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REVIEW: Extremely Wicked, Shockingly Evil and Vile

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Last week, Netflix’s long-awaited film that centered on infamous serial killer Ted Bundy, from the perspective of his long-time girlfriend Elizabeth Kloepfer, premiered and it was met with mixed reviews.

According to the synopsis: “A courtroom frenzy ensues and sweeps 1970s America when a young single mother reluctantly tips the attention of a widespread manhunt toward her longtime boyfriend, Ted Bundy.”

Zac Efron dazzles in his role of Bundy, creating a magnetic like-ability that made the real-life Bundy so appealing in the media. Efron, from angles, even looked eerily similar to Bundy, making his performance that much more powerful.

However, despite the performances of Efron, and Lily Collins (Kloepfer) this film seems “off”, muddying itself into a controversial arena that almost invokes sympathy for Bundy, one of the most evil and brutal killers in America history.

While it’s fair to argue that portraying Bundy this way accurately tells the story, as that is what made him so fascinating and captivating, the film spends too much time on certain events while brushing past others, creating a very odd and confused dynamic..

Directory Joe Berlinger seems to want to do so much in so little time, and although this was told from a certain perspective, it still deviates from that perspective to tell other details and stories, losing grip and direction of the film’s intent in the process.

While it falls flat in certain areas, and it certainly does, it is still a solid movie. But, I cannot help but feel as though Efron, Collins, and performances from Jim Parsons and John Malkovich were cheated out of something that could have been so much bigger, and so much better.

Fright Nerd Score
74 frights
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Summary
While it falls flat in certain areas, and it certainly does, it is still a solid movie. But, I cannot help but feel as though Efron, Collins, and performances from Jim Parsons and John Malkovich were cheated out of something that could have been so much bigger, and so much better.
Fright Nerd Score74
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Anthony DiMoro is the leader writer and founder of 'Fright Nerd'. DiMoro has written for popular websites such as Forbes and The Huffington Post. DiMoro cites Friday the 13th, A Nightmare On Elm Street and Halloween among his favorite horror movies of all time.

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REVIEW: Halloween Kills

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Halloween Kills

David Gordon Green returned with the second installment in his Halloween trilogy when ‘Halloween Kills’ officially arrived on Peacock and in theaters around the country, a perfect fit for the Halloween season.

But the movie, was far from perfect, or anywhere close to it.

“The nightmare isn’t over as unstoppable killer Michael Myers escapes from Laurie Strode’s trap to continue his ritual bloodbath. Injured and taken to the hospital, Laurie fights through the pain as she inspires residents of Haddonfield, Ill., to rise up against Myers. Taking matters into their own hands, the Strode women and other survivors form a vigilante mob to hunt down Michael and end his reign of terror once and for all.”

Green’s ‘Halloween’ in 2018 did plenty good at the box office, despite the movie being so-so. I wrote in my review that the movie went off the rails as soon as Myers made his return to Haddonfield, more specifically when Dr. Sartain went crazy, which I thought was a blip. However, after watching ‘Halloween Kills’ that blip turned into a number of warts that completely sent ‘Halloween Kills’ down the shitter.

Green did a marvelous job with the nostalgia of the 1978 original, as he did in the first film, with the return of Kyle Richards as Lindsey Wallace, and Tommy Doyle’s return (played by Anthony Michael Hall), but really hit it home with the returns of Dr. Loomis (CGI Donald Pleasence), Marion Chambers (Nancy Stephens) and Sheriff Leigh Brackett (Charles Cyphers) who were all pivotal characters in John Carpenter’s 1978 classic.

Aside from that, the movie was a complete dud.

Lost along the way was the essence of what made Michael Myers, and Halloween, uniquely terrifying. The plodding, stalking, slow build of Myers going after his victims was exchanged for a nothing more than a man in a mask who was capable of taking on entire gangs at once.

Myers stalking was essentially swapped out for Matrix fight scenes. And it was horribly ridiculous.

In Green’s 2018 version, Myers still had elements of his 1978 self (which was where Green’s Halloween picked up from) but were lost entirely in the 2nd entry, leaving Myers a hollow, disappointing shell of what made the character iconic.

When it was all said and done, I found myself just waiting for the movie to end, instead of bracing for how the film would lead into the 3rd and final film.

The ending was horrible, unimaginative, and simply ridiculous, which is hard for me to complain about when reviewing a slasher film.

One can hope that Green’s final entry into his version of Halloween is far superior, which will be needed to save this trilogy from being nothing more than barely memorable and easy to forget over time.

Fright Nerd Score
28.5 frights
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Summary
A cluster of nonsense and a disappointing departure from what made Michael Myers iconic. Green got away with some of this in 2018's film, but Halloween Kills died with his poor direction and handling of the Myers character.
Fright Nerd Score28.5
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‘Halloween Kills’ Clocks Over $4.9 Million from Thursday Night Previews

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Halloween Kills

Michael Myers is making a killing once again during the the Halloween season, but this time ‘Halloween Kills’ was fueled by the film’s increased availability on the Peacock streaming platform in it’s Thursday night previews last night.

According to Deadline, the film clocked $4.98 million during it’s Thursday opening and it’s now on track to “open to mid-to-high $30Ms”, which is a major drop off from the 2018 ‘Halloween’ film that banked a $76 million domestic opening, but still impressive given the current state of theaters and the world.

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Shudder Drops Trailer for ‘Horror Noire’

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Horror Noire

Shudder has released a brand new trailer for ‘Horror Noire’ which is set to arrive on the streaming platform on Thursday, October 28th before heading to AMC at a later date.

The six stories featured in the anthology, which focuses on Black horror stories from Black directors and screenwriters, are: “Daddy,” “Bride Before You,” “Brand of Evil,” “The Lake,” “Sundown” and “Fugue State.”

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