The Story- Infected with an incurable zombie virus, Maggie Vogel (Abigail Breslin) runs away from home. Maggie’s father, Wade (Arnold Schwarzenegger), eventually brings Maggie back to the family’s ranch, determined to protect his oldest child from a legally mandated quarantine.
Maggie is supported by Wade, and her stepmother, Caroline (Joely Richardson), but the clock is ticking, as Maggie’s condition deteriorates…
My Thoughts- Maggie turning into a zombie is a slow process from start to finish. You won’t see any bloody and violent zombie attacks, or the survivors running for their lives, while being chased by hordes of the undead here. Instead, Maggie chooses to put the focus on the emotional toll the outbreak takes on everyone involved. Wade loves and deeply cares about his daughter. Wade’s options are limited, and he doesn’t want to make the difficult decision to send his daughter off to quarantine, an inhumane death sentence for infected humans.
Maggie? She knows there’s no way out. She doesn’t want to be a burden to her friends and her family, so she isolates herself. Maggie drifts in and out of trying to live a normal life. The waiting room scene at the doctor’s office does a good job of shining some light on Maggie’s problems. A mother notices Maggie’s bite wound, and she quickly urges her children to stay away from her. Another example of Maggie trying to be a normal teenage girl, but it’s just not possible without a cure or a vaccine.
Abigail Breslin nails Maggie. The fear for what’s about to happen to her, the conflict for Maggie wanting to give up on herself, but she doesn’t want to disappoint her father, so she tries to live a normal life, and she knows time is running out, fast. You can see and feel everything Maggie is going through, and Breslin’s sympathetic performance is one of the true highlights here. You’ll see every agonizing stage of Maggie’s transformation, whether it’s the decaying skin, Maggie’s cravings for flesh, or Maggie’s gory solution for dealing with a broken finger.
So what’s the solution? Does Maggie FINALLY go to quarantine? Does Wade give in to Maggie’s heart-wrenching request for a mercy killing? Well, Maggie chooses death in the form of suicide by jumping off of the roof.
I had my fingers crossed for a cure, or at least the realistic possibility for introducing a cure to add more suspense to the story, but it’s still a good and poignant finale. Towards the end, Maggie is just too far gone. She’s ninety-five percent zombie, but she still had enough clarity to choose death without attacking Wade. And Maggie knew Wade having to be the one to pull the trigger would’ve destroyed him, so she decided to take herself out of the picture.
Also, Maggie using memories of spending time with her deceased mother, Sarah, was a nice touch. Maggie remembers Sarah, as she’s falling to the ground, and you could say it was Maggie’s way of easing herself into the afterlife, with comforting memories of a cherished relationship with her mother. Good stuff.
I’m of two minds about Maggie. On one hand, if you’ve seen enough zombie movies, you already know what’s going to happen after the infection. But Maggie takes a slow burn approach to the full turn. Is she going to turn into a zombie or not? It’s a question I asked myself more than once throughout the movie. I KNOW where this whole thing is going, so can we just get there already? But Maggie does make an earnest attempt at trying to be a different zombie film. It’s a dreary and somber horror drama about a viral outbreak that completely tears families and friends apart.
Maggie does a really job of showing everyone’s perspectives for what’s going on. Sheriff Ray Pierce (Douglas M. Griffin) is Wade’s friend, and he respects him, but he has a job to do. Deputy Holt (J.D. Evermore) comes off as an asshole. He’s more strict, serious, and you can tell he’s annoyed at the fact that Wade is getting preferential treatment for keeping Maggie away from quarantine. But Holt makes a good point: Maggie is infected. It’s far too dangerous to keep her around healthy people, and it’s the police force’s job to protect the community at all costs.
Maggie’s ex-boyfriend, Trent (Bryce Romero) is infected. Trent is scared. Similar to Maggie, he’s beyond the point of no return. He doesn’t want to go to quarantine, but his options are severely limited. Maggie’s friend, Allie (Raeden Greer) tries to hold it together during a friendly reunion. But Allie can’t hide an emotional reaction, because she knows she’s going to lose her best friend.
Maggie feels a bit dull at times, because without the possibility of a cure, or a cure that’s available, there’s only one solution to Maggie’s problem. Still, I have to give a thumbs up for Maggie taking an unconventional and mostly successful approach to a zombie horror film. Arnold Schwarzenegger delivers a dedicated performance, as a father, who’s carrying around a heavy heart. Wade is a simple man, who lives a quiet life, and he loves his old rusty pickup truck. A solid all around cast, a fantastic ending, and Schwarzenegger and Breslin share believable father/daughter chemistry together.
I’m also glad the vast majority of Maggie takes place in the countryside, and the more rural parts of America. Maggie’s set pieces are a perfect fit for the story. It’s eerily quiet, and you can see the devastation from the outbreak. Old homes, fields of burning crops, and a seemingly abandoned gas station. A clear visual representation that Wade, Maggie, and the rest of the cast are currently living in a hopeless world. No one is coming to save them, everyone is scared, and you have to worry about the possibility of your neighbors turning into zombies.
The Story- Infected with an incurable zombie virus, Maggie Vogel (Abigail Breslin) runs away from home. Maggie’s father, Wade (Arnold Schwarzenegger), eventually brings Maggie back to the family’s ranch, determined to protect his oldest child from a legally mandated quarantine.
Maggie is supported by Wade, and her stepmother, Caroline (Joely Richardson), but the clock is ticking, as Maggie’s condition deteriorates…
My Thoughts- Maggie turning into a zombie is a slow process from start to finish. You won’t see any bloody and violent zombie attacks, or the survivors running for their lives, while being chased by hordes of the undead here. Instead, Maggie chooses to put the focus on the emotional toll the outbreak takes on everyone involved. Wade loves and deeply cares about his daughter. Wade’s options are limited, and he doesn’t want to make the difficult decision to send his daughter off to quarantine, an inhumane death sentence for infected humans.
Maggie? She knows there’s no way out. She doesn’t want to be a burden to her friends and her family, so she isolates herself. Maggie drifts in and out of trying to live a normal life. The waiting room scene at the doctor’s office does a good job of shining some light on Maggie’s problems. A mother notices Maggie’s bite wound, and she quickly urges her children to stay away from her. Another example of Maggie trying to be a normal teenage girl, but it’s just not possible without a cure or a vaccine.
Abigail Breslin nails Maggie. The fear for what’s about to happen to her, the conflict for Maggie wanting to give up on herself, but she doesn’t want to disappoint her father, so she tries to live a normal life, and she knows time is running out, fast. You can see and feel everything Maggie is going through, and Breslin’s sympathetic performance is one of the true highlights here. You’ll see every agonizing stage of Maggie’s transformation, whether it’s the decaying skin, Maggie’s cravings for flesh, or Maggie’s gory solution for dealing with a broken finger.
I’m of two minds about Maggie. On one hand, if you’ve seen enough zombie movies, you already know what’s going to happen after the infection. But Maggie takes a slow burn approach to the full turn. Is she going to turn into a zombie or not? It’s a question I asked myself more than once throughout the movie. I KNOW where this whole thing is going, so can we just get there already? But Maggie does make an earnest attempt at trying to be a different zombie film. It’s a dreary and somber horror drama about a viral outbreak that completely tears families and friends apart.
Maggie does a really job of showing everyone’s perspectives for what’s going on. Sheriff Ray Pierce (Douglas M. Griffin) is Wade’s friend, and he respects him, but he has a job to do. Deputy Holt (J.D. Evermore) comes off as an asshole. He’s more strict, serious, and you can tell he’s annoyed at the fact that Wade is getting preferential treatment for keeping Maggie away from quarantine. But Holt makes a good point: Maggie is infected. It’s far too dangerous to keep her around healthy people, and it’s the police force’s job to protect the community at all costs.
Maggie’s ex-boyfriend, Trent (Bryce Romero) is infected. Trent is scared. Similar to Maggie, he’s beyond the point of no return. He doesn’t want to go to quarantine, but his options are severely limited. Maggie’s friend, Allie (Raeden Greer) tries to hold it together during a friendly reunion. But Allie can’t hide an emotional reaction, because she knows she’s going to lose her best friend.
Maggie feels a bit dull at times, because without the possibility of a cure, or a cure that’s available, there’s only one solution to Maggie’s problem. Still, I have to give a thumbs up for Maggie taking an unconventional and mostly successful approach to a zombie horror film. Arnold Schwarzenegger delivers a dedicated performance, as a father, who’s carrying around a heavy heart. Wade is a simple man, who lives a quiet life, and he loves his old rusty pickup truck. A solid all around cast, a fantastic ending, and Schwarzenegger and Breslin share believable father/daughter chemistry together.
I’m also glad the vast majority of Maggie takes place in the countryside, and the more rural parts of America. Maggie’s set pieces are a perfect fit for the story. It’s eerily quiet, and you can see the devastation from the outbreak. Old homes, fields of burning crops, and a seemingly abandoned gas station? A clear visual representation that Wade, Maggie, and the rest of the cast are currently living in a hopeless world. No one is coming to save them, everyone is scared, and you have to worry about the possibility of your neighbors turning into zombies.
The Story- Flanked and supported by his enforcers Kevin Weeks (Jesse Plemons), Steve Flemmi (Rory Cochrane), John Martorano (W. Earl Brown), FBI agent John Connolly (Joel Edgerton), and FBI agent John Morris (David Harbour), Irish mobster James “Whitey” Bulger (Johnny Depp) builds a criminal empire in Boston during the 1970s and 1980’s. Bulger’s relationship with his brother William (Benedict Cumberbatch), the President of the Massachusetts Senate, brings some peace to his life.
Connolly tangles with his superior, Charles McGuire (Kevin Bacon) over restrictions for Whitey’s rampages, but a bigger problem threatens to expose Connolly’s dirty tactics. Whitey’s seemingly invincible shield is threatened, when Assistant US Attorney Fred Wyshak (Corey Stoll) returns to Boston, fiercely determined to put a stop to Bulger’s tyranny.
My Thoughts- Whoa, that’s really Johnny Depp! That was my reaction to the first Black Mass trailer years ago. It’s not just the makeup, or the thinning white hair, Johnny Depp truly takes a dedicated approach to becoming Whitey Bulger. The voice, the mannerisms, the leering, the cold stares, and Depp does a good job of being a convincing cold blooded and narcissistic killer with sociopathic tendencies. Of course, it’s obvious Depp exaggerates every now and then to play up the tough guy side of Bulger, but he still reels it in just enough so his overall performance isn’t too hammy or ridiculous.
Depp also shows the more normal and human side of Bulger. During scenes and interactions with his brother, William or “Billy,” his mother (Mary Klug), his girlfriend, Lindsey Cyr (Dakota Johnson), and their son, Douglas (Luke Ryan), there’s a slight chance for believing Bulger was capable of being a good guy. That, and Bulger apparently had a soft spot for helping elderly women, namely Mrs. Cody (Jamie Donnelly). But you’re quickly reminded Bulger was an evil and scummy man throughout the movie. Bulger’s cruelty cancels out the possibility of him being a deeply flawed person, with the potential to turn his life around, if he just made some serious changes.
A number of scenes to confirm that Whitey Bulger wasn’t a good bad guy, or a sort of Robin Hood figure, and he surely wasn’t misunderstood. One big scene involves Bulger viciously murdering Deborah Hussey (Juno Temple). There’s also the creepy scene, where Bulger intimidates John Connolly’s wife, Marianne (Julianne Nicholson), another example of Bulger being a petty bully.
When you see how John Connolly operates, it’s easy to notice just how phony and full of crap he truly is, a man only concerned with feeding his own ego. It’s not a surprise Bulger and Connolly formed a duo. They’re both narcissists, egomaniacs, and pathological liars in their own ways, so of course they’ll form a bond as a well oiled machine for all the wrong reasons.
Joel Edgerton delivers a strong performance as Connolly. Edgerton is effortlessly convincing, as the flaky FBI agent, who actually believes in his own BS, and there’s no denying that Connolly basically worships Bulger.
The foundation for Connolly’s loyalty is rooted in Bulger looking out for him as a kid, and Whitey was a hero of sorts for Connolly. Did Connolly take things too far by looking the other way and enabling Bulger to run roughshod through Boston? Of course he did, but you can understand why he did it, and why his need for respect and validation from Bulger was ultimately his undoing.
So Whitey makes a final goodbye call to Bill, then the story fast forwards to Whitey’s arrest in 2011 after the long manhunt, and that’s it? A flat and dull ending for a story that’s loaded with material. I understand they had to condense things, otherwise Black Mass might’ve had a runtime almost hitting four total hours. But there’s no real suspense or drama leading up to the big ending.
If you don’t know anything about Bulger’s life, you can still easily see where everything is going, when the walls start closing in, and the final series of events ends with a dry whimper. There’s a scene towards the end, where Connolly is heartbroken, and complaining about Whitey using him, when it’s clear lengthy jail sentences are coming. I laughed out loud, because Connolly is trying to play the victim, when he was fully aware of what he was doing.
I circled back around to Black Mass again after reading Whitey: The Life Of America’s Most Notorious Mob Boss, by Dick Lehr and Gerard O’Neill. To be clear, Black Mass is not based on this book. Black Mass is actually based on Black Mass: The True Story Of An Unholy Alliance Between The FBI And The Irish Mob, also written by Dick Lehr and Gerard O’Neill.
I can understand leaving stuff out or exaggerating certain events and characteristics for entertainment purposes, or to try and help the movie move at a faster pace. But I’m kind of surprised they didn’t mention Teresa Stanley and Catherine Greig, ESPECIALLY Greig. No appearances from Whitey’s girlfriends after things fell apart with Lindsey Cyr. Stanley and Greig played big roles in Whitey’s life, with Stanley eventually talking to authorities, and the fallout from that, including Stanley being shunned and ostracized by Bulger’s family.
Catherine Greig was Whitey Bulger’s loyal ride or die support system. Hell, you could’ve made an entire movie about Bulger and Greig hiding out in Santa Monica for over a decade, freely living the golden years of their lives as retirees, using Charlie and Carol Gasko as aliases.
Black Mass is a fast tracked and microwaved version of Whitey Bulger’s story. This is a movie that’s supposed to be about an “unholy alliance” between one of the more memorable and ruthless crime bosses using the FBI to strengthen his reign of terror.
The enormity of Bulger’s real life story is something that should’ve packed a more powerful punch. There’s still more meat on the bones for Bulger supposedly being the secret weapon to take down the Italian mafia and Gennaro “Jerry” Angiulo (Bill Haims) in Boston, and how much did Bill Bulger really know about his brother’s life of crime? But Black Mass goes with the routine step by step rise and fall approach to storytelling for a crime lord, concluding with a dull and lifeless ending.
Still, it’s almost impossible to ignore Black Mass’ impeccable ensemble cast, led by an outstanding performance from Johnny Depp. Dakota Johnson and Corey Stoll also made strong impressions with only a handful of appearances and limited screen time.
Corey Stoll nails Fred Wyshak, the “bulldog,” who flat out refuses to tolerate Connolly’s buffoonery. The scene, where Wyshak meets Connolly for the first time is loaded with so many little nuances. How Wyshak waits for Connolly to lower his guard before tearing him apart, and how Wyshak didn’t fall for Connolly’s smooth talking and his schemes, rejecting a pair of Red Sox tickets and a drink at a bar. His eyes and the look on Corey Stoll’s face tells the whole story: Wyshak immediately sees right through Connolly’s persona, and Wyshsk knows he’s someone, who can’t be trusted.
Black Mass had the potential and all the ingredients to be a great film, but it’s still a solid biopic. There’s more than enough brutal violence on the crime drama side of things, and the cast is loaded with noteworthy performances. Walking the fine line for embellishing facts and how things played out in real life (e.g. how Whitey murdered Brian Halloran broad daylight), and trying to balance both sides will always be a problem for any kind of biopic. But Black Mass churns out enough positives for mostly successful results.
The Story- Flanked and supported by his enforcers Kevin Weeks (Jesse Plemons), Steve Flemmi (Rory Cochrane), John Martorano (W. Earl Brown), FBI agent John Connolly (Joel Edgerton), and FBI agent John Morris (David Harbour), Irish mobster James “Whitey” Bulger (Johnny Depp) builds a criminal empire in Boston during the 1970s and 1980’s. Bulger’s relationship with his brother William (Benedict Cumberbatch), the President of the Massachusetts Senate, brings some peace to his life.
Connolly tangles with his superior, Charles McGuire (Kevin Bacon) over restrictions for Whitey’s rampages, but a bigger problem threatens to expose Connolly’s dirty tactics. Whitey’s seemingly invincible shield is threatened, when Assistant US Attorney Fred Wyshak (Corey Stoll) returns to Boston, fiercely determined to put a stop to Bulger’s tyranny.
My Thoughts- Whoa, that’s really Johnny Depp! That was my reaction to the first Black Mass trailer years ago. It’s not just the makeup, or the thinning white hair, Johnny Depp truly takes a dedicated approach to becoming Whitey Bulger. The voice, the mannerisms, the leering, the cold stares, and Depp does a good job of being a convincing cold blooded and narcissistic killer with sociopathic tendencies. Of course, it’s obvious Depp exaggerates every now and then to play up the tough guy side of Bulger, but he still reels it in just enough so his overall performance isn’t too hammy or ridiculous.
Depp also shows the more normal and human side of Bulger. During scenes and interactions with his brother, William or “Billy,” his mother (Mary Klug), his girlfriend, Lindsey Cyr (Dakota Johnson), and their son, Douglas (Luke Ryan), there’s a slight chance for believing Bulger was capable of being a good guy. That, and Bulger apparently had a soft spot for helping elderly women, namely Mrs. Cody (Jamie Donnelly). But you’re quickly reminded Bulger was an evil and scummy man throughout the movie. Bulger’s cruelty cancels out the possibility of him being a deeply flawed person, with the potential to turn his life around, if he just made some serious changes.
A number of scenes to confirm that Whitey Bulger wasn’t a good bad guy, or a sort of Robin Hood figure, and he surely wasn’t misunderstood. One big scene involves Bulger, Deborah Hussey (Juno Temple), and the ruse to lure her into a trap. There’s also the creepy scene, where Bulger intimidates John Connolly’s wife, Marianne (Julianne Nicholson), another example of Bulger being a petty bully.
When you see how John Connolly operates, it’s easy to notice just how phony and full of crap he truly is, a man only concerned with feeding his own ego. It’s not a surprise Bulger and Connolly formed a duo. They’re both narcissists, egomaniacs, and pathological liars in their own ways, so of course they’ll form a bond as a well oiled machine for all the wrong reasons.
Joel Edgerton delivers a strong performance as Connolly. Edgerton is effortlessly convincing, as the flaky FBI agent, who actually believes in his own BS, and there’s no denying that Connolly basically worships Bulger.
The foundation for Connolly’s loyalty is rooted in Bulger looking out for him as a kid, and Whitey was a hero of sorts for Connolly. Did Connolly take things too far by looking the other way and enabling Bulger to run roughshod through Boston? Of course he did, but you can understand why he did it, and why his need for respect and validation from Bulger was ultimately his undoing.
I circled back around to Black Mass again after reading Whitey: The Life Of America’s Most Notorious Mob Boss, by Dick Lehr and Gerard O’Neill. To be clear, Black Mass is not based on this book. Black Mass is actually based on Black Mass: The True Story Of An Unholy Alliance Between The FBI And The Irish Mob, also written by Dick Lehr and Gerard O’Neill.
I can understand leaving stuff out or exaggerating certain events and characteristics for entertainment purposes, or to try and help the movie move at a faster pace. But I’m kind of surprised they didn’t mention Teresa Stanley and Catherine Greig, ESPECIALLY Greig. No appearances from Whitey’s girlfriends after things fell apart with Lindsey Cyr. Stanley and Greig played big roles in Whitey’s life, with Stanley eventually talking to authorities, and the fallout from that, including Stanley being shunned and ostracized by Bulger’s family.
Catherine Greig was Whitey Bulger’s loyal ride or die support system. Hell, you could’ve made an entire movie about Bulger and Greig hiding out in Santa Monica for over a decade, freely living the golden years of their lives as retirees, using Charlie and Carol Gasko as aliases.
Black Mass is a fast tracked and microwaved version of Whitey Bulger’s story. This is a movie that’s supposed to be about an “unholy alliance” between one of the more memorable and ruthless crime bosses using the FBI to strengthen his reign of terror.
The enormity of Bulger’s real life story is something that should’ve packed a more powerful punch. There’s still more meat on the bones for Bulger supposedly being the secret weapon to take down the Italian mafia and Gennaro “Jerry” Angiulo (Bill Haims) in Boston, and how much did Bill Bulger really know about his brother’s life of crime? But Black Mass goes with the routine step by step rise and fall approach to storytelling for a crime lord, concluding with a dull and lifeless ending.
Still, it’s almost impossible to ignore Black Mass’ impeccable ensemble cast, led by an outstanding performance from Johnny Depp. Dakota Johnson and Corey Stoll also made strong impressions with only a handful of appearances and limited screen time.
Corey Stoll nails Fred Wyshak, the “bulldog,” who flat out refuses to tolerate Connolly’s buffoonery. The scene, where Wyshak meets Connolly for the first time is loaded with so many little nuances. How Wyshak waits for Connolly to lower his guard before tearing him apart, and how Wyshak didn’t fall for Connolly’s smooth talking and his schemes, rejecting a pair of Red Sox tickets and a drink at a bar. His eyes and the look on Corey Stoll’s face tells the whole story: Wyshak immediately sees right through Connolly’s persona, and Wyshsk knows he’s someone, who can’t be trusted.
Black Mass had the potential and all the ingredients to be a great film, but it’s still a solid biopic. There’s more than enough brutal violence on the crime drama side of things, and the cast is loaded with noteworthy performances. Walking the fine line for embellishing facts and how things played out in real life, and trying to balance both sides will always be a problem for any kind of biopic. But Black Mass churns out enough positives for mostly successful results.
**This post contains spoilers, including thoughts on the extended version and the alternate ending**
The Story- In 1988, after the deaths of their mother, Julie and her boyfriend, Dennis, a young Katie (Chloe Csengery) and Kristi (Jessica Tyler Brown) learn about their roles in Tobi’s plans, as they begin training under a mysterious man named Kent (Don McManus). Grandma Lois (Hallie Foote) reassures her granddaughters, while Kent teaches Katie and Kristi how to communicate with Tobi.
During the Christmas season in 2013, Leila Fleege (Ivy George) forms a dangerous bond with Tobi as her imaginary friend in Santa Rosa, California. Leila’s father, Ryan (Chris J. Murray), her mother, Emily (Brit Shaw), her uncle, Mike (Dan Gill), and Ryan and Emily’s friend, Skyler (Olivia Taylor Dudley) all work together to protect Lelia, and solve they mystery behind The Midwives and Tobi.
Father Todd (Michael Krawic) suggests a risky plan to stop Tobi. Can The Fleege Family, Skyler, and Father Todd save Leila from a relentless Tobi?
My Thoughts- The Fleege Family joins the list of Paranormal Activity families unfortunately caught in the crossfire against Tobi, while trying to protect one of his targets. Brit Shaw and Chris J. Murray play two supportive and loving parents, who refuse to give up on their daughter.
Dan Gill continues the trend of being that one goofy comedic character in a Paranormal Activity film. Gill easily delivers the best comedy moments, and the jokes about his mustache, or Leila poking fun at it are good for a few laughs.
Loyal. That’s the one word I’d use to describe Olivia Taylor Dudley’s Skyler. Unlike Mike, she’s not a blood relative. Skyler could’ve ran and never looked back at any moment, especially when things got serious. But she stayed to do anything she could to help Ryan, Emily, and Leila.
Don McManus has brief appearances throughout the movie, but he’s everything you’d expect from a cult leader figure. The tone of his voice is something that sticks out. He’s not angry, or demanding. At first, you’d believe Kent is this mentor/father figure character, who genuinely cares about Katie and Kristi, but it’s also clear he has sinister intentions. Kent has an enigmatic presence, a master evil manipulator, who’s capable of convincing people he’s doing the right thing.
Ivy George is the star of the cast. You could see it with Jessica Tyler Brown in Paranormal Activity 3, and George also does a wonderful job with the imaginary friendship relationship. There’s just something ironic and strange about a small child showing no fear and being playful around a very dangerous and evil demonic entity, while all the adults are justifiably terrified of Tobi. George smoothly switches between the usual childlike mannerisms and behaviors you’d expect from a young girl, to showing a more serious side, when she’s under Tobi’s influence. George absolutely nails the creepy and possessed child character, delivering one of the more memorable Paranormal Activity performances.
Six films into the series, and it’s hard to justifiably come up with reasons to record everything, but they managed to find a different and creative method here. Yes, they relied on setting up security cameras around the house again, but there’s also a special video camera! Ryan finds an old, bulky camera. The camera was used to record Katie and Kristi’s training sessions with Kent. This camera also has a special filter that’s capable of showing Tobi, as he move around the house, in a black and goopy incomplete form.
The special camera POV finally gives a clearer view of what Tobi actually looks like, and there’s something else to think about. Notice how Tobi becomes more whole and takes on a more definitive shape, as his bond with Leila becomes stronger. In the early stages of the movie, when you see Tobi through the camera, it’s just scattered particles.
This could explain why Tobi is limited to banging on doors or windows, sabotaging chandeliers, and other things that go bump in the night mind games and attacks in the early parts of previous Paranormal Activity films. Maybe Tobi was too weak to do anything else, saving his more gruesome and brutal attacks for the finale, when he was finally strong enough.
Christmas! I wouldn’t say The Ghost Dimension is a full on Christmas horror movie. It’s not as Christmassy as the Silent Night, Deadly Night films, the Black Christmas movies, or Krampus 2015, but Christmas does play a role in the story, and some of the scares. Leila making gingerbread men cookies with Emily and Skyler. Tobi playing mind games with Frosty The Snowman and walking Santa toys, and there’s one scene in the extended version involving a Santa suit that should’ve made it into the theatrical cut. Christmas is more of a backdrop here, but it’s still a refreshing change for a Paranormal Activity film.
Tobi lives! Father Todd’s extermination ritual fails, and using the portal in her room, Leila, followed by Emily, travels to Katie and Kristi’s house in 1992. In 1992, Tobi finally has a body, and the movie ends with Tobi murdering Emily and walking off with Leila.
A lot of mixed feelings for this ending. Okay. We get to see what a fully formed Tobi looks like, sort of. They don’t actually show his face, just his pale white legs and the backside of his body before Tobi kills Emily. Outside of the closing moments of the movie, all we have to go on for what Tobi looks like is a picture Ryan found on the internet and Leila’s drawings.
After all the teasing and slight glimpses of Tobi, I just can’t understand not showing his face at the end. Taking a few steps back, it’s revealed Hunter was at a ceremony in 1992, with Kent by his side. Portals and time travel obviously played a role (Hunter was born in 2005) in this brief clip. It’s a short clip from the box of VHS tapes, and Ryan mentions the possibility of a ceremony centered around Hunter, or a ritual for Tobin’s resurrection.
Another cliffhanger-esque ending is kind of annoying at this point, but The Ghost Dimension still delivers an effectively tense finale during the extermination ritual and the aftermath. Tobi snatching a wounded Father Todd. Tobi killing Ryan is a brutal sight, Skyler projectile vomiting acidic black goo all over Mike, Katie and Kristi with blacked out eyes popping up in front of Emily, and Katie telling Emily it’s too late to save Leila. Throw in Tobi killing Emily, combined with the nasty sound of Emily’s neck snapping and the thud of her body hitting the ground, and it’s a consistent whirlwind of eye-catching events.
Also, good details with Father Todd emphasizing the differences between an extermination and an exorcism. Father Todd stresses the importance of needing to do an extermination to save Leila, because an exorcism won’t stop Tobi. Adds another layer of seriousness to the movie, while playing up Tobi as this seemingly unstoppable threat.
The extermination is a success, and The Fleege Family moves to a new house! Yep. In the alternate ending, four months after Father Todd’s successful extermination, Leila, Emily, Mike, and Ryan are all safe, or maybe they’re not. There’s too many subtle and not so subtle clues to suggest it’s not over yet in the alternate ending. Ryan finds a tape titled K+K+L (Katie, Kristi, and Lelia). Leila is standing on the front lawn with Katie and Kristi (as kids)? Emily is pregnant, and Kent weirdly makes an appearance at Leila’s birthday party?
How is it possible that Emily and Ryan didn’t recognize Kent at the party? They’ve seen his face, and they should recognize his voice. He just picks Leila up, and there’s no kind of reaction from Emily or Ryan? Ryan and Emily can clearly see Katie and Kristi with Leila. As kids. In 2014, when Katie and Kristi should be adults…and Emily and Ryan just basically ignore something that should’ve been a big deal? Take a look at the alternate ending below!
Which ending is better? By default I’d have to go with the theatrical ending. Both endings leave some unanswered questions, but the theatrical ending has more closure. I guess you could say the alternate ending is joyous and upbeat. In the theatrical ending, Ryan, Skyler, Emily, Mike, and Father Todd all die at the hands of Tobi. Father Todd dies in both endings, but Mike, Emily, and Ryan are still alive in the alternate ending. It’s not clear what happened to Skyler, because she doesn’t appear at the party after the extermination scene.
It’s also easy to pick up on some similarities to Paranormal Activity 3 with the alternate ending. Remember, PA 3 started off with a birthday party, and things went completely downhill after the party. The Ghost Dimension’s alternate ending features a birthday party for Leila. A very eerie coincidence, or a deja vu callback to Paranormal Activity 3?
The alternate ending is too wide open and the unanswered questions? Emily is pregnant. Is it possible she was marked by The Midwives as a child? Lelia did wish for a baby brother at her party. Was a pregnant Emily a backup plan for Kent and The Midwives, if The Fleege Family somehow managed to stop Tobi? Too many possible what if scenarios for the sixth film in the franchise.
Three good scenes from the extended cut. I’m wondering why all three scenes were cut. They don’t change the direction of the movie or the ending, but each scene actually adds something of significance to The Ghost Dimension.
The scene with someone (presumably Tobi) standing in the doorway to Leila’s room dressed in a Santa’s suit was genuinely creepy and tense. Ryan thinks it’s possibly Mike playing a prank (“GOOOOOALLLL!”) on him again, but when he turns around after Emily pops up, the figure in the Santa suit mysteriously disappears.
Leila’s looking up the fireplace, and Skyler jokingly asks her, if she’s waiting for Santa. Lelia’s response? “Get away from me.” The way Ivy George coldly delivered that line, only to go right back to looking up the fireplace, while completely ignoring Skyler was just perfect.
Another good surprise happens, when Emily goes to check on Leila in her room. She peeps through the crack in Leila’s doorway, and sees Tobi standing next to her bed. The door slams shut as Tobi and Emily make eye contact, and when Emily opens the door, Tobi disappears.
Everything else? More mind games and taunting from Tobi around the house. A touching scene, where Emily reads Leila a bedtime story. Emily tells Leila about her umbilical cord wrapping around Leila’s neck during birth, and how Lelia will always be her “little miracle.” Mike wears a Santa mask in one scene. There’s also one scene in the extended version, where Emily gets a call from Leila’s school. Leila bit another kid. I’m guessing they removed this scene, because they didn’t want to diminish the shocker for Leila biting Father Todd, the only scene in the movie, where they actually show her biting and attacking someone.
The Ghost Dimension connects some dots and fills in a few gaps. Pay close attention to Kent’s pep talk for Katie and Kristi in the beginning. Kent tells Kristi her purpose is to give birth to one of the chosen ones (Hunter). Meanwhile, Katie is supposed to take care of Kristi and others. It’s possible there’s a double meaning for that “take care of” part. Katie killed Kristi in Paranormal Activity 2, and she kidnapped Hunter. You could say Kristi outlived her purpose after she gave birth to Hunter, because it’s clear everyone has a specific role within The Midwives coven. Katie? She’s always filled the role of an underboss for Tobi, or his enforcer, mercilessly killing anyone that might disrupt his plans.
They expanded on the lore behind Tobi and The Midwives, and according to Kent, Tobi also goes by different names. We know why Leila and Hunter are important, and why Tobi needs their blood. I’m also glad they continued to use time travel and the portals to maintain consistency following The Marked Ones. Leila’s house was built in the same spot as Katie and Kristi’s house in 1988 after it burned down, so the portal in Leila’s room has a direct connection to that house in 1992.
Paranormal Activity 3 heavily influences the story, including the opening of the movie, and the training sessions with Katie, Kristi, and Kent. There’s also another Bloody Mary scene, with Leila playing the game by herself. This time around, you can see a ghostly hand in the mirror after Ryan stops Leila from playing. Keep in mind, the Bloody Mary scene with Katie and Kristi playing the game together only appears in the extended version and one of the trailers for Paranormal Activity 3.
Mike makes a reference to Katie, when he mentions how she killed a family in Nevada (Alex and her family in Paranormal Activity 4). The Ghost Dimension is the first Paranormal Activity film without an appearance from Katie as an adult. Katie is only mentioned in two scenes. She’s the relator, (under a different last name) who sold Ryan and Emily the house, so she still manages to play an important role in the story.
The Ghost Dimension was also a 3D film. I watched it in 3D at a theater years ago, but it’s still easy to pick out some of the more obvious 3D parts. Tobi’s particles floating in front of the screen, and there’s one obvious 3D death (Tobi killing Ryan) that’s easy to spot without the glasses. Was 3D necessary? I’d have to say no, because there’s just no real reason for 3D with how they used it here, and it doesn’t add anything to the movie overall.
I have to believe box office numbers played a big role in deciding to take a playing it safe approach. Paranormal Activity actually took some chances with The Marked Ones, a genuine effort to mostly do something different. The Ghost Dimension weirdly reverts back to the same tired formula used in the first four Paranormal Activity films. The usual Night # 1, Night # 2, and so on transitions for the security camera footage, and mind games and taunting from Tobi, including more swinging chandeliers. And if you’ve seen more than one PA film, you already know things won’t end well for anyone, who’s not in the inner circle for Tobi’s imaginary friends.
Yes, The Ghost Dimension answers more questions, but this is the SIXTH film. Still too much teasing and possibly setting things up for bigger events at this point. It’s also a case, where I’m glad they didn’t go with the alternate ending. The alternate ending completely destroys and wastes all the efforts to possibly defeat Tobi. Way too many different possible scenarios on the table and unanswered questions. The theatrical ending is easily darker and more grim, but the big reveal for Tobi is a huge letdown.
The Ghost Dimension is not a terrible film. There’s just enough spookiness to go around. I’m still baffled by the decision to leave out two scenes from the extended version that could’ve added more frights to the movie. I’ve always loved the shot of Leila staring at the open portal in her room, but The Ghost Dimension is still disappointing.
PA 6 was marketed and promoted as the final movie in the series. I always expected more because of that, but there’s nothing here that gives off the impression or screams it’s a big grand finale. But there’s one thing that can’t be denied, Ivy George does manage to give The Ghost Dimension a big boost, because she’s genuinely that good.
The Story- In 1988, after the deaths of their mother, Julie and her boyfriend, Dennis, a young Katie (Chloe Csengery) and Kristi (Jessica Tyler Brown) learn about their roles in Tobi’s plans, as they begin training under a mysterious man named Kent (Don McManus). Grandma Lois (Hallie Foote) reassures her granddaughters, while Kent teaches Katie and Kristi how to communicate with Tobi.
During the Christmas season in 2013, Leila Fleege (Ivy George) forms a dangerous bond with Tobi as her imaginary friend in Santa Rosa, California. Leila’s father, Ryan (Chris J. Murray), her mother, Emily (Brit Shaw), her uncle, Mike (Dan Gill), and Ryan and Emily’s friend, Skyler (Olivia Taylor Dudley) all work together to protect Lelia, and solve they mystery behind The Midwives and Tobi.
Father Todd (Michael Krawic) suggests a risky plan to stop Tobi. Can The Fleege Family, Skyler, and Father Todd save Leila from a relentless Tobi?
My Thoughts- The Fleege Family joins the list of Paranormal Activity families unfortunately caught in the crossfire against Tobi, while trying to protect one of his targets. Brit Shaw and Chris J. Murray play two supportive and loving parents, who refuse to give up on their daughter.
Dan Gill continues the trend of being that one goofy comedic character in a Paranormal Activity film. Gill easily delivers the best comedy moments, and the jokes about his mustache, or Leila poking fun at it are good for a few laughs.
Loyal. That’s the one word I’d use to describe Olivia Taylor Dudley’s Skyler. Unlike Mike, she’s not a blood relative. Skyler could’ve ran and never looked back at any moment, especially when things got serious. But she stayed to do anything she could to help Ryan, Emily, and Leila.
Don McManus has brief appearances throughout the movie, but he’s everything you’d expect from a cult leader figure. The tone of his voice is something that sticks out. He’s not angry, or demanding. At first, you’d believe Kent is this mentor/father figure character, who genuinely cares about Katie and Kristi, but it’s also clear he has sinister intentions. Kent has an enigmatic presence, a master evil manipulator, who’s capable of convincing people he’s doing the right thing.
Ivy George is the star of the cast. You could see it with Jessica Tyler Brown in Paranormal Activity 3, and George also does a wonderful job with the imaginary friendship relationship. There’s just something ironic and strange about a small child showing no fear and being playful around a very dangerous and evil demonic entity, while all the adults are justifiably terrified of Tobi. George smoothly switches between the usual childlike mannerisms and behaviors you’d expect from a young girl, to showing a more serious side, when she’s under Tobi’s influence. George absolutely nails the creepy and possessed child character, delivering one of the more memorable Paranormal Activity performances.
Six films into the series, and it’s hard to justifiably come up with reasons to record everything, but they managed to find a different and creative method here. Yes, they relied on setting up security cameras around the house again, but there’s also a special video camera! Ryan finds an old, bulky camera. The camera was used to record Katie and Kristi’s training sessions with Kent. This camera also has a special filter that’s capable of showing Tobi, as he move around the house, in a black and goopy incomplete form.
The special camera POV finally gives a clearer view of what Tobi actually looks like, and there’s something else to think about. Notice how Tobi becomes more whole and takes on a more definitive shape, as his bond with Leila becomes stronger. In the early stages of the movie, when you see Tobi through the camera, it’s just scattered particles.
This could explain why Tobi is limited to banging on doors or windows, sabotaging chandeliers, and other things that go bump in the night mind games and attacks in the early parts of previous Paranormal Activity films. Maybe Tobi was too weak to do anything else, saving his more gruesome and brutal attacks for the finale, when he was finally strong enough.
Christmas! I wouldn’t say The Ghost Dimension is a full on Christmas horror movie. It’s not as Christmassy as the Silent Night, Deadly Night films, the Black Christmas movies, or Krampus 2015, but Christmas does play a role in the story, and some of the scares. Leila making gingerbread men cookies with Emily and Skyler. Tobi playing mind games with Frosty The Snowman and walking Santa toys, and there’s one scene in the extended version involving a Santa suit that should’ve made it into the theatrical cut. Christmas is more of a backdrop here, but it’s still a refreshing change for a Paranormal Activity film.
The Ghost Dimension connects some dots and fills in a few gaps. Pay close attention to Kent’s pep talk for Katie and Kristi in the beginning. Kent tells Kristi her purpose is to give birth to one of the chosen ones (Hunter). Meanwhile, Katie is supposed to take care of Kristi and others. It’s possible there’s a double meaning for that “take care of” part. Katie killed Kristi in Paranormal Activity 2, and she kidnapped Hunter. You could say Kristi outlived her purpose after she gave birth to Hunter, because it’s clear everyone has a specific role within The Midwives coven. Katie? She’s always filled the role of an underboss for Tobi, or his enforcer, mercilessly killing anyone that might disrupt his plans.
They expanded on the lore behind Tobi and The Midwives, and according to Kent, Tobi also goes by different names. We know why Leila and Hunter are important, and why Tobi needs their blood. I’m also glad they continued to use time travel and the portals to maintain consistency following The Marked Ones. Leila’s house was built in the same spot as Katie and Kristi’s house in 1988 after it burned down, so the portal in Leila’s room has a direct connection to that house in 1992.
Paranormal Activity 3 heavily influences the story, including the opening of the movie, and the training sessions with Katie, Kristi, and Kent. There’s also another Bloody Mary scene, with Leila playing the game by herself. This time around, you can see a ghostly hand in the mirror after Ryan stops Leila from playing. Keep in mind, the Bloody Mary scene with Katie and Kristi playing the game together only appears in the extended version and one of the trailers for Paranormal Activity 3.
Mike makes a reference to Katie, when he mentions how she killed a family in Nevada (Alex and her family in Paranormal Activity 4). The Ghost Dimension is the first Paranormal Activity film without an appearance from Katie as an adult. Katie is only mentioned in two scenes. She’s the relator, (under a different last name) who sold Ryan and Emily the house, so she still manages to play an important role in the story.
The Ghost Dimension was also a 3D film. I watched it in 3D at a theater years ago, but it’s still easy to pick out some of the more obvious 3D parts. Tobi’s particles floating in front of the screen, and there’s one obvious 3D death that’s easy to spot without the glasses. Was 3D necessary? I’d have to say no, because there’s just no real reason for 3D with how they used it here, and it doesn’t add anything to the movie overall.
I have to believe box office numbers played a big role in deciding to take a playing it safe approach. Paranormal Activity actually took some chances with The Marked Ones, a genuine effort to mostly do something different. The Ghost Dimension weirdly reverts back to the same tired formula used in the first four Paranormal Activity films. The usual Night # 1, Night # 2, and so on transitions for the security camera footage, and mind games and taunting from Tobi, including more swinging chandeliers. And if you’ve seen more than one PA film, you already know things won’t end well for anyone, who’s not in the inner circle for Tobi’s imaginary friends.
Yes, The Ghost Dimension answers more questions, but this is the SIXTH film. Still too much teasing and possibly setting things up for bigger events at this point. It’s also a case, where I’m glad they didn’t go with the alternate ending. The alternate ending completely destroys and wastes all the efforts to possibly defeat Tobi. Way too many different possible scenarios on the table and unanswered questions. The theatrical ending is easily darker and more grim, but the big reveal for Tobi is a huge letdown.
The Ghost Dimension is not a terrible film. There’s just enough spookiness to go around. I’m still baffled by the decision to leave out two scenes from the extended version that could’ve added more frights to the movie. I’ve always loved the shot of Leila staring at the open portal in her room, but The Ghost Dimension is still disappointing.
PA 6 was marketed and promoted as the final movie in the series. I always expected more because of that, but there’s nothing here that gives off the impression or screams it’s a big grand finale. But there’s one thing that can’t be denied, Ivy George does manage to give The Ghost Dimension a big boost, because she’s genuinely that good.
The Story- David Raskin (Jonny Weston) finds plans for an unfinished time machine developed by his deceased father, Ben (Gary Weeks) in the basement of his house. David forms a team with his best friends Adam (Allen Evangelista) and Quinn (Sam Lerner) to help him finish building the time machine, while his sister Christina (Virginia Gardner) records everything. And in a strange twist of fate, David’s dream girl, Jessie (Sofia Black- D’Elia) joins the group.
Eventually, the completion of the time machine is a success, but one careless mistake sets off a series of catastrophic events.
My Thoughts- David using the Terminator movies as an example to explain time travel? Brief footage from Bill & Ted’s Excellent Adventure? Yep. It’s definitely a time travel film, but the found-footage POV brings a refreshing perspective to Project Almanac.
There’s a strong attempt at a good sense of realism for how they approached time travel. David warns everyone about the serious physical risks of using the machine, and I’m glad they didn’t go too over the top with trying to make the time machine itself some fancy looking high tech machine. David and Ben’s time machine looks homemade. They needed to use Jessie’s Prius battery for more power, and the group shopping for parts at an Ace Hardware was a nice touch.
Project Almanac feels more unique because of the found-footage POV, but it’s also a double-edged sword here. There’s way too much of the voyeurism stuff throughout the movie. Too many scenes with the camera sitting still recording conversations, using the camcorder for hidden camera moments that different characters aren’t supposed to see, and everything during the Lollapalooza stage of the movie feels like a big vlog from a social media influencer. Voyeurism routinely kills any kind of momentum they’re trying to build, and you’ll have to wait until the tail end of the movie for a consistent pace.
It’s only a matter of time before the usual time travel movie tropes kick in. The group uses the time machine to win the lottery, Christina wants revenge on a bully, and Quinn enjoys having the chance to finally be one of the cool kids in school. But David sparks a series of chaotic events, when he secretly uses the time machine to go back in time for a shot at a second chance with Jessie at Lollapalooza. David finally gets Jessie to be his girlfriend, but his decision results in a domino effect with natural disasters, brutal accidents, and deaths.
There’s a part in the movie, where David introduces the strict rules for time travel to the group. The first rule? No one for any reason is allowed to time travel or “jump” alone. As soon as David introduced this rule, you had to know someone would break it, and David was a top candidate to do it because of his feelings for Jessie.
After David’s failed attempts to cherry pick certain events from the past to fix his mess, he finally realizes he has to destroy the time machine to reset everything back to normal. David had to make the tough choice, knowing he would sacrifice his relationship with Jessie if he did it. The butterfly effect is always a crucial foundation for any time travel film, but Project Almanac’s approach to it kills a lot of the suspense here, with a predictable step by step process.
Project Almanac hits every time travel movie checkpoint you would expect, but there’s also a solid story with a good amount of emotion. When David goes back in time to destroy the time machine, he finally gets a chance to say goodbye to his father before he dies in a car crash. Quinn pleaded with David to find another way to fix things without destroying the time machine, because he didn’t want to lose his status as the big man on campus at school. That might sound ridiculous, but I do get Quinn’s point of view. Quinn, David, and Adam are geeky kids. At that stage of your life, depending on your mindset, being one of the cool kids in high school is a big deal.
David made a lot of mistakes, but he’s a good hard working guy. He wanted to find a way to pay for his tuition at MIT without his mother, Kathy (Amy Landecker) selling the house, or having to overwork herself to pay for it. And he wanted to finish building the time machine to honor his dad, a man who died when David was still a small child.
There’s a solid heartfelt story here, with a cast of likable characters. Jonny Weston, Sofia Black-D’Elia, and Sam Lerner delivered solid performances, especially Weston. There’s a strong sense of urgency during the finale, when David finally realizes he’s made a huge mistake, and Weston’s believable panicky and distraught hysterics are fantastic.
Project Almanac is a decent enough time travel movie, and it also works as a coming of age story with the high school life side of things. The problem is, the found-footage POV gimmick is the only unique aspect for Project Almanac, and there’s noticeable problems for how they use it. I pointed this out earlier, but once David decides to go back to Lollapalooza alone to fix things with Jessie, it’s just too easy to see where the story is going and how the ending will play out.
The Story- Mike Howell (Jesse Eisenberg) is a convenience store clerk living in a small town in Virginia with his girlfriend, Phoebe Larson (Kristen Stewart). Mike’s peaceful and ordinary life is upended, when he’s attacked by two unknown assailants.
Mike is targeted and hunted by dangerous operatives, while he’s caught in the middle of a deadly feud between CIA agent Victoria Lasseter (Connie Britton) and her coworker and adversary Adrian Yates (Topher Grace). Phoebe and his drug dealer buddy Rose (John Leguizamo) are Mike’s only allies, but Mike soon learns shocking secrets about himself and the reasons behind the government’s relentless pursuit to eliminate him.
My Thoughts- Jesse Eisenberg plays to his strengths with his familiar quirky and socially awkward persona, and it’s something he always excels at. Mike is a peaceful and carefree pothead. But he’s also a klutz and he’s not too bright at times, so the irony of Mike quickly switching gears to be this lethal and efficient sleeper agent is just hilarious.
The boyfriend/girlfriend chemistry between Eisenberg and Kristen Stewart is fantastic. Mike is a stoner. He’s clumsy, he continuously makes stupid mistakes, but Phoebe never gives up on him. She knows he’s a good person with a big heart, and she’s willing to risk her life to protect him. Stewart and Eisenberg were believable as an unusual couple. Phoebe plays the role of his protector, and it’s easy to buy into the fact that these two are willing to do anything to keep each other safe.
Topher Grace did a good job as a pompous and condescending weasel. Connie Britton’s Victoria is a perfect foil for Grace’s Yates. Victoria is a kind, hard working, and compassionate person. She wants to protect Mike, because she knows he’s innocent. On the opposite side, Yates is a selfish and cold jerk, who climbed the corporate ladder with brown nosing and butt kissing. He sees Mike as a disposable asset. It’s his chance to further advance his career, and the dynamic between Britton and Grace is one of the true highlights here.
The approach on how to use Bill Pullman’s Raymond Krueger throughout the movie really works. Krueger’s appearances are limited, so when he shows up it’s more of a big deal, and you’re not exactly sure what his precise title is. It’s clear he outranks Yates and Victoria, and Pullman brings a commanding presence to Krueger. You firmly know he’s the boss, and Krueger means business, whenever he shows up.
Walton Goggins delivers one of the top performances as Laugher. You can immediately see Laugher is someone who has a few screws loose. Laugher is a top pick for a lot of the good comedic moments, because he’s a pesky and persistent stinker, who keeps coming back to terrorize Mike and Phoebe. Goggins perfectly sells Laugher’s nutty and violent personality, with that crazed look on his face and the constant cackling. He’s Mike’s main adversary in hand to hand combat and Yates’ got to guy throughout the movie, and Goggins truly nailed this character.
As far as John Leguizamo goes, I could’ve done without the N word stuff with Rose. It’s not malicious at all, but Rose definitely leans more towards the cringey side at times. Leguizamo is solid enough as the paranoid and low level drug kingpin, so the N word stuff just felt unnecessary.
Tony Hale deserves credit for a noteworthy performance as Pete Douglas. He’s a nice and genuinely good guy, who turns into a nervous mess, because he’s torn between helping his friend (Victoria) and Yates, who bullies him and threatens his life, if he doesn’t fall in line.
When Mike finds out who he truly is, and Yates is still holding Phoebe hostage, it’s easy to guess how things will play out. Phoebe was actually Mike’s handler, and she wasn’t completely honest with him, so you know he’ll go through the dilemma of wanting to trust her again, because he believes she betrayed him. It all leads to the big showdown at the end, where Mike has to take on the rest of Yates’ Toughguy team and rescue Phoebe. It’s a predictable series of events, but the wild finale still delivers some good action and fight sequences.
They did a good job with the contrast between Yates’ Toughguy sleeper agents and Victoria’s Wiseman sleeper agents. Yates’ agents are cold and more ruthless. On the flip side of that, Mike came from the Wisemam program. He’s someone who’s compassionate. There’s humanity in him, and he’s noticeably different from Laugher, who’s a mindless killing machine following orders. The differences between the Wiseman and Toughguy programs is a reflection of Yates and Victoria’s personalities. It’s a hilarious and ironic twist, with Mike being a stoner and a slacker as the success story over Yates’ supposedly more efficient team with tighter screws.
The final showdown between Mike and Laugher delivered a satisfying brawl. Mike and Laugher were the two star recruits from their respective programs, so it made perfect sense for both guys to be the last men standing. There’s a heartfelt moment, when Laugher admits defeat and admires Mike’s performance and progress. Laugher talks about being broken (Yates used mental patients for his program), and Mike refuses to kill him, because he finally sees Laugher as a human being, who fell into an unfortunate situation.
There’s more irony when Yates is killed by Krueger for his massive blunder. Early on in the movie, Yates threatened Pete with death by execution outside, and that’s exactly how Yates was killed. The only difference is Yates wasn’t shot in “the f****** head,” but he still got what he deserved.
American Ultra has a happy ending. Victoria clearly receives a promotion with Pete by her side. Phoebe and Mike are working together as agents, and they can finally embrace their relationship. Also, it’s cool and unique how they ended the final moments of the movie with Mike’s The Adventures Of Apollo Ape & Chip The Brick cartoon. The success of Mike and Phoebe working together is shown through the cartoon, and it’s truly a fitting ending for this one.
American Ultra is a sharp and fun action comedy with a solid cast. The laughs and humor are consistent, and Mike trying to propose to Phoebe is a big running gag here. Mike is always trying to find the right moment to pop the question throughout the movie, but something always goes wrong. Mike finally gets his chance and Phoebe accepts after the big fight at the end, but the happy moment gets cut short, when Mike and Phoebe are tased by the agents. American Ultra has a strong pulse. There’s never truly a dull moment here, and after so many years, it’s still one of Jesse Eisenberg’s best films.
It's Halloween night, and with some help from her friend, Suzanne (Linnea Quigley), Angela Franklin (Amelia Kinkade) plans to throw an unforgettable Halloween party. Angela is not interested in fake cobwebs, bobbing for apples, or a group circle for cheesy ghost stories, while the storyteller holds a flashlight up to his or her face, with a scrunched look to top it off. No, Angela wants authenticity, so she chooses Hull House, an abandoned funeral home with a dark past, for the party's location.
Angela's guest list (with the exception of an uninvited Sal crashing the party) includes Judy (Cathy Podewell), her boyfriend, Jay (Lance Fenton), Roger (Alvin Alexis), Helen (Allison Barron), Stooge (Hal Havins), Sal (William Gallo), Max (Philip Tanzini), and his girlfriend, Frannie (Jill Terashita), and the group enjoys music, booze, and dancing. The vibrant atmosphere for the party dwindles after a few hiccups, but things pick up, when Frannie suggests a past lives seance. But the seance takes an unexpected turn for the worst, when the group unleashes a demon from Hull House's crematorium.
Is Angela the popular kid at school? Nope. Angela Franklin is an outcast, or if you listen to Judy, she's a "weirdo." Angela chooses a black wedding dress as a costume, and her Gothic style look and her make-up complements her persona, as a confident vixen. She's an enthusiast for the dark side and mischievous mayhem, and Angela relishes the opportunity to show-off her newfound powers, when Suzanne passes the demon to her with one kiss.
Demonized Angela terrorizes her party guests during the fiasco at Hull House, and Angela has a grotesque appearance in her demon form, but in her normal human form, Angela uses seduction as a weapon for her male victims. After Angela performed a sultry dance in front of him, Sal was smart enough to notice something strange. Sal walked away to avoid Angela's trap, but a gullible Stooge couldn't resist Angela, and he lost his tongue, as Angela passed the demon to him. Let's take a minute to admire Amelia Kinkade's memorable dance scene:
Kinkade takes center stage with a charismatic performance, and she establishes her presence in the Night Of The Demons series, as the devious primary antagonist with a dark sense of humor in Night Of The Demons 1988. Roger and Judy were lucky enough to walk away from a rough night with bumps, bruises, and scars during sunrise, and after a bloody night of carnage, Angela is stuck at Hull House (Remember the underground stream at the gates of Hull House? Demons can't cross over running water). Still, Angela is not done yet, so it's time to fast forward to Night Of The Demons 2!
In Night Of The Demons 2, the mythos of Angela has evolved past the point of some freak occurrence at Hull House or a gruesome massacre from Angela after the events in the first film. Now, Angela Franklin fully embraces her status, as the malicious bogeywoman, who haunts the halls of Hull House, and in the sequel Angela has a new mission: She wants to sacrifice her estranged sister, Melissa (or "Mouse"). First, Angela has to overcome a few small hurdles, because Melissa is a student at St. Rita's Academy, and Angela misses her first opportunity to grab Melissa inside Hull House
during Shirley Finnerty's prank/party.
Eventually, Angela manipulates Melissa into believing she wants to reconnect with her, so Melissa follows Angela to Hull House, forcing Sister Gloria to lead a rescue mission to save Melissa. Before and during the rescue mission, Angela pulls out a familiar bag of tricks, including seduction to torment, possess, and murder the students (and Rick and Z-boy) of St. Rita's Academy. And for some reason, Angela uses a sword as a weapon here. Yes, you can say it's a cool accessory for her character, but there's no explanation for it, how Angela acquired the sword, or who gave it to her, but for some strange reason Angela has a sword? Okay then.
Kinkade delivers another entertaining performance, and she has her moments as Angela in NOD 2. My only complaint is the sequel trying to recreate Angela's dance scene from the first film. It happens during Angela's invasion at St. Rita's Academy, and during the Halloween party, Angela puts on a show with another sexy dance, but the moment falls flat for me, and it's not Kinkade's fault. The music is terrible, it kills the mood for Angela stealing the show, and everything feels forced.
In the end, Melissa comes to her senses ("My name is Melissa!"), when she stabs Angela in her lower abdomen, causing a crippling wound. And with some help from Johnny, Bibi, and Sister Gloria, Melissa finally defeats Angela (in a more imposing form, as a large snake), but we're talking about horror films, so Angela has to make another inexplicable comeback in Night Of The Demons 3, right?
Well, it's Halloween night, and Angela is all alone and bored inside Hull House, so she has to have some fun. After a shootout at a convenience store, Vince leads a reluctant group to Hull House, but Angela flips the script, when Vince plans to use Hull House as a hideout.
Kinkade's presence and her performance are on a short, short list of a highlights in Night Of The Demons 3 (or Demon House), a lousy and forgettable sequel. Kinkade delivers another classic Angela moment, when she disarms Orson (figuratively and literally) after she performs fellatio on his gun. Also, Angela has another dance scene in NOD 3, but it's nothing to brag about. Kinkade tries to hold this one together, as the anchor for a sinking ship in NOD 3, but she's not a miracle worker.
Angela toys with another set of dimwits and a few unlikely heroes (Holly and Nick) in NOD 3. And of course, Part 3 leaves us with another "it's not over yet" cliffhanger after Holly and Nick "defeat" Angela, when Angela's voice wishes the audience a "Happy Halloween" with a sinister laugh before the credits roll.
Remember the eccentric outsider in Night Of The Demons 1988? Well, things change in the 2009 remake.
Angela Feld (Shannon Elizabeth) is not an outcast. She's a cocky party girl, who's not afraid to take what she wants. Angela hosts a Halloween bash at The Broussard Family Mansion, and Angela gives herself a grand entrance for officiall kick-off. But when Diana steals the money, and when the cops pull the plug on the party, Angela is stuck in a miserable dilemma.
Maddie, Lily, Jason, Dex, Colin, and Suzanne join Angela as stranded party guests, and all hell breaks loose, when a skeleton in the basement bites Angela's finger. The demon eventually possesses Angela's body, and when Angela passes the demon to Dex during a game of spin the bottle, she unleashes the demon's vicious wrath, sparking a chaotic life-or-death struggle for Maddie, Jason, and Colin.
Shannon Elizabeth's Angela is more arrogant in the remake, and if you're wondering, yes, Angela uses seduction as a weapon here (just ask Suzanne and Dex). Angela is still the ringleader for her demon minions in the remake, and you'll see a more intimidating demonized form for Angela here. Elizabeth delivers an entertaining performance as Angela, and one of the more memorable Angela moments happens, when Angela taunts Maddie, as she reveals her plans to mutilate Colin before she turns him, while Maddie, Jason, and Colin are hiding in the upstairs bedroom protected by the maid's spells.
The 2009 remake is a solid and enjoyable film, but it's hard to ignore a missed opportunity for a one on one final battle between Angela and Maddie. A more ferocious and aggressive version of Angela facing off against Monica Keena, a woman with a reputation for being a tough and resilient final girl in horror films? Sign me up!
If we're talking about popularity and legacies, you can't put Angela in the upper echelon with the likes of Myers, Jason, and Krueger, but she definitely deserves a spot on the all-time list for forgotten or obscure horror characters. Charisma, a dark sense of humor, a never ending appetite for carnage, and sex appeal? Yep. As a character, Angela has everything any horror fan could ask for and more, but if she tries to offer you a kiss or a dance, saying no is the best option, because there's a good chance you'll lose your tongue (Stooge), your face (2009 Suzanne), or your soul.
If you're interested, you can follow the links below to read my reviews for Night Of The Demons (1988), Night Of The Demons 2, Night Of The Demons 3, the 2009 remake, and a Character Spotlight post for Melissa "Mouse" Franklin:
Night Of The Demons (1988)- http://mitchmacready.blogspot.com/2012/11/night-of-demons-1988.html
Night Of The Demons 2- http://mitchmacready.blogspot.com/2012/11/night-of-demons-1994.html
Night Of The Demons 3/Demon House- http://mitchmacready.blogspot.com/2012/11/night-of-demons-3demon-house-1997.html
Character Spotlight for Melissa Franklin- http://mitchmacready.blogspot.com/2014/03/character-spotlight-melissa-mouse.html
This review contains MINOR spoilers, no major character deaths or reveals.
As a die hard fan of horror movies, Max (Anton Yelchin) works at Bloody
Mary’s, a horror shop featuring costumes and all things horror. Max has
dreams of opening his own horror shop, but Max’s obsessive and
controlling girlfriend, Evelyn (Ashley Greene) has other plans. Max
tries to juggle unwanted drop ins from his irresponsible half-brother,
Travis (Oliver Cooper), and Evelyn’s pushy demands, and Max’s
complicated situation takes a bizarre turn, when he receives a
mysterious satanic genie lamp with the devil’s image sculpted on the top
in a shipment of new products at work. During a tender moment, Max and
Evelyn promise to be together forever, while sharing a kiss, but at the
same time, the couple is unaware of the lamp’s glowing, red eyes.
One
day, Max strikes up a conversation with Olivia (Alexandra Daddario), an
employee at an ice cream shop. But Evelyn forces Max to leave the ice
cream shop, and she scolds Max for flirting with Olivia. To make matters
worse, Evelyn crosses a line, when she decides to give the apartment a
green makeover without Max’s consent.
Miserable and frustrated,
Max tries to stay the course, but after a talk with Travis, Max realizes
he needs to move on and break up with Evelyn, so a timid and nervous
Max arranges a meeting at a park to end the relationship. But fate
intervenes, when Evelyn is hit and killed by a bus, as she crosses the
street to meet Max.
After Evelyn’s funeral, Max picks up where he
left off with Olivia at the ice cream shop, and the two quickly connect
and form a bond through their love of horror movies. Max is ready to
move on and start a new relationship with Olivia, but Max’s plans for a
fresh start are derailed, when Evelyn’s rotting corpse emerges from her
grave.
Evelyn returns with an unwavering sense of dedication, and
she is determined to continue her relationship with Max. Meanwhile, Max
has to stall an impatient Olivia, so he can figure out a solution for
the unprecedented dilemma with Evelyn. Travis offers his help, but Max
is running out of time, as a suspicious Evelyn starts to question Max’s
loyalty, when he continuously rejects her advances. Will Max choose
Olivia? Or will Max do the unthinkable with a second chance for Evelyn?
Yelchin
does a good job, as the wimpy, spineless, and soft-spoken boyfriend.
You’re waiting for that one moment, when he FINALLY stands up to Evelyn,
and says “NO!” because he’s a nice guy, who’s trying to do the right
thing. Yelchin holds up his end of the bargain, and you want to see the
“enough is enough” reaction, because Ashley Greene is spot on as the
controlling and bossy girlfriend. You want to believe Evelyn is a kind
hearted soul. She’s a perky environmentalist, who wants positive
changes, and to add to that, she’s dedicated to Max, because he filled
the void in her life after her mother’s death. But there’s a good chance
you’ll change your tune, when Evelyn shows her true colors throughout
the movie. As the story progresses, the real Evelyn comes out, and she’s
not a ray of sunshine. Evelyn is a pretentious and condescending
control freak, who won’t hesitate to tear into (physically and verbally)
any critics.
I honestly can’t think of any real complaints for
the rest of the supporting cast. Daddario is believable, as this
care-free and likable horror nerd, who’s head over heels for Max, and
Cooper is good for a few laughs, as the irresponsible womanizer. Also,
Yelchin sharing dual chemistry with Greene, as the agitated boyfriend,
who’s stuck in a dead end relationship, and Daddario, as the positive
second chance at a happy life is impressive.
Burying The Ex is a horror comedy made for horror fans. The movie is
loaded with horror references, winks, and clips from vintage horror
films, featuring a few all-time greats. There’s a chance others will see
the approach to cater to horror fans as a big turn off, but it’s
refreshing to see a horror film that’s not afraid to appeal to its core
audience.
It’s hard to ignore the noticeable plot hole for the
satanic genie lamp. Why did Max receive the lamp? Who sent it to him?
How does the lamp work? Is there a limit to the number of wishes for the
person, who finds the lamp? Does the lamp come with any rules or
restrictions? Of course, common sense leads you to believe the satanic
lamp is responsible for Evelyn’s resurrection, but still, Burying The Ex
doesn’t provide any answers to some crucial questions.
Also, and
this not a complaint (just an observation), but you’ll notice Burying
The Ex is a low budget film right off the bat. To give one glaring
example, there’s a scene, where Evelyn pukes in Max’s face, because
she’s having trouble adjusting to her zombie transformation. Well, this
scene is supposed to be one of the bigger gross-out moments in the
movie, but Ashley Greene’s vomit looks like Mountain Dew. But if I’m
giving credit where credit is due, the gooey and slimy kiss between the
zombie version of Evelyn and Max is capable of pulling a reaction out of
you. That, and Evelyn’s twisty and bone-crunching yoga scene is good
for few a laughs.
Burying The Ex is far from perfect, and the
humor is a double-edged sword for me. On one hand, Burying The Ex
features one too many corny and eye rolling puns, but every now and
then, the cheesy jokes and comedy pulled a few laughs out of me. I won’t
go as far as must-see, but if you’re a passionate horror fan, Burying
The Ex is one horror comedy that’s worth a try.
Yeah, the
through the motions story is predictable, the blatant clichés will
probably annoy some people, and if you watch the trailers, you should be
able to predict Max’s choice between Olivia and Evelyn. To add to that,
there’s a chance Burying The Ex’s style of humor will be too
hit-and-miss for some. But Daddario and Yelchin are two likable
characters, who you want to root for, and I can’t forget about Greene’s
entertaining performance. The gory gruesomeness falls in the passable
zone, but in the end, Burying The Ex is a fun horror comedy that has the
right amount charm, and it’s just enough to overlook an undeniable plot
hole and some apparent flaws.
As a die hard fan of horror movies, Max (Anton Yelchin) works at Bloody Mary’s, a horror shop featuring costumes and all things horror. Max has dreams of opening his own horror shop, but Max’s obsessive and controlling girlfriend, Evelyn (Ashley Greene) has other plans. Max tries to juggle unwanted drop ins from his irresponsible half-brother, Travis (Oliver Cooper), and Evelyn’s pushy demands, and Max’s complicated situation takes a bizarre turn, when he receives a mysterious satanic genie lamp with the devil’s image sculpted on the top in a shipment of new products at work. During a tender moment, Max and Evelyn promise to be together forever, while sharing a kiss, but at the same time, the couple is unaware of the lamp’s glowing, red eyes.
One day, Max strikes up a conversation with Olivia (Alexandra Daddario), an employee at an ice cream shop. But Evelyn forces Max to leave the ice cream shop, and she scolds Max for flirting with Olivia. To make matters worse, Evelyn crosses a line, when she decides to give the apartment a green makeover without Max’s consent.
Miserable and frustrated, Max tries to stay the course, but after a talk with Travis, Max realizes he needs to move on and break up with Evelyn, so a timid and nervous Max arranges a meeting at a park to end the relationship. But fate intervenes, when Evelyn is hit and killed by a bus, as she crosses the street to meet Max.
After Evelyn’s funeral, Max picks up where he left off with Olivia at the ice cream shop, and the two quickly connect and form a bond through their love of horror movies. Max is ready to move on and start a new relationship with Olivia, but Max’s plans for a fresh start are derailed, when Evelyn’s rotting corpse emerges from her grave.
Evelyn returns with an unwavering sense of dedication, and she is determined to continue her relationship with Max. Meanwhile, Max has to stall an impatient Olivia, so he can figure out a solution for the unprecedented dilemma with Evelyn. Travis offers his help, but Max is running out of time, as a suspicious Evelyn starts to question Max’s loyalty, when he continuously rejects her advances. Will Max choose Olivia? Or will Max do the unthinkable with a second chance for Evelyn?
Yelchin does a good job, as the wimpy, spineless, and soft-spoken boyfriend. You’re waiting for that one moment, when he FINALLY stands up to Evelyn, and says “NO!” because he’s a nice guy, who’s trying to do the right thing. Yelchin holds up his end of the bargain, and you want to see the “enough is enough” reaction, because Ashley Greene is spot on as the controlling and bossy girlfriend. You want to believe Evelyn is a kind hearted soul. She’s a perky environmentalist, who wants positive changes, and to add to that, she’s dedicated to Max, because he filled the void in her life after her mother’s death. But there’s a good chance you’ll change your tune, when Evelyn shows her true colors throughout the movie. As the story progresses, the real Evelyn comes out, and she’s not a ray of sunshine. Evelyn is a pretentious and condescending control freak, who won’t hesitate to tear into (physically and verbally) any critics.
I honestly can’t think of any real complaints for the rest of the supporting cast. Daddario is believable, as this care-free and likable horror nerd, who’s head over heels for Max, and Cooper is good for a few laughs, as the irresponsible womanizer. Also, Yelchin sharing dual chemistry with Greene, as the agitated boyfriend, who’s stuck in a dead end relationship, and Daddario, as the positive second chance at a happy life is impressive.
Max hesitates too long, and he botches a few attempts to murder Evelyn, so Travis decides to take matters into his own hands with a covert mission, but there’s one problem: Evelyn’s thirst and hunger for flesh and brains kicks in. Travis tries to use his machete to kill Evelyn, but Travis is not fast enough, and Evelyn strikes first. Evelyn eats pieces of Travis, and she hides his mangled corpse behind the couch in Max’s apartment.
Evelyn wants to turn Max into a zombie, so they can live together as a happy couple forever, but Max pulls out a few more stall tactics to buy some time. But Evelyn turns the tables on Max, when she learns the truth about his secret relationship with Olivia. Evelyn kidnaps Olivia, and Max finally tells Evelyn he wants to break up and move on, so an enraged Evelyn snaps. Max and Olivia are stuck in a seemingly impossible life-or-death fight against Evelyn in the apartment, but a zombified Travis pops up to save the day, and he uses the machete to kill Evelyn.
With Evelyn out of the picture, Max and Olivia finally bury her body, and they’re free to move on with their lives as a couple. Together, the two open a half ice cream shop/half horror novelties store called Max & Olivia’s Cream-Atorium (Olivia names her latest flavor of ice cream “Burying The Ex”) , and Travis (as a zombie) joins the business as sign holder. To end the movie, Olivia (playfully) confronts Max about not paying his half of the rent, Max responds with an engagement ring, and of course, Olivia accepts his proposal.
Maybe I’m being too nitpicky here, but are we supposed to believe Evelyn can’t realize Max is stalling her, so he can come up with a plan to escape or get rid of her? During Max’s panicky scrambling to come up with a strategy, Evelyn can’t figure out what’s going on until she picks up Max’s phone to see a text message from Olivia, and I know Evelyn is supposed to be a delusional character, who can’t let go of the past, but Burying The Ex hangs on the edge with unbelievable obliviousness and mind-numbing stupidity during Evelyn’s “WHAT’S GOING ON!!!!” dilemma.
Max choosing Olivia over Evelyn is no real surprise. In fact, you can see Max’s choice coming from a mile away, because Max couldn’t tolerate Evelyn as his girlfriend anymore. Yes, you can say Burying The Ex plays it safe during the home stretch, and Travis returning after Evelyn’s bites was a foregone conclusion, but the movie delivers a satisfying finale, so I don’t have any real complaints.
Burying The Ex is a horror comedy made for horror fans. The movie is loaded with horror references, winks, and clips from vintage horror films, featuring a few all-time greats. There’s a chance others will see the approach to cater to horror fans as a big turn off, but it’s refreshing to see a horror film that’s not afraid to appeal to its core audience.
It’s hard to ignore the noticeable plot hole for the satanic genie lamp. Why did Max receive the lamp? Who sent it to him? How does the lamp work? Is there a limit to the number of wishes for the person, who finds the lamp? Does the lamp come with any rules or restrictions? Of course, common sense leads you to believe the satanic lamp is responsible for Evelyn’s resurrection, but still, Burying The Ex doesn’t provide any answers to some crucial questions.
Also, and this not a complaint (just an observation), but you’ll notice Burying The Ex is a low budget film right off the bat. To give one glaring example, there’s a scene, where Evelyn pukes in Max’s face, because she’s having trouble adjusting to her zombie transformation. Well, this scene is supposed to be one of the bigger gross-out moments in the movie, but Ashley Greene’s vomit looks like Mountain Dew. But if I’m giving credit where credit is due, the gooey and slimy kiss between the zombie version of Evelyn and Max is capable of pulling a reaction out of you. That, and Evelyn’s twisty and bone-crunching yoga scene is good for few a laughs.
Burying The Ex is far from perfect, and the humor is a double-edged sword for me. On one hand, Burying The Ex features one too many corny and eye rolling puns, but every now and then, the cheesy jokes and comedy pulled a few laughs out of me. I won’t go as far as must-see, but if you’re a passionate horror fan, Burying The Ex is one horror comedy that’s worth a try.
Yeah, the through the motions story is predictable, the blatant clichés will probably annoy some people, and if you watch the trailers, you should be able to predict Max’s choice between Olivia and Evelyn. To add to that, there’s a chance Burying The Ex’s style of humor will be too hit-and-miss for some. But Daddario and Yelchin are two likable characters, who you want to root for, and I can’t forget about Greene’s entertaining performance. The gory gruesomeness falls in the passable zone, but in the end, Burying The Ex is a fun horror comedy that has the right amount charm, and it’s just enough to overlook an undeniable plot hole and some apparent flaws.
