Season two juggles new plot developments and ignores newer ones, to mixed results.
A solid entry to the beginning of a new era for Marvel
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.
Christmas comes early this year, in one of Ted Lasso’s best episodes.
If there’s one of Ted Lasso’s tertiary characters that I’m excited to see more of, it’s Sam Obisanya.
Heder’s script has a few plot hurdles that keep it from greatness, but her heart is in the right place, and the film represents a promising step forward for her and Emilia Jones.
Nine Days is a refreshingly unique film that announces Oda as an exciting voice with important things to say. The film could have easily slid into familiar sci-fi territory, devoting less time to the more existential issues and more time on structural bureaucracy.
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.
Here’s hoping that every episode title this season refers to a different flavor of tea.
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.
If you’ve seen The African Queen, or Indiana Jones, or Pirates of the Caribbean, or The Lost City of Z, that seems like as safe a place as any to start when discussing Disney’s latest live-action adventure. Because Jungle Cruise feels largely indebted to all of those films, and pulls elements from each one, but still struggles to stand on its own.
In this “parking lot special” episode, Tiny and I review M. Night Shyamalan’s latest film, Old immediately following a theater screening of the film.
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.
It feels downright serendipitous that the arc of the titular hero of Apple TV+’s critical darling comedy closely mirrored my own journey with the show.