Kenneth Branagh’s follow-up to 2017’s Murder on the Orient Express finds Agatha Christie’s iconic detective Hercule Poirot entangled in a murder plot aboard a cruise ship on the Nile. Adapted from Christie’s 1937 novel, Death on the Nile is an exercise in laborious plotting, weak characterization, and astonishingly poor visual effects. As a murder mystery, it suffers from an overabundance of motives and red herrings that are too easily introduced and dismissed. While Branagh does bring some slight pathos and intrigue to his portrayal of Poirot in the film, it’s not enough to leave a worthwhile impression.
It’s been two and a half decades since Scream (1996) revitalized the slasher genre and changed the game for mainstream horror with a clever, meta script from Kevin Williamson brought to life by Wes Craven’s masterful direction. Scream ’96 was as much a twisted love letter to the horror genre as it was a slasher in its own right. And it garnered three sequels of varying (though all solid) quality. Now, the directing team behind 2019’s Ready or Not, Radio Silence (Matt Bettinelli-Olpin and Tyler Gillett), have brought the Scream franchise back with Scream (2022), an endlessly clever and violent “re-quel” that honors Wes Craven’s legacy and shows reverence for the franchise he created with writer Kevin Williamson.
See for Me is a home invasion thriller with a unique spin. The lead character is blind and relies on a service app called See for Me, where an operator guides the user through their phone’s camera. It’s a fine enough hook for the film to start with but See for Me quickly shoves the concept aside for a more formulaic thriller. Sadly, what could have been an interesting entry in a tired subgenre turns into a dull limp to its expected finish line.
Eighteen years have passed since the Wachowskis concluded The Matrix trilogy and were met with varying degrees of disdain and disappointment from the fan base. Now, Lana Wachowski (sans sister Lilly) has brought audiences back into the Matrix with The Matrix Resurrections. With this installment, Wachowski reintroduces us to Neo and Trinity and some familiar (and not so familiar) faces as they find themselves once again at the whim of machine overlords who’ve imprisoned humanity in a simulated world.
Though it should be commendable and refreshing anytime new players are introduced to the MCU, the storytelling issues within Eternals (and the greater MCU formula itself) are oftentimes not enough to delay the inevitable. The truth is, Phase 4 of the Marvel Cinematic Universe has brought with it an undeniable sense of franchise fatigue.
Frank Herbert’s Dune is a highly respected work of science fiction that’s influenced storytellers for decades. The novel tells the story of Paul Atreidis, a young man who has visions of his destiny while his present is rife with conflict and danger as his House arrives at the nearly inhospitable planet Arakkis so they can assume control over the planet’s Spice (a hallucinogenic substance needed for interstellar travel) production for the Empire.
Ghidorah, the Three-Headed Monster sets an intriguing pace from the start and carries the human side of the plot through the majority of its runtime. Despite holding back on introducing the titular monster until nearly the end of the film, Ghidorah still manages to be engaging by focusing on the human story without devolving into melodrama like films before it.
Shang-Chi and the Legend of the Ten Rings brings the MCU’s first Asian superhero to the screen in a film that dazzles with elaborate set pieces and an energetic buddy energy between leads Simu Liu and Awkwafina. With impressive visual effects in its third act, Shang-Chi is certainly one of the MCU’s best looking films to date (outside of the colorful and vibrate Guardians of the Galaxy films). But even with fantastic action and visual effects, the film suffers a bit from origin story issues and, specifically, its handling of important exposition through inconsistent and repetitive flashbacks.
At times, The Night House feels like a paint by numbers psychological horror film with a surprising amount of visual flair. Other times, it’s a vehicle for a really fantastic and varied performance in lead actress Rebecca Hall. And yet, it is also guilty of being a convoluted mess housing bizarre occurrences in a maze of barely coherent plot threads. When it works, The Night House delivers effective jump scares and clever visual frights. Ultimately, however, the good parts of The Night House fight an uphill battle against a story that doesn’t quite know what it is until the last several minutes, when you’re likely to have stopped caring enough to piece it together.
John and the Hole, the debut feature from Pascual Sisto, is a psychological thriller that’s filled with a disturbing coldness with a sliver of dark comedy undertones. For the most part, John and the Hole works as a mood piece, showcasing just how disassociated its central character is with his actions. It’s a film that sees a 13 year old boy drug his family, trap them in an open hole in the ground, and then go about his newly independent life without much thought given to his captors. Aside from a couple peculiar and out of place side tracks, John and the Hole manages to stay compelling and unsettling throughout.
Jungle Cruise, Disney’s latest film based on one of its theme park rides desperately wants to be the mouse house’s next Pirates of the Caribbean style box office juggernaut. Unfortunately, the film fails on this endeavor almost every step of the way. Whether it’s jumping from contrived set piece to contrived set piece, or in the uninspired and incessant bickering among the film’s central triumvirate (not to mention the utter lack of romantic chemistry in its leads), Jungle Cruise just doesn’t work as a complete experience.
Following his work delivering slasher hijinks to the time loop trope with Happy Death Day and Happy Death Day 2U, Christopher Landon affixed his horror-comedy eye on the body swap genre with 2020’s Freaky. The film stars Kathryn Newton as Millie, a teen whose family suffered the loss of her father a year ago. Vince Vaughn co-stars as the nameless Blissfield Butcher, a deranged killer whose urban legend has him operating for decades in the Everytown (well, in California, at least), USA hamlet of Blissfield. When an ancient Aztec artifact causes the two to switch bodies, gruesome killings and funny misunderstandings ensue.
Settlers, the debut feature from writer/director Wyatt Rockefeller, is a sci-fi character study that never quite gets off the ground. Set on a lone Mars colony, it tells a tale of frontier desolation and isolation in a meandering and slightly unfocused way. A single family lives on the land and has to face the threat of people who appear to be marauders at first glance. As the film progresses, not much backstory (save for the bare essentials) is given as to who these people are or why they have staked their claim on the land. It becomes a moot point, however, as the film immediately becomes a 3-person character study with not much energy to the plot.
Throughout his tumultuous career, M. Night Shyamalan has been singularly focused on trying to surprise audiences. What’s most surprising about his latest film however, is just how little has changed in his bag of tricks. Old has all the hallmarks of Shyamalan’s storytelling style. There’s a preponderance of silly, inauthentic dialogue, tons of on the nose exposition, awkward comic relief that rarely lands as intended, and what seems like an active hatred for ambiguity. Yet, for all of Old’s silliness and lack of depth, it does provide a decent amount of suspense and is home to one really interesting concept.
Concluding a trilogy is a tricky proposition in any context. When it comes to the Fear Street trilogy however, its weekly release schedule means the first two entries are incredibly fresh in the audience’s’ minds going into the final chapter. So it stands to reason the conclusion had a lot to live up to and the potential for a lot of scrutiny to be levied at it. To add to that pressure, Part One and Part Two had the benefit of mostly disappearing into their respective time periods whereas Part Three had the unenviable task of serving as both an origin story and conclusion. Fortunately, Netflix’s ambitious gamble of releasing its Fear Street trilogy (based on the teen horror books by R.L. Stine) in weekly installments has paid off with a fun and satisfactory end in Fear Street Part Three: 1666.