A sniper duo sent to the edge of a war zone to kill the head of a dangerous organization end up wandering the woods followed by something, before killing the incorrect target from bad intel and needing to stick around until they can eliminate the correct target. Something is definitely following them and getting closer.
“Brooklyn 45” is a film that only Ted Geoghegan is capable of. It’s a ballsy, richly developed, and fascinating character study masking as a supernatural horror film. It’s like watching a stage play unfold on film with a seasoned, brilliant cast putting to life an absolutely compelling narrative. While “Brooklyn 45” features ghosts, and poltergeists, and some gnarly gore, it’s merely window dressing for a deeper look at the aftermath of a horrible war, and our grappling with the concept of death. Director Ted Geoghegan has a real flair for ensemble movies and creating genre entries that are just out of left field.
After the disappointment that was “Peter Pan & Wendy” I was hopeful and optimistic about the remake of Disney’s “The Little Mermaid.” I say remake because Disney has not bothered to really deviate from their successful formula. They haven’t borrowed from Hans Christian Anderson’s original story, but instead just remade their classic animated version from 1989. “The Little Mermaid,” despite my utter optimism and enthusiasm for it is yet another dull, assembly line repackaging of one of their classic interpretations that’s given a new coat of paint and is extended, for some reason. Because nothing signals “sophisticated” than making a movie longer–right? That makes it Oscar worthy–maybe? Simply stretch every nuance and sincere moment from the original animated movie and Bob’s your uncle.
It’s really sucky that Wesley Taylor and Alex Wyse’s horror comedy “Summoning Sylvia” is one of the genre gems that audiences seem to be sleeping on. I say that because “Summoning Sylvia” is everything you can want in a horror comedy. Not only does it adhere to the classic supernatural movie tropes, but it also subverts them by unfolding a very heartfelt narrative with richly developed characters. While a film like this could have served the fully LGBTQ cast as stereotypes, directors and writers Wesley Taylor and Alex Wyse introduce these characters one by one and then smash our pre-conceived notions.
I think with the massive reputation James Wan has built, as well as the large success he’s had with genre films, the modern horror icon’s weaker works have aged well. “Dead Silence” was initially considered one of Wan’s lesser genre fare, but in light of a lot of his contemporary entries, “Dead Silence” has come full circle. It’s now become a somewhat underrated genre gem, and I think in spite of its obvious flaws, it’s another of James Wan’s ace horror films.
I have to admit that I never did catch Anthony DiBlasi’s original 2014 film “Last Shift.” Despite its acclaim and reputation in the horror world, it never quite caught my attention. Anthony DiBlasi does what many indie filmmakers do, and uses this opportunity to not only remake “Last Shift,” but expand upon it with bigger scares, more gore, and a greater emphasis in to the mystery of John Malum. The results are ultimately a mixed bag of horror highs and lows. I tend to appreciate with director Anthony DiBlasi and writer Scott Poiley do here, taking “Last Shift” and giving it a polish that allows their universe to breathe better.
One of the latter day Dario Argento movies is a mind melding, bizarre series of inexplicable plot points that amount to one twisted slasher film. “Phenomena” is Argento at his wildest, directing a script that feels concocted by someone on an acid bender. “Phenomena” is one part “Carrie,” one part giallo slasher, one part revenge thriller, and a whole lot plot elements that make zero sense. Everything that unfolds is so inexplicable and out of left field that I was absolutely baffled most times. And it speaks a lot to the reputation of Dario Argento because a movie like this would have prompted me to shut it down mid-way. But the movie begs the audience to keep going, even though we’re never quite sure what other nonsensical plot point is going to be tossed in at the last second.