‘Wildling’ is the next debut of filmmaker Fritz Böhm, and the telling of an age-old tale in a brand new way, because, who doesn’t love a good werewolf story?
Wildling starts off strong, with plenty of build and solid base for the backstory of Anna, who was taken at birth and raised by “Daddy”, who keeps her locked up (with electric door handles to boot) and heavily medicated to prevent her from being eaten by the Wildling.
Daddy, who also happens to be the sheriff, tells Anna that the Widling has eaten all the children and she is the last one left, an effort to justify his actions to her.
As time goes on, Anna eventually ventures into becoming a woman and upon her first period, Daddy starts injecting her with something to help slow down the process.
This starts to unravel the secure environment that Daddy has built for Anna and it eventually comes crashing down, leaving both Daddy and Anna in the hospital.
With Daddy recovering in the hospital, Anna ends up in the care of another sheriff, played by Liv Tyler whose horrendous “acting” derails mostly every scene she is involved in.
I cannot stress how BAD Tyler was in this. Monotone. Unemotional. Expressionless. It was a terrible performance all the way around.
Anna is now in the home with the new sheriff and her high-school brother who she befriends and, eventually, develops a romantic relationship with.
But, Anna starts to change, becoming more like an animal.
Anna and her housemate attend a party where a class bully attempts to rape her, but Anna kills him, so now, the whole town is after her.
This is where the movie takes a nosedive.
Suddenly, Daddy is back, and despite the fact he was illegally harboring and imprisoning a child, he apparently stills holds his position and wields authority.
Despite evidence of rape, the bully is now the victim of a heinous murder, something that just doesn’t sit right with you in terms of the story playing out.
Also, if you’re a sheriff in this town, not only can you avoid jailtime for imprisoning a child and injecting her with crude medicines that constitute abuse, but you can also direct a forest fire that nearly burns down the entire forest, all so you can kill that little girl.
REVIEW: Child’s Play
While we are a bit late to the party, we did get a chance to take in the new ‘Child’s Play’, which dropped on June 21st.
The concept of a modern Buddi doll is brilliant. A walking, interactive, and intelligent AI that can control multiple things in your home, and can help in life, gives a very strong, fresh spin on the tale.
Now, the film starts off by rushing and bumbling it’s way to the reason why Chucky is cursed, and while it’s nice that it didn’t involve any curses, it still fell very flat and seemed rather brushed aside, a big flaw.
Something a bit more detailed, and with some substance to make me care about the process would have benefited this movie in the long-run.
Despite the bumpy start, the rest of the movie plays out smoothly, and although it isn’t anything to write home about, aside from the strong concept, it checks enough boxes to earn a decent rating, basically due to Hamill’s performance, which worked so well.
I just wish there was a bit more meat on the bone.
REVIEW: Annabelle Comes Home
Another entry into The Conjuring universe arrived this past weekend with the release of Annabelle Comes Home.
“Determined to keep Annabelle from wreaking more havoc, paranormal investigators Ed and Lorraine Warren lock the possessed doll in the artifacts room in their house. But when the doll awakens the room’s evil spirits, it soon becomes an unholy night of terror for the couple’s 10-year-old daughter, her friends and their young baby sitter.”
The movie’s plot is setup by an appearance of the Warrens (Vera Framiga, Patrick Wilson) who remind everyone of the danger that is Annabelle.
The two investigators leave the home, where Annabelle is kept in the infamous Artifacts room, and leave their daughter Judy (Mckenna Grace) in the care of her babysitter Mary Ellen (Madison Iseman), who brings her friend Daniela along (Katie Sarife).
Daniela, who recently lost her father in an automobile accident, pushes her way into the home, and into the Artifacts room, hoping that she can use the room as a way to communicate with her deceased father.
Daniela lets Annabelle out, setting forth a wave of terrifying and horrific events that terrorize the 3 girls.
What the movie may lack in story, is made up for with the scares, which are executed brilliantly. While this is the more far-fetched story in the universe, it delivers on other fronts, where The Nun failed miserably.
All in all, worth a watch…with the lights off!
David Yarovesky’s ‘Brightburn’ is an intriguing thriller that puts a unique spin on the classic story of Superman, with the results turning much more sinister.
Dropping on May 24th, the film stars Elizabeth Banks, Jackson A. Dunn, David Denman, Matt L. Jones, and Jennifer Holland.
According to the synopsis:
“What if a child from another world crash-landed on Earth, but instead of becoming a hero to mankind, he proved to be something far more sinister? With Brightburn, the visionary filmmaker of Guardians of the Galaxy and Slither presents a startling, subversive take on a radical new genre: superhero horror.”
The chemistry among the characters is immediately evident, as the dialogue flows in a natural manner, helping the film move fluidly along as the story unfolds.
The origins of the Breyer’s son, Brandon, is kept a mystery throughout the film, as is the origin and purpose of the voice(s) he continues to hear as he unravels into an evil entity, which makes the film that much more intriguing and interesting.
Brightburn keeps itself footed in the horror genre with some gory kills and tense moments, such as Brandon stalking a classmate, that really stand out in a movie that seems to perfectly and consistently balance the varying tones of the film.
From start to finish the film delivers and packs plenty to like in it’s 90 minute runtime making Brightburn a must see as we head towards Memorial Day Weekend.
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