‘The Blob’ 1988 Movie and Blu-ray Review

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The following article was written by Ultimate Rabbit correspondent Tony Farinella.

If you are a fan of 1980’s horror films, you know Shout Factory/Scream Factory gives them the proper treatment each and every single time as they are like the Criterion Collection for horror fans.  They go above and beyond the call of duty with their commitment to the audio and visual aspects of cult classic horror films, and they supply their Blu-rays with tons of special features.  They understand you want to know as much as possible about your favorite horror films, and they have done it once again with their collector’s edition of “The Blob,” a remake of the original film which starred Steve McQueen back in 1958.

With this version of “The Blob,” it shows the advancements made at the time in gore and special effects. I don’t think it is fair to necessarily compare the two films since they were released thirty-years apart.   One thing they both have in common is they are very enjoyable to watch.  I own both of them.  I have the Criterion Collection version of the 1958 film, and I am thrilled to add the remake to my collection from Scream Factory/Shout Factory.  The gore is also taken up a notch here, and it is sticky, gooey, bloody and completely over the top in the best possible way.

“The Blob” is, of course, a film about a disgusting life-form which comes to a town by the name of Arborville.  It is your normal town with a football team, local diner, police and cheerleaders, some of which you would just love to date.   Shawnee Smith plays Meg Penny, the local cheerleader who is your girl-next-door type.  Her father works at the pharmacy, and she is going on a date with football star Paul Taylor (Donovan Leitch Jr.) when they notice something terrible happening all around them. The character blamed for all of this is Brian Flagg who is played by Kevin Dillon, brother of Matt Dillon, and from “Entourage.”  He is the bad boy with a motorcycle, and he has a total kickass 80’s haircut. The police can’t wait to put the blame on him, but he is completely and totally innocent.

The blob will eat and destroy anything that gets in its way. You never know when it is going to appear or when it will strike.  It is part of a political experiment being overseen by shady scientists with their own agenda, and they are not concerned about the people.  The blob started by attaching itself to an old man’s arm, and from there the devastation only increased.  It is self-aware enough to have a running time of 95 minutes so the pace is right on point, the kills are interesting and disgusting, and it never feels boring.

Major props go out to Shawnee Smith as she gives a truly committed performance which should remind you of her work as Amanda from the “Saw” franchise.  Kevin Dillon is solid as well because he knows how to make this character likable but with an edge. He is someone you would want on your side when the blob hits the fan, if you catch my drift.  The effects are also terrific considering the time period this film was released in. The only time the green screen is very, very noticeable is near the end, but even then, it is campy fun.

This was my first time seeing the remake of “The Blob,” and I love both movies.  It is great when they get a second home on Blu-ray as well as the proper treatment courtesy of Shout/Scream Factory. There is also just the right amount of humor when the moment calls for it as well.  Fun fact: The screenplay was co-written by Frank Darabont of “The Green Mile,” “The Walking Dead,” and “The Shawshank Redemption.” This flick is able to gross you out while keeping you entertained and laughing as well, and this is not an easy accomplishment to pull off.  However, everyone stepped up their game on this film, and it shows in the final product.  I cannot recommend this movie enough if you have not seen it in the past, or if you have seen it and want to own it in this tremendous format.

* * * ½ out of * * * *

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Special Features:

Audio commentary with director Chuck Russell, special effects artist Tony Gardner and cinematographer Mark Irwin, moderated by filmmaker Joe Lynch

Audio commentary with actress Shawnee Smith

“It Fell From the Sky!” – an interview with director Chuck Russell

“We Have Work to Do” – an interview with actor Jeffrey DeMunn

“Minding the Dinner” – an interview with actress Candy Clark

“They Call Me Mellow Purple” – an interview with actor Donovan Leitch Jr.

“Try to Scream!” – an interview with actor Bill Moseley

“Shot Him!” – an interview with cinematographer Mark Irwin

“The Incredible Melting Man” – an interview with special effects artist Tony Gardner

“Monster Math” – an interview with special effects supervisor Christopher Gilman

“Haddonfield to Arborville” – an interview with production designer Craig Stearns

“The Secret of the Ooze” – an interview with mechanical designer Mark Setrakian

I Want that Organism Alive! – an interview with Blob mechanic Peter Abrahamson

“Gardner’s Grue Crew” – behind-the-scenes footage of Tony Gardner and his team

Audio Commentary with director Chuck Russell, moderated by film producer Ryan Turek

Theatrical Trailers

TV Spot

Still Gallery

Blu-Ray Info: “The Blob (1988)” is released on a Collector’s Edition Blu-Ray from Shout Factory/Scream Factory.  The film is rated R and has a running time of 95 minutes.

Audio Info: The audio is DTS-HD Master Audio 5.1.  For a film that is thirty-one years old, it sounds terrific.  All of the dialogue between the actors is easy to understand without any issues whatsoever.  When the gory scenes come up, they also have a real sizzle to them as well. Subtitles are in English.

Video Info: The 1080p High-Definition Widescreen (1.85:1) transfer is out of this world.  There are no signs of grain, dust, or dirt when watching this film.  It is incredibly clear and vibrant on screen.

Should You Buy It?

With so many special features on this wildly fun flick, it’s a no brainer when it comes to buying “The Blob (1988).”  I wish I had seen this movie sooner, but to be honest, I didn’t even know there was a remake of the original until recently.  I’m glad there is and that Shout/Scream Factory is there to make it available for purchase for hardcore horror fans such as myself and so many others out there.   The film is a gory ride which has a very satisfying and fun conclusion. You always get your money’s worth and then some with Shout Factory/Scream Factory titles, so you will not be disappointed when you pick this one up.  As a matter of fact, it would make a great double feature with the original flick.

 

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In Defense of Rob Zombie’s ‘Halloween’ Movies

The two “Halloween” movies written and directed by Rob Zombie were eviscerated not just by critics but by the fans as well. Some critics, like James Berardinelli of Reel Views, said they did not even feel like “Halloween” movies. Fans were vocal in how characters like Laurie Strode and Dr. Loomis were unforgivably degraded compared to how they were portrayed in John Carpenter’s original. Others simply said Zombie’s take on Michael Myers just wasn’t that scary.

Well, I say phooey to all this nonsense! Zombie’s “Halloween” movies may not be as scary as the one which started off this never-ending franchise, but for me this was pretty much a given. There is no way you could recapture what Carpenter thrilled us with years ago. Zombie was aware of how Michael Myers, like other horror icons such as Freddy Krueger and Jason Voorhees, had pretty much worn out their usefulness. His respect for Carpenter’s slasher opus was strong, and after making a true grindhouse classic with “The Devil’s Rejects,” I knew he would take this story and these characters and make them his own.

What makes Zombie’s “Halloween” stand out from what came before it is how he treats the backstory of Michael Myers. Granted, this threatens to take away from what made him so scary in the first place. Carpenter’s original was an unrelentingly visceral experience mainly because we were not sure what to make of “The Shape” as he became less than human throughout. But here we get a strong idea of how young Michael went bad as he dealt with an uncaring sister, a busy mother, and an abusive lout of a stepfather. Seeing all he had to deal with made it understandable, if not forgivable, as to why he went psycho in the first place.

Now whereas Zombie’s “Halloween” was about Michael, his “Halloween II” was all about Laurie Strode, Dr. Loomis and of how the horrific events they went through forever destroyed them. It is here we come to realize what Zombie has accomplished with these movies: They are character studies instead of the average slasher movie we have come to expect. This is made even clearer on the “Halloween II” director’s cut which is available on DVD and Blu-ray as it proves to be infinitely superior to the theatrical version.

Fans hated how Laurie Strode and Dr. Loomis were so different from how they were portrayed in Carpenter’s original film, but they forgot how Zombie’s films were a meant to be a reimagining of the franchise and not business as usual. Strode’s extreme emotional reactions might make her unlikable, but they soon become understandable as no one involved in what she went through can ever walk away from it unscathed. Both Scout-Taylor Compton and Malcolm McDowell deserve credit for not being constrained by what Jaime Lee Curtis and Donald Pleasence created before them. In Zombie’s incarnation, these two actors inhabit their characters more than they play them.

In a time of remakes which are as endless as they are unnecessary, you have to give Zombie points for taking this long-running franchise in a different direction. It may not have been what diehard fans wanted or expected, but whereas most remakes repeat the formulas of movies they originated from with negative success, there is something to be said for a filmmaker who willfully goes against expectations. Seriously, this says a lot in a time when originality in cinema is largely frowned upon.

‘Halloween III: Season of the Witch’ Shout Factory Blu-ray Review

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It took several decades, but “Halloween III: Season of the Witch” did eventually get the special edition release it has long deserved. To date, it is the only movie in the “Halloween” franchise which does not feature Michael Myers, and it was lambasted by both critics and fans for the same reason upon its release in 1982. Over the years, however, this sequel has been re-evaluated by many and has since gained a strong cult following. This makes the special edition release of “Halloween III” all the more joyous as it comes with a plethora of extras which tell you everything you need to know about this movie’s making.

This special edition release of “Halloween III” came to us from the good folks at Shout Factory who are released it simultaneously with their equally special edition of “Halloween II.” To say this is the best digital edition ever of this particular film would be a severe understatement as “Halloween III” has never gotten much respect in any of its previous DVD incarnations. It is no surprise to say this movie has never looked and sounded this good since it first came out, and the colors look so vivid in this high definition release.

There are two audio commentaries on this disc, and the first one is with director Tommy Lee Wallace who is interviewed by “Icons of Fright’s” Rob G and “Horror Hound’s” Sean Clark. Wallace made it clear that his intention was not to make a slasher movie like the first two “Halloween” movies, but instead a “pod” movie in the vein of “Invasion of the Body Snatchers.” He also talked about how the assassins dressed in suits represented his fear of the corporate world, and the movie proved to be something of a commentary on American consumerism (a theme which was expanded on in “They Live“).

The other commentary track is with actor Tom Atkins who plays Dr. Dan Challis, and he is interviewed by Michael Felsher. This proves to be the most entertaining of the two tracks and this is even though Atkins goes off topic a number of times. The actor reflects on working with Frank Sinatra on “The Detective,” meeting with John Carpenter and Shane Black, and he also talks extensively about William Peter Blatty’s movie “The Ninth Configuration” which apparently was a disaster. Whether he is talking about “Halloween III” or not, Atkins sounds like he’s having a blast and is endlessly entertaining throughout.

The behind the scenes documentary “Stand Alone: The Making of ‘Halloween III: Season of the Witch” does a great job of looking at the movie’s creation, its initial failure when it opened, and of how it has gained a second life on video and DVD. Carpenter and the late Debra Hill made it clear they were steering clear of the mask-wearing psychopath from the previous films with this entry as they wanted to turn the franchise into a series of anthology films which dealt with the holiday of Halloween. Universal Pictures, however, did not do nearly enough to prepare audiences for this shift in direction.

Executive Producer Irwin Yablans makes it no secret in the documentary of how he thought it was a huge mistake to make a “Halloween” movie without Michael Myers in it, and his only satisfaction from this sequel came in the form of a nice paycheck. Others like Atkins, Stacey Nelkin who played Ellie and stunt coordinator Dick Warlock state they always thought the movie was good despite its initial reception.

Other special features include an episode of “Horror’s Hallowed Grounds” which has host Sean Clark touring the original shooting locations of “Halloween III” with Wallace, and it proves to be a lot of fun watching these two go down memory lane to see what these locations look like today. There’s also the movie’s teaser trailer, theatrical trailer, TV and radio spots, and there’s even a commercial for its debut on network television. The latter is proof of how the producers of this special edition left no stone unturned.

For years, “Halloween III: Season of the Witch” has been treated as if it were the bastard stepchild of the “Halloween” movie franchise, but with the passing of time it has been reassessed as a clever horror movie which stands on its own merits. The Shout Factory Blu-ray release was done with a lot of love and care, and this especially shows in the brilliant artwork on the cover illustrated by Nathan Thomas Milliner. After all these years it is worth revisiting this sequel, and that is even if it you have to endure the “Silver Shamrock” commercial jingle just one more time.

‘Halloween II’ Shout Factory Blu-ray Review

Halloween II Shout Factory blu ray cover

Universal Pictures first released 1981’s “Halloween II” on Blu-ray, and it was a release many horror fans had long awaited. But a year later, Shout Factory gave us another edition of this sequel, and it contained a lot of extras which were sorely missing from the Universal release: audio commentaries, a documentary on its making, deleted scenes, an alternate ending, trailers and TV spots among other goodies. This release also includes what the previous Universal Blu-ray controversially, and unforgivably, left out of the opening credits: “Moustapha Akkad Presents.”

Great care has been taken in this release’s packaging as it contains an excellent cover created by artist Nathan Thomas Milliner. This illustration has Michael Myers walking with that scalpel of his and crying tears of blood, Donald Pleasance holding out his hand which has Myers’ blood on it, and Jamie Lee Curtis looking as fierce as she did in the first “Halloween” movie. Looking at this cover should everyone an idea of just how big a cult following this sequel has more than 30 years after its theatrical release.

When comparing the look and sound of Shout Factory’s release to Universal’s, it’s hard to see much, if any, of a difference between them. Both versions make this sequel look better than it has in ages even though there is a bit of grain in certain scenes. But what this version does have which the Universal release lacked are two DTS-HD Master Audio tracks which include a 5.1 remix and a stereo mix.

This edition also contains two audio commentaries, and the first one is with “Halloween II’s” director Rick Rosenthal who is joined by actor Leo Rossi who played the chauvinistic ambulance driver Budd Scarlotti. Now this is an audio commentary fans have been dying to hear for the longest time, and Rosenthal provides a number of interesting tidbits throughout. Rossi himself is a delight as he talks about how Rosenthal went to bat for him when the late Debra Hill did not even want him in the movie. Hill was instead looking for Midwestern actors as the movie took place in Illinois, but Rosenthal managed to wear her down and get Rossi cast even though he looks and sounds like a New York native.

The other audio commentary is with stunt coordinator Dick Warlock who also played Michael Myers. Of the two commentary tracks, this one proved to be the most entertaining. There are a number of spots in the Rosenthal/Rossi where they both went silent and seemed unsure of what to say, but Warlock is full of details on how he went about playing Michael Myers and of how he handled some of the more dangerous stunts in the sequel.

We do also get a documentary entitled “The Nightmare Isn’t Over: The Making of ‘Halloween II'” which features interviews with Rosenthal, Warlock, Lance Guest, Rossi, Nancy Stephens and many others who were in front of or behind the camera. Like Rosenthal’s commentary, this is another special feature fans have been waiting for endlessly, and it does not disappoint. Some of the best anecdotes come from Rossi who explains how and why he changed the lyrics to “Amazing Grace” when he sang it, and Warlock makes clear why metal zippers do not belong on insulated clothing when you have been set on fire.

There is an additional DVD disc which contains the TV version of “Halloween II” on it, and this is the same version which has been shown on the A&E network. It features additional scenes not found in the theatrical cut as well as an alternate ending which shows one character to still be very much alive.

Other special features include an episode of “Horror’s Hallowed Grounds” which has host Sean Clark revisiting the original shooting locations of “Halloween II.” It’s surprising to see some of them still intact 30 years later. There’s also the theatrical trailer, television and radio spots, and deleted scenes with commentary from Rosenthal.

For those of you who still own the Universal Blu-ray release of “Halloween II,” you may not want to get rid of it just yet. The documentary “Terror in the Aisles” did not transfer over to the Shout Factory release, and it is unlikely you will see it available in its own release in the near future.

When Universal Pictures released its Blu-ray of “Halloween II,” it looked like we would never get a better version of it and had to be happy with what we got. Shout Factory, however, has given us a 2-disc set which has just about every special feature fans of this sequel could ever want, and it will certainly keep them busy for hours.

While it was ill-received upon its release in 1981 and considered a pale imitation of the original, “Halloween II” has long since gained a cult following as there are actually many things about it worth admiring. The look and feel of this sequel mirrors the original, and this was something the sequels which followed it could only dream of capturing.

Elisabeth Shue on Arriving at the ‘House at the End of the Street’

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WRITER’S NOTE: This article was originally written back in 2012.

Do not worry about actress Elisabeth Shue because she is doing just fine. To say she has been making a comeback would not be altogether fair as she has never really stopped working. While it has been some time since her heyday in the original “Karate Kid” and her brilliant Oscar-nominated turn in “Leaving Las Vegas,” she has been keeping busy with “CSI” and movies like “Piranha 3D” and “Hamlet 2” among others. But now she gets the opportunity to act opposite one of the hottest movie stars at this moment, Jennifer Lawrence, in Mark Tonderai’s horror movie “House at the End of the Street.

Shue stars as Sarah, a recent divorcee who has just moved with her daughter Elissa (Lawrence) into a new home which they later find has a ghastly history. What makes the dynamic between Shue’s and Lawrence’s characters especially interesting is how they keep trying to figure out who the mother is in this relationship. Shue described Sarah as being a “rock-and-roll groupie type” who is more of a child than Elissa.

“Mark was really wonderful. We worked on the script to create a mother who’s a little more complicated than what was originally on the page,” Shue said.

Having already acted in horror movies, Shue is no novice to this endlessly popular genre. The actress also makes it clear she “definitely likes to be scared” and counts “The Silence of the Lambs” as one of her all-time favorite movies. She also likes how her role in “House at the End of the Street” contrasts to the horror films she previously appeared in.

“Hopefully, this is a bit more real,” says Shue. “I really like the tension in the film, and the way the characters are allowed to live and breathe, so things aren’t jumping out at you all the time.”

Working with Lawrence proved to be a great experience for Shue as she found the “Hunger Games” star to be “incredibly grown up for her age.” This was certainly made clear to the world when Lawrence made a tremendous breakthrough in “Winter’s Bone” in which her character has to take care of her siblings when her parents prove to have more serious problems of their own. Shue has gone on to describe Lawrence as being “much more mature” than she was at her age.

“We didn’t get too much time together before we started filming, but we had some dinners and hung out,” Shue said. “I think we both share those long years of just being a normal person before getting into this business and I think that’s helpful. She never seemed insecure or needy or someone who wasn’t just very, very confident in herself. At that age, I wasn’t that way.”

It is always great to hear when Elisabeth Shue is doing another movie or television show. Those memories we have of her from “Adventures in Babysitting” and “The Karate Kid” have never gone away, and she continues to entertain us today in whatever she does. I think it is safe to say we can be sure will be seeing plenty more of her in the near future.

SOURCES:

Olivia Allin, “Elisabeth Shue on working with Jennifer Lawrence in ‘HATES,’” On The Red Carpet, September 22, 2012.

Nisha Gopalan, “Elisabeth Shue on ‘House at the End of the Street,’ Jennifer Lawrence, and ‘Savvy’ Starlets,” Vulture, September 20, 2012.

Mark Worgan, “Elizabeth Shue Interview: Jennifer Lawrence Was Always Headed To The Top,” Entertainment Wise, September 27, 2012.

Bob Thompson, “Elisabeth Shue is the comeback kid,” Dose, September 20, 2012.

‘3 From Hell’ Movie and Blu-ray Review

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The following review was written by Ultimate Rabbit correspondent Tony Farinella.

After watching “3 From Hell,” I’m going to go out on a limb and say it is Rob Zombie’s best film with “The Devil’s Rejects” being right behind it.  This might be an unpopular opinion, and I might be in the minority on this, but this is one hell of a movie, pun intended.   Even though the late Sid Haig is hardly in the movie because of his health issues at the time, it is an incredible ride from start-to-finish.  There is never a dull moment in this movie.  This is the kind of balls-to-the-wall and in-your-face horror film which is missing from today’s cinemas.  It is a shame the film did not get a wider release as there is a lot to like here.

3 From Hell” picks up right where “The Devil’s Rejects” left off, and it shows the aftermath of the big finale.  Someway, somehow, Baby Firefly (Sheri Moon Zombie), Otis Driftwood (Bill Moseley) and Captain Spaulding (Sid Haig) have survived their shootout with the police.  However, they are in prison, which makes it quite difficult to unleash their unique brand of mayhem and chaos onto unsuspecting victims. Baby Firefly is still completely crazy and has little interest in trying to get out of prison.  She’s quite proud of what she has done behind bars and of how she has survived.  As a matter of fact, the three of them have quite a fan base now because of the news.

Otis Driftwood is able to escape out of prison thanks to the help of his half-brother Winslow Foxworth Coltrane (Richard Brake) who is new to this series of films.  However, he has worked with Rob Zombie in the past on “31” and “Halloween II.”  Even though he is no Captain Spaulding, he does a really good job of being a believable brother to Otis and a terrifying force.  Now that Otis and his brother are running around free, they need to find a way to reunite with Baby Firefly.  Without her, they are just not complete.  They write off Captain Spaulding as dying from lethal injection, which explains why he is not part of their team anymore.  Once the “3 From Hell” gang are back together again, things really get taken up a notch.  Sometimes their victims just happen to be in the wrong place at the wrong time.  The violence is unrelenting, brutal and completely raw, and this is a compliment to the highest degree in a horror film.

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It is rare to see films like this made today, as I mentioned earlier.  This film is not politically correct, and it is not afraid to truly go for it without thinking twice or blinking. This is the unrated cut of the film, and it certainly holds nothing back with the violence or the nudity as well.  There is not a single moment in this film which is boring, lackluster or wasteful.  Rob Zombie takes a patient approach, but there is always something happening on screen that is capturing our attention as an audience.  At times, it plays like a horror western with some of the showdowns.  It’s also incredibly entertaining.

When “3 From Hell” was over, I had a huge smile on my face.  I realized I had witnessed something special and something which doesn’t find its way to your local theater with the proper marketing.  This is why it was given a special release through Fathom Events. A lot of people have complained about the film being a rehash of “The Devil’s Rejects,” but quite frankly I don’t see it.  With Rob Zombie, he doesn’t make films where things are black and white.  At times, innocent people die on screen. We find ourselves rooting for evil people who are doing evil things.  It is because they are entertaining, funny and totally unlike anything else in a horror movie.

Rob Zombie is a true horror fan, and it shows in the way the film was shot.  It had that grindhouse feel to it.  I loved the look of the film, and I especially loved the performances in the film.  At times, I felt like Sheri Moon Zombie was stealing the show with her antics on screen.  In other moments, I enjoyed the easy-going yet incredibly scary performance by Bill Moseley.  Richard Brake is just as off the wall as well with his performance.  If I had to pick one performance that really stood out, it would have to be Sheri Moon Zombie, though.  Granted, she is given a lot to work with on screen, but she’s more than up to the task of handling it all with relative ease. It’s hitting all the right notes.  I loved every single second of this flick.

* * * * out of * * * *

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Blu-Ray Info: “3 From Hell” is being released on a two-disc Blu-ray, DVD and Digital Combo Pack from Lionsgate Home Entertainment.  It comes with both the R-rated and unrated versions of the film, but the unrated version can only be viewed on the Blu-Ray. The film has a running time of 115 minutes.  For the rated version, it is rated R for strong sadistic violence, language throughout, sexual content and drug use.

Audio Info:  The English 7.1 Dolby TrueHD audio track is out of this world! It is exactly what I wanted out of this film.  It truly adds to the screams of terror when the violence is happening on screen.  It’s great during the scenes which feature some great songs as well. There are also subtitles in English and Spanish.

Video Info: The film looks outstanding on a 1080p High Definition 16×9 (1.85:1) presentation.  It is able to have an old-school grindhouse look to it, as I mentioned in my review, without sacrificing the picture quality which is sharp and top-notch.

Special Features:

Audio Commentary with Rob Zombie:  If you have ever heard an interview with Rob Zombie, you know what an intelligent and thoughtful filmmaker and individual he is.  He takes you through the entire filmmaking process and is never boring.  This is a commentary track which I highly recommend you listen to after watching the film on its own.

To Hell and Back: The Making of 3 From Hell (4-Part Documentary) (01:34:00):  This is almost as long as the film itself!  This is the kind of special feature I wish more filmmakers would add to Blu-rays. It shows on-set footage, behind-the-scenes interviews, and tons of knowledge on anything and everything you would ever want to know about this movie.  This is a top notch, A+ special feature.  I’m really glad they took the time to show us how this movie came together. Rob Zombie is as laid back as they come and very open to ideas from his actors.  Even though he is the writer/director, he only puts his foot down when it comes to notes from the studio trying to change his vision or tell him what to do on his films.

Should You Buy It?

HELL YES!!!  As soon as you have finished reading this review, you owe it to yourself to buy this movie as soon as possible.  This is my favorite horror movie of 2019, and it is one of the best horror movies I’ve seen in probably a decade.   Now don’t get me wrong: I love what Jordan Peele is doing with films like “Get Out” and “Us”.  However, this is, as director Kevin Smith called it, “Horror Heaven.”  If you like your horror films bloody, twisted, funny, unhinged, crazy and totally unfiltered, this is the movie for you.  The audio and the visuals are top notch as well as the special features.  Lionsgate did a tremendous job with this Blu-ray release, and I can’t recommend it enough!

 

‘Annabelle Comes Home’ Movie and Blu-ray Review

Annabelle Comes Home Blu Ray cover

The following is written by Ultimate Rabbit correspondent Tony Farinella.

Annabelle Comes Home” is the third film in the “Annabelle” franchise.  I would rank it as the second best in the series.  My order goes like this: “Annabelle: Creation,” “Annabelle Comes Home,” and “Annabelle.”  When you throw “The Conjuring” universe into it, it can be a little bit more difficult to rank them.  Because of this, I am going to keep it strictly to the “Annabelle” films when ranking them. “Annabelle: Creation” was a prequel, but this one is a sequel to the original “Annabelle” film. Ed and Lorraine Warren take the Annabelle doll home after the destruction she caused in the first film.  They have a room where they keep all of the evil things locked away.  However, Annabelle is so malevolent, a priest comes by the house twice a month to bless the doll.

When Ed and Lorraine Warren go away on business, they need someone to babysit their daughter Judy, played perfectly by Mckenna Grace.  The terror and fear she expresses on her face and throughout the film is simply off the charts.  Judy has a hard time making friends because people think her parents are strange and a little off-kilter because of their profession.  They are Demonologists.  If you are new to this franchise, Ed and Lorraine Warren are real.  As a matter of fact, Lorraine recently passed away, unfortunately.  They are played by Patrick Wilson and Vera Farmiga, and since the two of them have been playing the couple for so long, their chemistry and timing is just about flawless.

 

Sadly, they only show up at the start of the film, and they don’t reappear until the end of it.  When they are on screen, the film is really taken up a notch.  There is good news, though, and it is those two terrific actresses Madison Iseman and Katie Sarife who play the babysitter, Mary Ellen, and her best friend Daniela.  When you throw in Grace, you have three young leads who carry the movie throughout its running time.  There is also a love interest named Bob (Michael Cimino) with great comedic timing and a running gag about his name.  They are the ones stuck dealing with Annabelle when she gets released from her glass case.

Annabelle Comes Home photo

Now, a lot of people have a problem with films which have jump scares.  There are a few jump scares in this flick, but they are really built up by the suspense and pacing which is set by director Gary Dauberman.  This is his first time behind the camera as a director, and he shows a sure hand in setting the mood.  The set design is also terrific along with the costume design, as the 1970’s look is spot-on throughout the film.  It is easy to see they spent a lot of time working on getting the little details right as it shows in the final product.  Dauberman has also written “It: Chapter 2,” “Annabelle,” “Annabelle: Creation,” and he was one of the writers on the first “It” in 2017. He knows the horror genre, and he knows the “Annabelle” franchise.  He also wrote this film based off a story he created with James Wan.

When all is said and done, this is an entertaining ride.  It starts with the acting, first and foremost, as mentioned.  If the young actors are not up to the task of showing terror and making the audience believe, the film is going to fail.  It falls on their shoulders, as they are put in charge of leading the way when Wilson and Farmiga disappear for a good chunk of the film.  They carry the movie on their shoulders, and they do not disappoint in the least.  They raise the level of the film with their acting.  Casting is so important in a film like this.

Also, Dauberman proves here he should be put in charge of more horror films as a writer and director. He knows how to use silence to his advantage, and he also truly cares about his characters as well.  There is a reason why Annabelle returns. Without giving too much away, many times characters in horror films make poor decisions.  When you find out why Annabelle is unleashed here, you understand it’s for an emotional reason which makes sense.  It is not just a plot device to get her to be part of the film.   I enjoyed myself a lot more than I thought I would with this third installment in this franchise.

* * * out of * * * *

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Blu-Ray Info: “Annabelle Comes Home” is released on a two-disc Blu-Ray Combo Pack from Warner Brothers Home Entertainment.  It also comes with a digital copy as well.  The film has a running time of 106 minutes.  It is rated R for horror violence and terror, although I felt as though it could have been PG-13 as the horror violence is rather tame.

Audio Info: The audio on the film is Dolby Atmos-TrueHD: English, English Descriptive Audio 5.1, Dolby Digital: English 5.1, Dolby Digital: French 5.1 (Dubbed in Quebec), and Dolby Digital: Spanish 5.1. Subtitles are in English, Spanish, and French.  The film sounds great, and the tension is built up perfectly by the eerie soundtrack without it banging you over the head.

Video Info: The video format is 1080p High Definition 16×9, 2.4:1.  The picture is crystal clear, sharp, and very vivid.  It looks great on Blu-Ray.

Special Features:

Behind the Scenes: The Ferryman/Demon (05:18), The Bloody Bride (02:57), and The Werewolf (03:07):  These are characters which show up throughout the film.  On this special feature, we get to meet the actors who portrayed them and see what they went through in order to get properly prepped with make-up, effects and costumes.  It leaves the audience wondering if any of these characters will be turned into films, which is something the director hints at on these special features. Dauberman and Wan discuss what they were thinking when coming up with the characters together and how the behind-the-scenes team made them into a reality.

The Artifact Room and the Occult (05:07):  This focuses on the infamous artifact room that is in the Warren’s house.  They wanted to add some new artifacts they were not able to introduce in other films, according to Wan.  There are some very cool pieces and Easter eggs they added to the room.

The Light and The Love (04:26):  They talk about the love between Ed and Lorraine, which really is the heart and soul of the film.  While the scares are great and the stories are terrifying, it is Ed and Lorraine who really stand out.  These are two-dimensional human beings played by Wilson and Farmiga, and you can tell they have a lot of love for the real Ed and Lorraine Warren. The chemistry and connection they share on screen is hard to ignore.  There is an element of fun which is really needed in these films without being too cheesy. They talk about how they love being able to play the scary scenes along with the family drama as well.  It’s a good balance.

Seven Deleted Scenes (11:28):  Seven deleted scenes are added here, including an alternate ending.  I thought the running time of the film was just right, and the filmmakers hit all of the right notes.  Most of the deleted scenes are just more time spent with the characters which is fine, but it is not really necessary in the big picture of the film. However, there is one particular scene where Mary Ellen opens up about a near-death experience that is very powerful and should have been used in the film.  The alternate ending is nowhere near as good as the one in the film, so I’m glad they didn’t use it. The alternate ending is very clichéd and predictable.

 

Should You Buy It?

If you are a fan of “The Conjuring” universe or the “Annabelle” films, you will be happy to know they are still churning out quality movies with great performances and effective scares.  If you take away “The Nun” and “The Curse of La Llorona,” you have three really good movies (“The Conjuring,” “The Conjuring 2” and “Annabelle: Creation”) and two good ones in (“Annabelle” and “Annabelle Comes Home”). I was close to putting “Annabelle Comes Home” in the really good category, but it just misses the mark.  However, it is still a good film and one worth adding to your collection if you own the good movies.  I own five out of the seven films.  There are special features and an alternate ending, but I wish they had gone into more depth with the special features. A commentary track would have been great as well. The Blu-ray looks and sounds great, which is always the case with Warner Brothers on their new release films.  This is a day-one purchase for hardcore fans of the franchise or the universe, however you wish to describe it.

‘Gremlins’ 4K Ultra HD Blu-ray Review

Gremlins 4K Ultra HD cover

The following review is written by Ultimate Rabbit Correspondent Tony Farinella.

Gremlins” came out a year before I was born, but the true test of any good to great movie is how it holds up, regardless of how old it is.  While watching this 1984 classic for the first time in what feels like ages, it does show its age in some respects.  However, there is something rather charming about the 80’s comedy/horror film that still holds true to this day.  The film is rated PG, although if it were released today, I would imagine it would get a PG-13 rating.  There is nothing overly graphic about it, but it’s partially a children’s horror/comedy and partially a young adult horror/comedy. Oddly enough, the PG-13 rating was put into place two months after this film, according to research.

Everything gets set into motion when a quirky and outside-the-box inventor named Randall Peltzer (Hoyt Axton) wants to buy something special for his son on Christmas.   He happens to come across a very special creature known as a Mogwai.  The man in charge of the antique shop does not want to sell it, but his grandson does a side deal with Randall in order to get some much-needed money.   He tells the man to remember three things: Don’t get it wet, don’t expose it to the sun, and don’t feed it after midnight.  Randall thinks this sounds simple enough and proceeds to take the Mogwai home to give to his son Billy for Christmas.

All is fine and dandy with the Mogwai, which ends up being named Gizmo, until one night it gets wet.  They learn that this creates even more Mogwais in the process. Things turn even worse when Billy (Zach Galligan) feeds them accidentally after midnight. Now, Gizmo is one of the good ones.  He is adorable and harmless.  The rest of them, however, turn evil and create mayhem and mischief at every corner.  It is up to Billy and the girl he likes, Katie (Phoebe Cates) to stop these gremlins from destroying everything in their path.

Gremlins 4K scene clip

Considering all of the various films that came out in the 80’s that dealt with teenagers/young people in peril trying to figure things out, it’s easy to see why this film was such a success.  We are seeing a lot of that with “It” and “Stranger Things.”  What’s old is new again. People hold a certain affinity for the 80’s and the films that came out during that period.   They also like to see the young kids taking control of a situation.  That is what happens here.  It doesn’t take long for things to get out of hand.

“Gremlins” is a very fast-paced film directed by Joe Dante, and he mixes the comedy and horror together just right. The screenplay by Chris Columbus is also very well-written, and this helps the proceedings.  It is not a scary film at all, but it is a film which knows what it is trying to accomplish for audiences. This is a film which is a lot of fun and over-the-top with its use of the various creatures inhabiting it.  While they garner a lot of screen time, it is impossible not to notice the cast which also includes Judge Reinhold and Corey Feldman.  It is also great to see a horror film where the parents actually believe the children instead of doubting them, and they are fighting alongside the children against these hideous creatures.

In the end, thirty-five years later, “Gremlins” does show some signs of aging, but as mentioned earlier, considering how people are gravitating toward the horror comedies of the 1980’s with young teens in peril, it works quite well in today’s cinematic world.   With it being released on 4K, this is the perfect time to pick it up and add it to your collection.  The transfer is a solid upgrade, and it’s the perfect movie to watch with Halloween fast approaching.   While there is a lot going on here, it never feels overstuffed or overpopulated.  It feels just right in terms of the pacing, the acting, and the outcome.

* * * ½ out of * * * *

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Video Info: The 4K is released on 2160p Ultra High Definition 16×9 1.85:1, and the Blu-Ray is 1080p High Definition 16×9 1.85:1.  While the 4K transfer is a solid improvement over the Blu-Ray, it’s not a huge improvement.  The Blu-Ray is pretty basic and does not stand out all that much. It is still grainy in certain scenes, and they didn’t add anything new to the Blu-Ray.  With the 4K, it adds more color with the high dynamic range.  For those like myself who are really big into audio and video, you want to own the best version of this film. Again, it’s the same Blu-Ray that’s always been out there, but you are buying this for the 4K transfer.

Audio Info:  I did not notice a huge difference in the audio on the 4K disc as much as I do with the video quality. However, there is still a slightly noticeable difference here with the audio on 4K, and this is what makes it an especially worthy purchase.  The audio on the 4K is DTS-HD MA: English 5.1, Dolby Digital: French 5.1, Dolby Digital: Spanish 5.1 (Both Castilian 5.1 and Latin 2.0).   The subtitles are in English, French, and Spanish. For the Blu-Ray, you get Dolby TrueHD: English 5.1, Dolby Digital: English 5.1, Dolby Digital: English 2.0, Dolby Digital: French 5.1, Dolby Digital: Spanish 5.1 (Both Castilian 5.1 and Latin 2.0).   The subtitles are in English, Spanish, and French.  There are no problems to report with the audio, and it is consistent throughout.

Special Features:

Filmmakers’ Commentary with Director Joe Dante, Producer Michael Finnell and Special Effects Artist Chris Walas:  If you are looking for the behind the scenes commentary track on the filmmaking process, this is the special feature for you.  They cover a lot of ground here, and it is especially interesting to hear from Chris Walas who would go on from here to win an Academy Award for Best Makeup on “The Fly.”

Commentary with Joe Dante, Zach Galligan, Phoebe Cates, Dick Miller, and Howie Mandel:  If you are looking to hear from the actors and how they approached this project, this is the right commentary track to listen to as they tell some great stories.  These commentary tracks are on both the 4K and the Blu-Ray.  They are both worth listening to, as they offer something different.

Theatrical Trailers

Photo/Storyboard Gallery

Gremlins Behind-The-Scenes Featurette (06:21):  This was put together when “Gremlins” was being shot, so it is not a modern special feature.  It features interviews with Joe Dante, Hoyt Axton, Zach Galligan, Chris Walas, Phoebe Cates, and Steven Spielberg. Oddly enough, Spielberg did not consider it a horror film or a spoof when talking about it on this special feature from the 80’s.  I wonder what he thinks of the film today.  He said “Gremlins” was unlike anything he had read which was why he bought it and gave it to Dante to direct.  It would have been great to see a more modern special feature which looked back on the film thirty-five years later.

Additional footage which includes an extended opening, an extension of Judge Reinhold’s character, and more with commentary by Joe Dante (10:26): Joe Dante talks about the editing process and how the original rough cut was two hours and forty minutes. He talks about why these scenes were deleted as some were repetitive.  Other voices are heard on the commentary track, but they are not identified.  I believe some of them are from the actors like Phoebe Cates and Zach Galligan. You can listen to this with or without commentary.

Should You Buy It?

While there are no new special features, “Gremlins” is a good addition to add to your collection if you own a 4K TV and 4K Blu-Ray player.  The 4K transfer is an improvement, and the price is only $24.99. That said, it would have been nice to see some new special features as well as an updated Blu-Ray release to go with the 4K disc. If they had just put a little more time and effort into that, this release would have been a home run.

‘3 From Hell’ – Rob Zombie’s Vision of Madness and Mayhem Continues

3 From Hell theatrical poster

I have no shame, nor should I, in admitting just how much I liked “The Devil’s Rejects.” While Rob Zombie’s first film, “House of a 1000 Corpses,” showed him to have a strong visual style and good taste in actors, it paled in comparison to the movies which inspired it. “The Devil’s Rejects,” however, showed him taking a number of cinematic influences and making them his own, and what transpired was a nasty grindhouse film which never pretended to be anything other than what it was. As a result, “3 From Hell,” was one of those 2019 movies I was most excited to see. How was it? Read on my fellow readers…

When we last saw Otis B. Driftwood (Bill Moseley), Baby Firefly (Sheri Moon Zombie) and Captain Spaulding (Sid Haig), they were going out in a blaze of glory as the police riddled them with an endless supply of bullets while Lynyrd Skynyrd’s “Free Bird” played over the soundtrack. They had reached the end of the line, or so we thought. As “3 From Hell” begins, a newscaster played by the great Austin Stoker informs us they somehow miraculously survived the lethal shootout by police, and they now have a lengthy trail to look forward which will determine their ultimate fate.

Now we can agree there is no way those crazy bastards could have survived such a shootout without at the very least a bulletproof vest. Still, perhaps back in the late 1980’s, when “3 From Hell” takes place, medical science was advanced enough to where gunshot wounds could be treated more effectively. Then again, Otis, Baby and Captain Spaulding are known as the devil’s rejects, and I guess Satan still does not have enough room for them in hell any more than he does for business criminals. Street criminals on the other hand…

Anyway, the three killers are sentenced to either life in prison or death by lethal injection, but we all know they are not going to stay there. Thanks to Otis’ half-brother Winslow (Richard Brake), Otis and Baby escape their confines and head out on the road to inflict bloody mayhem on both the innocent and those who they believe “wronged” them. As you can expect, there is plenty of blood, gore and carnage on display as one bullet or stab wound is not nearly enough to take down a human being here.

One sad thing about “3 From Hell” is how briefly Sid Haig appears in it. This is because he was in ailing health when production started, and it was determined he would not able to participate as a result. Watching Haig here is heartbreaking as he is clearly not in the best shape, but Zombie still does right him and writes one hell of a monologue which Haig performs to brilliant effect as he yells out loudly, “I’m just a clown dancing to the sins of mankind.” Listening to Haig here reminded me of what Augustus Hill once said on an episode of “Oz:”

“So, what is it that separates you and me from the goldfish, the butterfly, the flat billed platypus? Our minds, huh? Our souls, huh? That fact that we can get HBO? Well maybe it’s that humans are the only species to put other animals in cages. Put its own kind in cages.”

Still, I have to say “The Devil’s Rejects” is a hard film to top, and “3 From Hell” proves this to be the case. This follow up does not have the same level of sadistic glee, nor does it have the kind of lethal antagonist which “Rejects” had in William Forsythe’s character of Sheriff John Quincey Wydell. When the Otis, Baby and Wilson are forced to deal with a Mexican gang, they also appear here by accident to where their threat does not register strongly enough with us.

But just when “3 From Hell” looks to be an unnecessary sequel, I did find myself admiring Zombie’s subversive ways as he plays around with how people see serial killers from the outside. We watch fans of the Firefly family as they are interviewed on television, and they seem them instead as folk heroes who they believe have been wrongfully convicted. While we may want to criticize these fans for worshipping the wrong people, Zombie is very clever at illustrating how we are deeply fascinated by certain people who have performed the most heinous and unforgivable acts on others. While we say we are not, there is that part of us which is even if we do not admit it. Just like Mercedes Ruehl said in “The Fisher King,” the devil is a lot more interesting.

There is even a scene where we are watching footage of Otis and some fellow prisoners (one of them played by Danny Trejo) being led to work in a field, and this same footage also shows Otis escaping and killing a prisoner in cold blood while the camera continues to roll. Now this is not something which should be shown on television, but stations still do this every so often, and we are drawn to this footage even if we know better than to watch it. With “3 From Hell” and its predecessors, Zombie makes us see how drawn we are to pure evil even as we openly despise it.

While Zombie was forced to shoot this sequel on digital instead of film, he along with cinematographer David Daniels and editor Glenn Garland succeed in making it look as grungy as your average grindhouse picture from the 1970’s to where I honestly thought this was shot on film (the end credits revealed otherwise). However, the CGI blood does leave little to be desired even if the filmmakers did what they could to make it look real.

In addition to a strong film score from Zeuss, Zombie provides us with another great soundtrack to put his grisly images to, and it includes such classic tunes as Slim Whitman’s “The Devil is Singing Our Song” and Suzi Quatro’s “The Wild One.” He even uses Iron Butterfly’s “In-A-Gadda-Da-Vida” in a key murder scene, and I admired him for daring to do so as this song has already been used to unforgettable effect in Michael Mann’s “Manhunter” and a classic episode of “The Simpsons.”

As expected, the actors revel in portraying their politically incorrect characters and do so without any shame. Moseley may very well have given his best performance as Otis in this sequel as he gives the character more dimension you might expect him to have. And while she looks to chew the scenery a bit too much at times, Sheri Moon is a blast to watch as she brings a surprising degree of vulnerability to Baby. As we see her being held in captivity, Sheri makes us see how prison life has had a harsh impact on Baby’s mental state, and it was never a particularly stable mental state to begin with.

I also have to give Richard Brake a lot of credit as he is stepping into an ensemble which has long since established its own rhythm. But as Winslow, he manages to fit in perfectly with Sheri Moon and Moseley, and he makes this character stand out in his own uniquely maniacal way. The scene where he grins ever so slightly as Otis pounds a man’s face in with the butt of his gun gives this film one of its most chilling moments, and it shows how fearless Brake is in portraying such an amoral human being.

I did my best to keep my expectation in check when I came into “3 From Hell” as “The Devil’s Rejects” was always going to be hard to top. The fact it is not the equal of its predecessor is not a surprise, but there is still much I admired here, and I have no problem saying I enjoyed what Zombie had to offer audiences this time out. No, it is not for everybody, and there are scenes of sheer brutality which will have certain audience members dashing for the exit. But for those who like especially intense horror films, I felt this one delivered.

Could there be a fourth film in this franchise? I suppose, but at some point the devil has to make room for these three as well as all the criminals on Wall Street who continue to get away with far too much.

* * * ½ out of * * * *

‘Midsommar’ is the WTF Movie of 2019

Midsommar movie poster

All the horror film fans I have met in the last few months have been saying the same thing: Ari Aster’s “Hereditary” is so fucked up, and they mean this as the highest compliment. Just the name of it is enough to make those who watched it open their eyes ever so wide sound like they are still gasping even months after sitting through it. It reminds me of when I saw Lars Von Trier’s “Breaking the Waves” with my parents, and we are still trying to recover from that cinematic experience twenty years later.

Well, as I write this, I have still not seen “Hereditary,” but I have just seen Aster’s follow up, “Midsommar,” and it was his director’s cut which I got to view. Even before it ended, I found it to be the WTF movie of 2019, and I do not think there will be another released before the end of the year which will equal it in terms of sheer unease. Now I have to watch “Hereditary” as I now wonder which one will seem more messed up than the other. After hearing people attempt to describe “Hereditary” to me before losing their breath, I feel like I have perfect understanding of why they reacted the way they did.

The first fifteen minutes of “Midsommar” is a short film of sorts as we are introduced to graduate students Dani (Florence Pugh) and Christian (Jack Reynor). They are romantically involved, but it does not take long at all to see the cracks in their relationship. Dani confesses to a friend how she is not sure Christian is opening up enough to her, and Christian’s friends keep convincing him to break up with her as he has wanted to for some time. However, when a terrible tragedy suddenly rocks Dani’s already fragile mental state which she treats with Ativan, Christian stays by her side out of a sense of obligation and to not leave out in a wilderness of pain and misery.

Cut to several months later, and Dani is still trying to recover. Christian, although begrudgingly so, invites her to come along with him and some fellow graduate students on a trip to Sweden. Their Swedish friend, Pelle (Vilhelm Blomgren), has invited them to his ancestral commune, the Harga, in Hälsingland, where they can attend a midsummer celebration. The big selling point of this trip is that the specific iteration of this celebration only occurs every ninety years, so it is essentially the equivalent of Haley’s Comet; you miss it now, you may never get another chance.

Aster makes no secret of how “Midsommar” was inspired by, among other films, “The Wicker Man,” and this is even if you have heard of that cult classic but have not seen it. Our main characters are introduced into a place far removed from modern living if not completely removed from technology (someone is always looking for a WIFI signal). Everyone is dressed in the same white clothes, they live off the land and make their own food and crops, and everything seems so beautiful and serene. Of course, looks are always deceiving and, in this story’s case, they are infinitely deceiving.

“Midsommar” has been described as a folk horror film, and Aster himself has called it a “break up movie.” What I admired was how he takes his time with the story to where he does not rush anything at all, and this makes the experience of viewing it all the more enthralling. Even when this loving commune later proves to be a pagan cult which is not always kind to outsiders, you, like the main characters, are not quick to find an escape even if there is a working car nearby. If this were being released by a studio other than A24, I imagine the executives would be asking Aster, “Can you get them to the commune any faster? How about by page 3?

Has this kind of film been made before? Yes, many times, but even as I thought I knew what would happen next, Aster lovingly teases us with our knowledge of the genre to where my expectations were gleefully subverted. While he doesn’t do anything new, he does make this kind of motion picture uniquely his own to where my eyes were pinned to the screen from start to finish.

Aster plays us like a piano throughout as he gives us certain moments which appear to imply what will happen to at least one or more of these characters to where we can only imagine what fate they will bring upon themselves. For instance, the girls in the commune play a game called “skin the fool.” Need I say more?

In addition, Aster has the good fortune of working with cinematographer Pawel Pogorzelski and composer Bobby Krlic, both of whom help make his vision all the more beautiful and deeply haunting. Pogorzelski makes everything here seem so inviting, and this is even after some commune members celebrate the end of life in a most painful way which, if it does not kill them, will involve some Gaspar Noe smashing of the “Irreversible” kind. As for Krlic, he creates a deeply atmosphere music score which sucks us right into the beauty and horror of all we witness. Even if we want to tear ourselves away, there is something which keeps us tightly locked in.

I am not really familiar with Florence Pugh’s work, but she does what many English actors have done before and will do again in the future, play an American character with an American accent. But more importantly, she captures Dani’s fragile mental state perfectly to where all the panic attacks we see her experiencing feel frightening in their authenticity. Trust me, anyone who has experienced any kind of panic attack will tell you this is the real deal, and Pugh inhabits this character fully and fearlessly.

A good deal of credit also goes to Jack Reynor as he boldly makes Christian into one of the most thoughtless boyfriends ever in cinematic history. Upon witnessing a ritual suicide, Christian first reacts in horror, then he decides he wants to do his graduate thesis on the commune despite one of his fellow classmates already planning to do so. Reynor also allows himself to be completely nude during and after one of the most deranged sex scenes ever filmed (trust me, you have to see it to believe it), and he did this after watching films like Wes Craven’s “The Last House on the Left” in which the female characters were made to disrobe, run around nude and be humiliated. The way Reynor saw it, the time had long since come where a male character suffered similar indignations. Well done Mr. Reynor, well done!

“Midsommar” is not your typical horror film in which you jump out of your seat every five minutes. Aster is instead more interested in getting under your skin, and just when you think he cannot get any deeper under it, he does. There was a lot of laughter at the screening I went to, but this should be expected. In reacting to what is shown onscreen, you cannot help but laugh as it is a good way to deal with the more deranged moments this film has to offer. Furthermore, I think Aster wanted us to laugh because even he saw just how fucked up this screenplay could get even as he wrote it. I myself have come to love wonderfully unnerving films as they offer me I kind of release the average studio movie never does, and I am glad we have A24 around to release something like this which freely goes against what is considered mainstream entertainment.

I am now eager to see where Aster will go from here as “Midsommar” as the work of someone who has seen hundreds of horror movies and has since taken what he learned and created one which is all his own. And yes, I will take the time to watch “Hereditary” as well. In a time when Hollywood is still all too frightened by originality, I am eager to see more movies like this made. For crying out loud, it has a Cinemascore rating of a C+. What more evidence do you need to show this is a daring and unique motion picture experience?

I’m just glad one of the characters found their smile again before the screen went to black. Seeing that was a major relief.

* * * ½ out of * * * *