Tag Archives: Blumhouse Productions

Unhuman Tries to Put a Zombie Twist on The Breakfast Club

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Over the last several months, A24 has released several high profile, critically-acclaimed horror movies. Ti West’s X, Lamb, Everything Everywhere All At Once, and most recently Men have all enjoyed various levels of success. But Blumhouse Productions continues to crank out more mainstream horror offerings. While we wait for Halloween Ends, Blumhouse has offered horror fans Dashcam and the Firestarter remake to tide us over. Its latest release, Unhuman, is a collaboration between their Blumhouse Television division and pay-television network Epix. Promising something of a mix between zombie action and teen melodrama, critics have been lukewarm on the results.

Synopsis.

On the recommendation of their Parent Teacher Association, a high school teacher takes a mismatch collection of high school students on a field trip. But on route to their destination, the bus crashes in the woods far from their destination. Almost immediately a strange, sick-looking man attacks the bus, killing some and scattering the survivors. Now lost in the woods, the remaining students find themselves in a fight for survival.

Unhuman Boasts Some Fun Horror Action Alongside a Strained Effort to be ‘Hip’

At just under 90 minutes, Unhuman wastes little time getting started. And director Marcus Dunstan (The Collector, The Collection) rarely slows things down for long. If you enjoyed the Netflix movies The Babysitter and The Babysitter: Killer Queen, Unhuman taps into the same hip approach to horror. There’s a style-overload here defined by rapid editing, neon-drenched lighting, and an abundance of slow-motion. At this point, we’ve seen enough horror movies adopt this style that it’s no longer subversive. In fact, Dunstan often struggles to present coherent scenes with his hyperactive filming. Audiences may be more likely to have a headache than feel scared by the third act.

There’s a style-overload here defined by rapid editing, neon-drenched lighting, and an abundance of slow-motion.

This isn’t to say that Unhuman doesn’t have its moments. Early gore shocks and feels more at home with Dunstan’s film credentials. With screenwriting credits that include the Feast series and later Saw sequels, Dunstan and co-writer Patrick Melton know how to heap on the gore with a bit of a smirk. But the movie’s early playfulness gives way to an improbable twist that asks a lot from its audience. That twist, which requires flashbacks to provide exposition, gives way to more increasingly impossible things. Even fantasy movies have to exist in a universe where there are some rules or guidelines. Not only does Unhuman strain the audience’s goodwill it become tiresome and exhausting during its climax.

Unhuman Reminds Us of the Horrors of High School – Which We Already Knew

Maybe you didn’t know this but high school is awful. There’s a complete ecosystem populated by jocks, cheerleaders, geeks and nerds, and outsiders. But everyone has their own insecurities and if you just get to know them … and if this sounds like an ABC Afterschool Special, that’s by design. During the opening credits, one of the title cards proclaims Unhuman a ”Blumhouse Afterschool Special”. Without spoiling the twist, Melton and Dunston want to say something about high school social politics and how it scars those who can’t move forward. Consider Unhuman like a horror update on The Breakfast Club. Except the movie never earns the emotional catharsis it desperately wants. There just isn’t enough beneath the surface.

Except the movie never earns the emotional catharsis it desperately wants.

Regardless the young cast is more than capable often outstretching the source material. In particular, Brianne Tju (47 Meters Down: Uncaged, I Know What You Did Last Summer) shines as outsider ‘Ever’. No, Tju doesn’t look like someone on the fringes of high school cool. But she delivers a charismatic and engaging performance, which promises bigger things to come. And Drew Scheid (Halloween, Fear Street Part Two) adds to his horror credentials. Like Tju, Scheid has a natural likability that comes through on screen. Benjamin Wadsworth, Uriah Shelton (Freaky), and Ali Gallo all get standout moments as well.

Unhuman Is a Watchable, If Not Forgettable, Attempt at Hip Horror

Unhuman is the latest example of hip horror following in the footsteps of other ‘clever’ youth horror like The Babysitter, and its sequel, along with lesser known fare like You Might Be The Killer. It’s got an attractive young cast, hyperkinetic editing and lighting, ‘oh so cool’ title cards, and some high school politics. And for about an hour or so, Unhuman is watchable, inoffensive stuff if not forgettable. But then Dunston and Melton add an implausible twist, which they immediately double-down on. What follows is a dizzying climax – in all the wrong ways – and an attempt at emotional heft that’s unearned. If they can handle the early gore, younger audiences may have a bit more appreciation for this one.

THE PROFESSOR’S FINAL GRADE: C+

The Manor Invites Horror Fans to its Creepy Gothic Visiting Hours

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Since Paranormal Activity made its way into movie theaters in the late 2000s, Blumhouse Productions has dominated the horror genre. Amongst the studio’s lengthy list of original movies, Blumhouse has produced the Insidious franchise, Unfriended, Get Out, Happy Death Day, Freaky, and the Halloween update. If saturating the cineplexes wasn’t enough, Blumhouse kicked off a new partnership with Amazon Prime in 2020. Specifically, the venture, Welcome to the Blumhouse, saw the production studio release eight new horror movies direct-to-streaming on Amazon Prime in 2020 and 2021. Though critics were lukewarm on most of the releases, the deal provided opportunities for up-and-coming filmmakers. And the most recent release, The Manor, earned enough praise for a ‘Fresh‘ rating.

Synopsis

Following a minor stroke, Judith Albright, a former professional dancer, chooses to move into an assisted living home. Though she’s still quite capable and healthy, Judith doesn’t want her daughter and grandson to watch her decline as her Parkinson’s diagnosis advances. Though the assisted living home is nestled in a quaint old home on quiet grounds, Judith immediately sense something is wrong. Late at night, Judith sees a shadowy figure standing over her bed. Other residents rapidly decline around her. Unable to leave the premises, Judith must convince someone that her fears are real, not a symptom of advancing dementia.

The Manor’s Familiar Mystery and Light Scares Work for Most of the Movie

In spite of some good production values and Axelle Carolyn’s capable direction, The Manor always feels like a ‘streaming title’. Nonetheless, The Manor’s setting gives the movie some Gothic undertones, thereby enriching its early atmosphere. Carolyn works well with light and shadows, creating a bit of visual mystery alongside the story itself. Don’t expect too much in the way of scares. There’s a few decent jumps liberally spread throughout the movie. But The Manor plays more like a light supernatural mystery. Not much tension …

…The Manor’s setting gives the movie some Gothic undertones…

Fortunately, Carolyn milks her story’s mystery for all its worth in the movie’s first half. She immediately establishes some danger for Judith and dangles hints all while carefully ratcheting up the stakes. However, while the mystery is interesting and keeps you hooked, it’s hard not to feel like you’ve seen much of this play out in similar movies. Some of The Manor’s plot feels formulaic, rarely deviating from a conventional thriller template. Many viewers may figure out the thriller’s big reveal long before happen. And when The Manor hits its third act, there’s a bit of perfunctory feel to its conclusion. The Manor underwhelms even if its overall effect is satisfying.

The Manor Casts a Light on a Subject That Demands More Attention

If not all of its horror elements work from start to finish, The Manor’s thematic focus on aging and treatment of the elderly resonates. Almost immediately upon her arrival, paternalistic staff and doctors patronize and infantilize Judith. No cellphone, limited outdoor privileges, bedroom door locked at night, and physically coercive staff – Carolyn’s screenplay casts an uncomfortable spotlight on the social discarding of seniors. Occasionally, The Manor feels heavy-handed in how it ties this theme to more conventional thriller tropes. Watch enough horror movies or thrillers and you’ll see plot after plot where no one believes a protagonist. Here, The Manor uses this typical skepticism to further illustrate we all to often dismiss the elderly.

In addition, Barbara Hersey’s (The Entity) winning performance ensures the supernatural thriller is watchable from start to finish.

Even it may feel familiar, The Manor’s themes elevate the movie. In addition, Barbara Hershey’s (The Entity) winning performance ensures the supernatural thriller is watchable from start to finish. She turns in a strong, layered performance as ‘Judith’ that offers audiences a compelling protagonist. And Judith’s relationship with her grandson not only adds an emotional core to the movie but also shows a maternal relationship not often seen in movies. As a longtime home resident ‘Roland’, the always reliable Bruce Davison exudes plenty of charm and just enough mystery to wonder if there’s more to the character than meets the ye.

The Manor Offers Well-Paced, Light Supernatural Thrills

For nearly two-thirds of its runtime, The Manor is a fun bit of Gothic horror and mystery. Nothing here approaches ‘classic’ or ‘hidden gem’ status. If you’ve watched any horror movie, there’s a familiar set-up and trajectory. But Carolyn executes this familiarity quite well achieving modest levels of tension. Unfortunately, The Manor’s reveal and ending don’t match that early promise. What’s left is a climax and conclusion that underwhelm but without tainting the movie’s overall experience. Throw in Barbara Hershey’s winning performance and The Manor is an evening well spent.

THE PROFESSOR’S FINAL GRADE: B-

On The First Day of Christmas: Day 1, Hark the 2019 Black Christmas Remake

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Jason Blum and his Blumhouse Productions sparked initial excitement when they announced a Black Christmas remake for 2019. Unfortunately, Black Christmas 2019’s early goodwill quickly gave way to criticism and divisive reactions. An early trailer seemed to give away a major twist – and departure from the original. Next, the MPAA assigned the remake a PG-13 rating, which opened an old, if not unnecessary, horror debate. Upon its release, critics were divided and some fans ravaged it. Among criticisms, some horror fans complained that director Sophie Takal’s remake felt more like a ‘lecture’ than a movie. In spite of a disappointing opening box office weekend and divided opinion, Black Christmas 2019 plays out much better than expected.

Synopsis

As Christmas holidays draw near, Hawthorne college student Riley Stone struggles to deal with her trauma following a sexual assault on campus. Though her assailant, a fraternity president, was forced off campus, college officials and police discounted Riley’s story. But when Riley and her sorority sisters perform at the same fraternity’s talent show, they expose her offender and the fraternity culture itself. Soon thereafter, anonymous hooded figures begin stalking and texting threatening messages to the sorority sisters.

Black Christmas 2019 An Actual Remake, Not Rehash

On one hand, Black Christmas 2019 is very much a feminist horror movie. Though the horror has offered strong female protagonists in the past, Sophie Takal and co-writer, April Wolfe, tackle current gender politics head on. Black Christmas 2019 wears its heart on its sleeve. Rather than rehashing the 1973 original movie, Takal and Wolfe use its setting and premise to tell a contemporary story. Date rape, the #MeToo movement, toxic masculinity, and campus debates over tainted historical monuments all find their way into the story.

Rather than rehashing the 1973 original movie, Takal and Wolfe use its setting and premise to tell a contemporary story.

Yet contrary to some of the criticisms, Black Christmas 2019 doesn’t feel like a ‘lecture’. Let’s not forget that Bob Clark’s original movie featured a sub-plot about a character wanting to get an abortion against her partner’s wishes. That same movie’s killer, ‘Billy’, also thoroughly laced his threatening messages with misogynistic vitriol. Takal and Wolfe’s remake doesn’t really stray from the source material as much as update it for our current cultural divide. The Soska Sisters’ American Mary and 2007’s Teeth similarly fired shots at predatory masculinity. And Jordan Peele’s Get Out didn’t shy away from its own commentary on race. Moreover, Black Christmas 2019’s commentary doesn’t distract from the story or scares. It propels the story forward and, more importantly, gives the remake a reason to exist.

Takal Delivers Scares and Suspense Early, But Loses Control in Final Act

As compared to the 2006 remake, Black Christmas 2019 eschews over-the-top gore for a more serious tone. Takal never conjures up the same dread or intensity as the 1973 original. The remake’s updated text threats, for instance, never unsettle in the same way as Billy’s phone calls. But for most of her remake, Takal makes good use of the Gothic college campus and isolated winter setting. Several good jump scares are delivered throughout the remake. There’s a great nod to one of the best jump scares in horror movie history with a homage to The Exorcist III. An early scene that I’ll just call ‘the snow angel of deal’ is visually affecting.

Things veer a little off course in the climax.

Where Black Christmas 2019 loses momentum is its big third act. As it turns out, the remake’s trailer didn’t reveal all of its surprises. Unfortunately, a final twist involving the bust of the college’s founding father feels unnecessary and out of place in the movie. In addition, as the remake gets ‘bigger’ and brings in more characters, it loses some of its atmosphere, suspense, and scares. Arguably, Black Christmas 2019 may have fared better if it had focused on Riley and her small group of sorority sisters. Things veer a little off course in the climax. However, the ending will also prove cathartic for some viewers.

Black Christmas 2019 Gifts Slasher Fans with Well-Written Characters, Empathetic Performances

Slasher movies aren’t known for their character depth. Nonetheless, Takal and Wolfe craft believable characters and relationships for their performers. As Riley Stone, Imogen Poots gives a layered performance, convincingly portraying a strong woman struggling with trauma. This makes Black Christmas 2019 the second major movie in the last year or so to address female victims’ trauma (see Halloween 2018). Sorority sister Kris, played by Aleyse Shannon, is a similarly layered character. Like Poots’ “Riley Stone’, Shannon brings ‘Kris’ to life, investing the movie with stakes as its protagonists elicit empathy.

In a return to horror, Cary Elwes (Saw) makes for subtly menacing villain. Unfortunately, Elwes’ role in the remake is more of a supporting nature. This leaves Black Christmas 2019 lacking in a truly threatening antagonist to support the movie’s scares. While the ‘dude bro’ fraternity members aptly reflect the remake’s subtext, they’re pretty interchangeable and don’t leave much of an impact. The patriarchy and toxic masculinity make for good villains, but the movie needed a better onscreen representation.

Black Christmas An Uneven, But Thoughtful and Largely Effective Remake

While it’s uneven, Black Christmas 2019 is better than its Rotten Tomatoes score. And it’s absolutely much better than the current IMDb score. Yes, Takal and Wolfe have embedded their movie into today’s current socio-political context. Ironically, the movie’s low IMDb score and the bitterly divisive response reflect the very issues Black Christmas addresses. Takal’s remake is no more overt in its commentary than, say, Don Siegel’s Invasion of the Body Snatchers or Jordan Peele’s Get Out. Neither as memorable as the original nor as bad as the 2006 remake, Black Christmas 2019 is likely a horror remake that will benefit from later critical re-appraisal.

THE PROFESSOR’S FINAL GRADE: B

The Purge Franchise: All crime, Including Murder, is Legal for 12 Hours

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Who would have thought that a modestly budgeted home invasion thriller would spawn such a successful franchises? In retrospect, The Purge, which hit theaters in 2013, was exactly the kind of movie upon which Blumhouse Productions has built their success – big concept, small budget. Even if The Purge wasn’t a great movie per se, the sound of that siren followed by the announcement, ‘All crime, including murder, will be legal for 12 hours’ hooked audiences. To date, Blumhouse has produced four sequels and a television series. All five movies have been box office gold for the studio. Some of the success owes to all those colorful villains. But the constant presence of series creator James DeMonaco has played a role in the series’ consistency. Now rumors are spreading of a sixth Purge movie. Regardless, it’s time to take stock of the franchise and separate the weakest entry from the best.

5= The Forever Purge (2021)

Some franchise fans will take issue with placing The Forever Purge at the bottom of the list. Arguably, The Purge could just as easily be at the bottom. Both movies suffer from the same problem – interesting premises largely unexplored. Certainly, series creator and writer James DeMonaco has a timely political premise. Months after the world watched far-right extremists storm the US Capital Building, the idea of a splinter Purge Purification Force extending ‘the purge’ to ‘cleanse’ the country of ‘non-Americans’ should strike a nerve. Instead of chilling commentary it feels like being hammered over the head. Though director Everardo Gout stages some excellent, violent action sequences – in broad daylight this time – and we have the requisite masks and likeable characters, The Forever Purge feels more like a generic dystopian action thriller than a Purge movie. And it’s undoing of The Purge: Election Year’s ending feels cheap.

4 – The Purge (2013)

Make no mistake about it, The Purge was the least remarkable entry in the series. Until The Forever Purge. However, this isn’t to say The Purge is a bad movie. On the contrary, writer and director James DeMonaco’s first kick at the can is far from bad. You’ll find lots of good ideas here. Aside from its intriguing premise, The Purge boasts a good leading cast (Ethan Hawke, Lena Headey) along with some potentially explosive subtext. In addition to the more obvious ideas around human nature and violence, DeMonaco skims deeper issues including racial injustice, class division, and privatization of security. Unfortunately, DeMonaco doesn’t fully develop these themes. Some of this is a function of budget and scope. Specifically, DeMonaco was working with a small $3 million budget. As a result, The Purge is a lukewarm home invasion movie anchored by a big concept.

3 – The Purge: Election Year (2016)

After The Purge: Anarchy opened up the franchise’s world and fully exploited its premise, DeMonaco continued with the ‘go big’ approach. Though it’s still an improvement over The Purge, The Purge: Election Year represents a step down from Anarchy. Like the first sequel, Anarchy continues the series’ shift away from horror elements firmly into action territory. And DeMonaco handles the action with the right amount of grit and intensity. Frank Grillo is back – a definite plus. Moreover, Election Year packs some timely satire with its female senator running for President against the far right-wing New Founding Fathers of America. But this time around, there’s a little too much predictability. Grillo’s character also feels less interesting – he’s missing that anti-hero quality from Anarchy. By no means should anyone consider this a perfunctory sequel. Nevertheless, DeMonaco’s bigger scope misses some of the personal stakes of Anarchy.

2 – The First Purge (2018)

When most franchises hit their fourth film, diminishing returns hits hard. Prequels also rarely bode well. However, The First Purge successfully used the prequel route to bring in fresh talent and a new direction. By the fourth movie, DeMonaco’s handle on the bigger action scenes is quite adept. And for this installment, DeMonaco throws even more big ideas at the screen, taking aim at the Trump administration. DeMonaco’s use of faulty, unethical social science findings to target minorities eerily parallels the Tuskegee Syphilis Experiment. There’s government-funded Russian ‘merc’s’, NRA funding of the NFFA, and references to media fear-mongering. Scenes of Neo-Nazi militias attacking a community church are cutting references to the US government’s complicity in the rise of neo-Nazi activity in America. Not all these ideas stick and the focus is clearly still on action. Still The First Purge is better than it had any right to be.

1 – The Purge: Anarchy (2014)

Hands down, The Purge: Anarchy is the best movie in the series. With a slightly bigger budget, DeMonaco takes the ‘purge’ from a suburban household straight into the streets. This time audiences got to see the full chaos of a ‘purge night’ as we watched five very different people try to survive a night in Los Angeles. In addition to abandoning its ‘home invasion’ setup, The Purge: Anarchy takes a step away from horror into action. DeMonaco treats us to some of the more visually-striking series’ villains, including Young Ghoul Face and Big Daddy. If The Purge teased bigger themes, Anarchy dives into these ideas. In particular, DeMonaco’s idea of the NFAA using professional ‘purgers’ to clean out marginalized neighbourhoods is pretty provocative stuff for this kind of movie. Throw in the underrated Frank Grillo – and some welcome mystery surrounding his character – and you have a lean, relentless sequel.

The Forever Purge “Breaks the Rules” While Delivering More of the Same

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Movie theaters are back. Mostly. Depending on where you live, theaters have begun opening doors. Over the last couple of months, several long-awaited horror movies have finally released including Spiral From The Book of Saw and A Quiet Place Part Two. Now the latest entry in the seemingly never-ending Purge franchise is here. This time The Purge Forever promises that the “rules are broken” as the annual purge spills beyond its regulated 12 hours. Critics aren’t impressed with this twist, but that shouldn’t surprise anyone. Perhaps craving anything new in theaters, audiences have embraced the fifth movie in the series. But five movies deep into a franchise, can The Forever Purge really break “all the rules”?

Synopsis

Eight years have passed since Charlene Road won the election and banned “The Purge”. Now the New Founding Fathers of America (NFFA) have regained power, instantly reinstating the annual tradition. On a Texas ranch, Dylan Tucker and his family prepare for the night of lawlessness. Meanwhile Tucker’s ranch hand, Juan and his wife, Adela, hunker down in a safehouse with other migrant workers. When the night passes, however, the violence doesn’t end. Splinter groups – a Purge Purification Force – have defied the NFFA and declared a ‘forever purge’. Fueled by racial hatred, the ‘Forever Purge’ threatens to go on and on until America is “cleansed”.

The Forever Purge Changes Scenery But Delivers More of the Same

After The Purge: Election Year’s hopeful ending, one had to wonder where franchise could go next. Even prequel The First Purge promised some optimism. Not surprisingly, series creator and The Forever Purge writer, James DeMonaco once again taps into America’s political climate for inspiration. Specifically, DeMonaco’s premise of extremist groups – the Purge Purification Force – splintering from the New Founding Fathers of America should make audiences uncomfortable. Though The Forever Purge was originally set to release a year ago, this idea doesn’t seem so out of touch now. With this creative decision The Forever Purge effectively erases Election Year’s ending in the sequel’s opening minutes. Despite the potential of the idea itself, it’s hard not feel like it’s a bit of lazy storytelling to justify the sequel.

With this creative decision The Forever Purge effectively erases Election Year’s ending in the sequel’s opening minutes.

Like the past sequels, The Forever Purge nails its violent action set-pieces. For the first time in the series, a new director, Everardo Gout, takes the reigns. As The Forever Purge changes settings from dark urban cities to sun-soaked Texas landscapes, Gout makes good use of this environment. Across the sequels, The Purge franchise has never been particularly scary or suspenseful, which continues here. Still Gout captures the big action sequences in a way that emphasizes the sequel’s chaos. Too bad DeMonaco under-develops his commentary while laying its more obvious message on thickly. What’s left feels like more of the same, but just a lot less like a Purge movie.

The Forever Purge Is Missing Compelling Villains to Rival its Likeable Protagonists

Consistent with its rather heavy-handed messaging, The Forever Purge’s characters fit somewhat stereotypical categories. John Lucas’ bigoted rancher ‘Dylan Tucker’ and Tenoch Huerta’s ‘Juan’, who’s equally skeptical of the ‘American Dream’, set up requisite interpersonal conflict. Will the two very different men eventually work together? Probably. But Lucas and Huerta are both excellent, elevating their characters above these simplistic terms. As ‘Anna’, Ana de la Reguera gives us another likeable, highly capable character that mostly avoids tropes. Enjoy the always good Will Patton (Halloween) in a supporting role.

However, what’s missing is a face of the organization – a “big bad” so to speak.

One glaring oversight in The Forever Purge is the lack of a compelling overarching villain. As ‘The Purge’ rules break down and the New Founding Fathers get regulated to the background, The Forever Purge sort of introduces The Purge Purification Force (PFF). By ‘sort of’ DeMonaco’s screenplay explicitly mentions the PFF and its eerie mandate to ‘cleanse’ the country of ‘non-Americans’. Moreover, it’s a villain that feels all too possible in today’s climate. However, what’s missing is a face of the organization – a ‘big bad’ so to speak. Instead, The Forever Purge bookends the movie with two disposable groups of villains. Admittedly, a cowboy posse looks menacing for their brief screen time. Near the sequel’s end, ‘Alpha’ (Jeffrey Doornbos) and ‘Mother’ (Susie Abromeit) become the faces of the PFF. As compared to the series’ past villains, they’re pretty unremarkable.

The Forever Purge Will Satisfy Series’ Fans, But Likely Won’t Win Over New Ones

Credit to DeMonaco as he remarkably offers the series a potentially new direction. Let’s face it, five movies into a franchises is hardly when you see fresh creative opportunity. Too bad The Forever Purge never properly executes its splinter ‘Purge’ concept. Instead, DeMonaco’s screenplay beats its sociopolitical commentary like a dead horse. Plenty of slickly choreographed violent and a dystopian sun-soaked setting alongside sympathetic characters makes it more than watchable. And the idea of a sixth Purge movie built around a ‘civil war’ actually sounds promising. Yet what’s on the screen likely won’t grow the series’ fanbase. However, diehard fans will likely eat it up.

THE PROFESSOR’S FINAL GRADE: B-

The Vigil: Stay Up With This Jewish Supernatural Thriller

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Plenty of horror movies draw on religious imagery in straightforward tales of good versus evening. As a subgenre, however, religious horror centers its conflict on either questions of faith or the dangers of dogmatic faith. There’s no shortage of horror movies seeped in Christian faith and imagery. But traditional Jewish horror movies are in short supply. After a 2019 premiere at the Toronto International Film Festival (TIFF), IFC Midnight snatched up the North American distribution rights for Keith Thomas’ directorial debut, The Vigil. To date, critics have been overwhelmingly impressed with Thomas’ debut effort.

Synopsis

Disconnected from his Orthodox Jewish faith, Yakov struggles to carve out a new life for himself in New York. And his younger brother’s tragic death exacerbates his crisis of faith. Though he’s initially reluctant, a former rabbi convinces Yakov to act as a shomer – a community member who sits in vigil over the deceased through the night to protect their soul. As the night progresses, Yakov struggles to discern between traumatic flashbacks and the growing fear that he’s not alone. Soon he believes that a demonic entity attached to the deceased is now seeking to consume him.

The Vigil Overcomes A Small Budget With Haunting Production Values and Terse Mood

Straight out of the gate, The Vigil establishes a tone of increasing dread that’s omnipotent throughout the movie. First-time director Keith Thomas shows patiently sets up his scares, allowing this mood to carry audiences into the more standard haunting shocks. And there are a few familiar haunted house tropes here from flickering candles to shadowy figures in screen corners. In addition to its terse atmosphere, Thomas orchestrates a few good jumps and shocks. One trip into the basement and a FaceTime call should have audiences squirming. Zach Kuperstein’s beautiful cinematography and Michael Yezrski’s powerful soundtrack earns big assists in the scares department.

In addition to its terse atmosphere, Thomas orchestrates a few good jumps and shocks.

If there’s a criticism of The Vigil it’s that it does hue closely to haunted house and supernatural horror narratives. Not much of the Jewish mythology of its demonic entity, the Mazzikin, is explored. Of course, this also means that Thomas doesn’t patronize audiences with lazy expository dialogue. And The Vigil’s impressive production values far exceeds its budget. Even its ‘less is more approach’ with the Mazzikin boasts impressive craftsmanship and a deft understanding of what truly frightens viewers.

The Vigil Grapples with Emotional Themes of Grief, Trauma, and Forgiveness

In spite of its familiar horror elements, The Vigil distinguishes itself with ambitious, bigger storytelling. In addition to directing, Thomas penned the movie’s screenplay, Alongside its straightforward haunting, Thomas delves into Yakov’s struggling disenfranchisement from his faith and community. The Vigil also parallels Yakov’s trauma and guilt with Mr Litvak’s traumatic history, which bookends the movie. To be sure Thomas tackles quite a bit here thematically. Arguably, the movie’s handling of its religious subtext is ambiguous and, as a result, less satisfying. But The Vigil hits an emotional crescendo with Yakov’s traumatic reckoning and willingness to forgive himself. What it offers audiences is a deep connection with Yakov that elevates the movie and cuts across religious faiths.

…Yakov is an instantly sympathetic character.

Given its mostly single setting and small cast, The Vigil hinges heavily on Dave Davis’s (The Domestics) performance. What Davis delivers is a complex, layered performance that quite respectfully untangles the struggles with mental health and trauma. Courtesy of Davis’ work, Yakov is an instantly sympathic character. Though Lynn Cohen’s role as grieving widow Mrs Litvak is smaller in scale it’s no less impressive. In just a handful of scenes, Cohen acts as the emotional glue that holds together the parallel stories of Yakov’s and her late husband’s grief. Moreover, she demonstrates a finesseful treatment of dementia that lends her character a …

The Vigil An Emotionally Cathartic Horror Experience

As a directorial debut, The Vigil is a triumph of horror filmmaking. The soundtrack, cinematography, and performances transcend the movie’s more limited budget. Moreover, a steady grasp on atmosphere alongside a ‘less is more approach’ ensures The Vigil succeeds as pure horror, even when some elements feel familiar. If Thomas’ more meditative examination of faith feels unfocused, The Vigil’s parallels of trauma, grief, and forgiveness provide an emotionally powerful conclusion to the movie.

THE PROFESSOR’S FINAL GRADE: A-

Birthday Slash: Six Birthday-Themed Horror Movies For Your Goodie Bag

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Horror loves events. Not just holiday-themed movies, either. After Halloween defied box office expectations in 1978, the horror genre was looking to adapt just about any holiday or calendar event. Hence, we have Christmas and Valentine’s Day-themed movies alongside April Fool’s Day and Friday the 13th. We’ve got Prom Night and Graduation Day and even Mother’s Day has its own horror movie. So why not horror movies about birthdays? It’s hard to imagine a better setup for terror than our most special day of the year. After all, each birthday brings us one year closer to death. Clowns, unwanted attention, surprises, obnoxious kids – birthdays offer lots of potential for scares. Below are six birthday horror movies for your consideration if you’d rather stay in by yourself on your birthday.

Stitches (2012)

Clowns are scary, but Stitches clearly plays its concept for laughs. Several years after a birthday party prank goes horribly wrong, Stitches the Clown returns from the grave to take revenge on the children responsible for his death. Ultra-low budget and intentionally cheesy, Stitches clearly aims for the goofball horror and gore of later 80s slasher sequels like Sleepaway Camp II: Unhappy Campers or Slumber Party Massacre 2. While it’s certainly not dull, Stitches doesn’t come as close to cult-status as it probably intended. Bad movie lovers may enjoy it. But most horror fans would be better off sending regrets to this birthday horror bash.

Demons 2 (1986)

From Italian horror director Lamberto Bava, Demons 2 is vintage 80s Italian horror. Of course, this means Bava’s sequel is a gory but nearly incomprehensible effort with B-level acting and C-level dialogue. Not that it matters. Like its predecessor, Demons 2 is a triumph of wall-to-wall practical gore effects. When demons from the first movie escape from a television during a high-rise birthday party, Bava unleashes surreal ‘new wave’ horror. Is it a proper sequel to Demons? Or is it a movie-within-a-movie? Like most Italian horror from the era, it’s not very clear. Nonetheless, Demons 2 works best as gory nightmare fuel. If you’re an 80s horror fan, you’ll want to RSVP to this birthday party.

Happy Death Day (2017)

If you hate celebrating your birthday, imagine having to re-live it over and over again. Happy Death Day exploits this very conceit in its ‘slasher meets Groundhog Day‘ premise. From horror powerhouse Blumhouse Productions, Happy Death Day nailed its high concept becoming one of the best horror movies of the 2010s. Its story of a college student forced to live her birthday over and over until she discovers who killed her effectively mixed jolts, humour, and an emotionally satisfying character arc. An equally satisfying sequel fell short of box office hopes, but a trilogy capper still isn’t out of the question.

House on Haunted Hill (1959, 1989)

Legendary director and producer William Castle was the master of gimmicks. Most of his work was cheesy, low budget B-movies. But Castle filmed and marketed his productions with a childlike enthusiasm. One of Castle’s best movies was The House on Haunted Hill, the second of two successful collaborations with Vincent Price. Here, Price played an eccentric millionaire offering five strangers $10, 000 to spend an evening locked in a haunted house for his estranged wife’s birthday. It proved to be a winning premise and The House on Haunted Hill was a box office hit. But for younger horror fans unimpressed with plastic floating skeletons, Dark Castle Entertainment gave it the remake treatment 40 years later. Unlike the original, critics weren’t very impressed, but 90s horror fans have a spot for it.

Bloody Birthday (1981)

Somehow this decent little early slasher movie has slipped into obscurity. Though it’s not a classic, Bloody Birthday rises above its ‘killer kids’ narrative. Three ten-year-old children born at the same time during a solar eclipse are secretly murderous psychopaths. So you could say they were ‘born under a bad sign’. Don’t expect much in the way of blood and gore. Nonetheless, Bloody Birthday’s junior slashers are creepy and infuriating in equal measures. Even without blood there’s also something jarring about watching children commit murders. There’s also a surprising amount of nudity here. It’s not quite a Grindhouse movie, but Bloody Birthday still feels exploitative at times. For 80s horror fans, Bloody Birthday makes for a nice little birthday goodie bag.

Happy Birthday to Me (1981)

Now here’s a classic slasher movie. At the height of the subgenre’s emergence, Happy Birthday to Me brought together all the classic tropes. It’s Ginny Wright’s birthday and someone is killing her friends – The ‘Top Ten’ – before her party. When you think of slasher movies, it’s the creatively over-the-top death scenes that likely comes to mind. And this Canadian slasher promised “the most bizarre murders you will ever see”. While it falls short of its promise, the infamous ‘shish kebab’ murder remains a subgenre touchstone. In spite of its silly story and convoluted twist, Happy Birthday to Me scored some familiar faces in the cast. Melissa Sue Anderson (Little House on the Prairie) and Tracey E Bregman (The Young & the Restless) make sense – young, fresh-faced, and maybe looking to do something different. But Golden Age Hollywood star Glenn Ford must have walked onto the wrong set.

The Craft Legacy: Sisterhood of the Traveling Spells

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Horror remakes aren’t always a bad idea. In some cases, movies don’t age well. Either the effects (or the movie’s story itself) become dated. Sometimes good ideas get lost in bad movies. And occasionally, a filmmaker comes along with a new twist on an old idea. Gore Verbinski’s update of Ringu added interesting subtext alongside excellent scares. Though it’s not perfect, the Suspiria remake had several layers of interesting storytelling. And let’s not forget that John Carpenter’s The Thing was a remake. Despite horror fans’ love for The Craft, critics were less enthusiastic about it in 1996. Like it or not, The Craft was not off-limits for the remake treatment. So whether we wanted it or not, The Craft Legacy exists with clear ambitions for a franchise.

Synopsis

When her mother remarries, Lily finds herself moving to a new home and starting at a new school. After an embarrassing mishap in her first class, Lily meets and bonds with three of her classmates – who also happen to be aspiring witches. Frankie, Tabby, and Lourdes believe Lily is the fourth witch they need to close their coven. But what starts as an exciting journey of magic and self-discovery soon turns deadly.

The Craft Legacy Adapts Story Into Supernatural Tale of Sisterhood .and Power Minus the Scares

In general, The Craft Legacy follows the plot and setup of its predecessor. Whether it’s the opening credits or the ‘magical discovery of powers’ montage, writer and director Zoe Lister-Jones initially looks to follow the source material religiously. And while there are homages to The Craft (“We are the weirdos, mister’), Lister-Jones changes things up where it counts. That is, she puts a distinct Generation-Z spin on the story. The Craft Legacy shifts its conflict from the coven and the corruption of power to an outside threat – the patriarchy. Like the Black Christmas remake, The Craft Legacy is very much about men trying to steal women’s power and, to a lesser extent, consent. Here, Lister-Jones celebrates female empowerment.

True, The Craft Legacy is – and was clearly intended to be- a PG-13 horror movie for a younger audience. But the scares and suspense are noticeably sparse.

Yet whereas Black Christmas still navigated the genre quite well, The Craft Legacy falters as a horror movie. On one hand, Lister-Jones seems less comfortable with the movie’s horror elements. True, The Craft Legacy is – and was clearly intended to be- a PG-13 horror movie for a younger audience. But the scares and suspense are noticeably sparse. In part this is also a problem with pacing and the absence of a clear threat for much of the movie. Once The Craft Legacy hits its middle act the story drifts. Though Lister-Jones offers occasional hints as to where the movie’s true danger lies, they’re too few and far between. Without a villain to fight, the movie works better as a coming-of-age tale rather than even a light horror movie.

The Craft Legacy Puts a Gen-Z Twist on Its Soundtrack and Witches

To be fair, critics didn’t initially heap a lot of praise on The Craft in 1996. What’s add to that movie’s enduring popularity was its cast and decade-defining soundtrack. Drawing comparisons between the 1996 and 2020 cast is unfair and unnecessary. Young viewers will likely relate to this cast, the dialogue, and celebration of difference and inclusivity. As ‘Lily’, Cailee Spaeny more than capably fills in for Robin Tunney’s main protagonist. Her supporting cast are charming and likable with clear chemistry between the coven’s ‘sisters’. Neither Michelle Monghan nor David Duchovny have much to do. In particular, Duchovny seems miscast in his role. However, The Craft Legacy also keeps Duchovny offscreen a little too much given his later importance to the story.

Young viewers will likely relate to this cast, the dialogue, and celebration of difference and inclusivity.

When The Craft was released in 1996, it soundtrack collected some of the biggest alternative rock bands of the era. As a middle-aged horror fan, I’ll profess a preference the original movie’s soundtrack. But I’m also biased. This time around, The Craft Legacy’s soundtrack seems like a more thoughtfully compiled collection. Most of the tracks feature female artists including Alanis Morissette, Sharon, Van Etten, and. Princess Nokia. It’s a soundtrack that is very much in keeping with the story Lister-Jones wants to tell.

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The Craft Legacy Will Appeal To Gen-Z Horror Fans

Perhaps critics and fans were too harsh on The Craft Legacy. As far as remakes go, Lister-Jones does what one should when re-envisioning well-loved source material. Rather than re-hashing the original, Lister-Jones finds a new thematic lens for the story. Both movies are products of the their time. Though Lister-Jones fails with the remake’s horror elements, she tells an admirable story of sisterhood and power for Gen-Z audiences. In all likelihood, The Craft Legacy wasn’t intended for middle-aged horror fans. But flawed as it may be, The Craft Legacy may appeal to younger fans just getting their feet wet in the horror genre. Whether the movie’s final twist earns Blumhouse Productions the sequel it wants, however, remains to be seen.

THE PROFESSOR’S FINAL GRADE: B-