resolution that has been waiting for something like sixteen books, which is, uh, pretty awesome. But the mystery of the week plot is just as big of a mystery as it was when it came onto the scene, and the other interpersonal plots are just as half-baked, and how do I review the book when I don’t know whether my complaints will be addressed in the second half of it or not, until I’ve read that half?

[1] The good news is, less than 60 days until the second half is released.

Good Omens: The Nice and Accurate Prophecies of Agnes Nutter, Witch

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I first read Good Omens while I was in college, I reckon, based on recommendation and the brand recognition of one Terry Pratchett. So, years before I’d read Sandman or otherwise knew anything about one Neil Gaiman. Finding it now, of course, I would be ecstatic about the collaboration between two such giants, with possibly Gaiman tilting the scale even more?

Anyway, though, I think I only read it the once, which is to say 25 years ago[1], so once I recently learned there was a television adaptation, well. I think I saw all of the first episode rather than part? But for sure no more than that before I acknowledged that I would probably get more out of the show with familiarity, and anyway I had recently finished my current Malazan listen and was in the middle of a Hobb trilogy, which made it impossible to read the next physical book in the Malazan world anytime soon, so hey, time to switch audiobooks to something immediately useful!

“Immediately.” Ha.

Because, you see, a bit over halfway through this fairly short book (12 and a half hours), I no longer had a daily commute. Or much reason to drive literally anywhere at all, but especially in the car by myself. (Good god, my podcasting queue has swelled.) This is probably the least meaningful side-effect of Covid (to me personally I mean, much less to you who reads these words), but it doesn’t stop it being annoying.

But all that to say, I finished the damn book finally, and I do have a handful of scattered thoughts:

  1. Although clearly dated from a technological perspective, the story is otherwise still more timely than not. One supposes that this will always be true of the apocalypse?
  2. The casting of David Tennant as Crowley was an inspired choice. Having just heard the book, I can backfill him into my mental image at any moment and he works perfectly.
  3. The narration, as almost always since I started listening to these, was a) mostly excellent with the caveat that b) the producer or director or sound engineer or whoever makes the choice to edit out pauses needs to be given a crash course in how books are presented. It is always a good idea to let the reader know that a tonal shift of some kind has occurred, whether it be change of viewpoint character, narrator, or scene. Just a second’s pause to let us know something changed. Why is this so hard?
  4. I wish I had a good way to know who wrote what. My instinct is to assign plot to Gaiman[2], humor to Pratchett, with biting social commentary split between them. But of course I have no way to really know.
  5. That said: the four other horsemen subplot goes ultimately nowhere at all and accomplishes nothing except humor, but not nearly enough of that to justify its existence. So I wish I knew who to blame there.

Anyway, it’s a good to occasionally great book, even thirty years after publication, and I’m pretty excited to watch the adaptation now. Six episodes, which seems like plenty enough? We’ll see! …well, I will anyway. It’s not like I’ll eventually report back or anything.

[1] goddammit
[2] This is not a shot at Pratchett’s plotting, nor is the other a shot at Gaiman’s humor. It’s just that it does feel like a Gaiman-style plot overall, and also he does not focus on things being specifically funny, in the general sense.

Gwen

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So there’s this movie called Gwen, in which Gwen and her sister and her mother, and also her father (in flashbacks mostly), wander around the hills of 1850s Wales, either being happy when they’re all together or moody and atmospheric and brooding when they aren’t. Also, some other things happened?

The sad part is, I’m not even joking. I watched this movie a day or two ago[1] and kept trying to pay attention to it, but realized at the end that I legitimately had no idea what had happened, outside of my description above and one or two specific events untethered from any ongoing narrative, like, oh, those neighbors died of cholera, or, huh, all the sheep are dead.

So instead of writing a probably unfairly empty review saying that, I watched it again this afternoon. This time, I felt like I really had watched the whole thing, and I for sure picked up a lot more. Is it all a land grab? Is the mother crazy? Or possessed? Is there a mysterious third party causing all these problems? Like, there was nearly enough plot there to mix in with the moody atmosphere[2], but then I watched the climax of the movie, and, uh… what?

So I went and found the Wikipedia summary of the movie, and sure enough, I missed nothing at all. The stuff that happened is just the stuff that happened. Which is to say there’s a subplot I did not mention above because it did not seem to be the main driving force of the film, but then haha surprise I guess it was.

I think I’m trying to talk myself into having hated the movie, which I did not do. I’m not even unhappy I watched it twice. But it is for certain not the movie that I wish it had been. Because what I understand this to be is a tripod of beautiful and unsettling and prosaic.

[1] I don’t even know which. Time, man.
[2] Folk horror, they’re calling it. The Witch is another such example, and at least there I understand why that appellation applies? This was also a limited cast, moody photography, and minimal dialogue, but I’m not sure that makes it “folk”, in the sense of folk tales I had previously assumed.

Boar

Australia: home of drop bears, kangaroos that, if they get tired of beating you in boxing, can just eviscerate you, snakes that you die after a handful of steps trying to walk away from, rabbits the size of volkswagens, spiders that I can’t even, and now a boar the size of a Sherman tank. Plan a visit, we have lovely brochures and you will only spend a third of your vacation time in transit!

The only real problem with Boar is that (and here I am speculating as to the cause) the director’s family was too dang large. Because there are like four to six groups of characters running around doing things while this boar stalks them, and any time you start to feel connection to the characters, the scene changes away from them for twenty minutes, and then once they finally come back to start getting killed off, you’ve forgotten why you care.

I think the boar may have been the hero of this movie, and I just missed it until now?

But seriously, a slightly leaner movie with half the size of the cast and the remaining characters spending more time getting developed and/or running away would have been perhaps brilliant. Plus, they had the guy from Wolf Creek who I now assume is just cast in all Australian horror by default, because why wouldn’t he be, and an enormous giant of a man whose last name is probably Ayers, since I would describe him as the Australian Rock. (I briefly thought he might be the hero of the film, but then he betrayed me by playing and singing along to “Ice Ice Baby”.)

Frozen II

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I am legitimately confused to report that I never reviewed Frozen[1]. I mean, I saw it. I even remember that where I saw it was at Laylah’s old house in San Marcos, maybe the spring after it came out? I liked it well enough, not that whether I loved or hated it ought to have influenced my intent to write a review. And the thing is, I was counting on that review to help me with this one, for what I trust are obvious reasons.

See, I liked Frozen II. I have said elsewhere that it is probably the best sequel Disney has ever made, and also that this is damning with faint praise[2]. It’s just that… I guess I just wasn’t there for the plot? It was fine, it just didn’t grab me. And in the meantime, the characters and situation were less subversive, the running joke about Kristoff’s [spoiler] was more humiliation cringe humor than actually funny to me, and the music was nowhere near the instant ubiquitous genius of the original.

I will say that Kristoff’s ’80s power ballad and the first big number in which Anna’s lyrics combined with the external events to create an instance of Greek chorus levels of foreshadowing rarely seen in modern cinema? Those were pretty great.

[1] Here I refer to the Disney movie, not the ski lift horror movie, which I did review.
[2] Fight me. Or at least, tell me an actually good Disney sequel, and here I am explicitly disallowing properties that they have purchased elsewhere. It only counts if it’s a legitimate Disney style of movie. The previous best sequel holder was one of the two Aladdin sequels, probably? I forget which.