Category: Uncategorized

SHIVA BABY (2021)

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Written & Directed By: Emma Seligman
Cinematography: Maria Rusche
Editor: Hanna Park 

Cast: Rachel Sennot, Polly Draper, Molly Gordon, Fred Melamed, Dianna Agron, Jackie Hoffman, Danny Deferrari, Glynis Bell, 

At a Jewish funeral service with her parents, a college student runs into her sugar daddy.

The film works as a character piece. Even though it takes place mostly in one location and is full of colorful characters who add comedy and point of view to the story. It all centers around the main character played by Rachel Sennot in a subtle and ultimately powerful performance. As she is out under high pressure unknowingly in a continuous situation. She begins to unravel in all sorts of ways.

What makes the film so strong is that while there is comedy it plays almost like a horror film or thriller. As the score seems to help tighten the rope around the character and set in such a crowded space there are fewer and fewer places to turn.

Even as she is struggling to keep her sugar daddy who is far from a Prince Charming and the longer he stays at the party. The more his farm diminishes, but he is the only thing she had control over and loses him. She will feel like she has nothing. So she keeps trying harder and harder to lessen herself to keep and seduce him. 

As it seems scene to scene she is running out of places to hide or things to distract her as she gets more worried and more people to talk about her and the danger of her secrets being revealed. As she tries to make things seem normal.

Even as she tries to seduce a guy who is her sugar daddy back and you begin to wonder is it more about the power and strength as he isn’t all that appealing or beating the competition for him in his successful wife who seems to know more than she lets on. Or did she actually fall for him as something more than just a client?

Is she just desperate to keep the status quo as anything different would force her to grow up? As the man ends up not being all that appealing. Which one can tell early on before any revelations are brought to the table 

The whole cast is eye-opening, they are funny and emotional. Though Polly Draper as the roads mother has the right amount of emotions and judgment to be frustrating and sweet

Rachel Sennot as the lead is a revelation as she plays so many emotions and feelings all at once. Even though it is mostly through facial expressions and actions more than dialogue. Not to mention her natural beauty comes through when being plain but also wants to be looked upon with desire.

The film also offers us a bi-sexual lead where the film does have sex and sexual language the film doesn’t become all about or into about the character’s sexuality as their defining trait 

This film could have easily been more of a simple dramedy that would Feel more staged or at least stage-bound the way it is shown and protested here is short but keeps the audience on their toes as each revelation or emotion feels like a jump scare or is looked upon with dread. 

Though it offers up a few surprises, by the end it leaves the characters uncomfortable but in it’s own way a happy ending. 

Thankfully for all the awkwardness and Cringe-worthy conversations and situations that play like horror the film still has its fair share of laughs and humor.

Grade: B+

MERMAIDS (1990)

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 Directed By: Richard Benjamin 
Written By: June Roberts
Based on the book by: Patty Dann
Cinematography: Howard Atherton 
Editor: Jacqueline Cambas 

Cast: Cher, Bob Hoskins, Winona Ryder, Christina Ricci, Michael Schoeffling, Caroline McWilliams, Jan Miner 

An unconventional single mother relocates with her two daughters to a small Massachusetts town in 1963, where a number of events and relationships both challenge and strengthen their familial bonds.

Cher is the Star of the film even though the film is more centered around Winona Ryder’s character and is at heart a coming-of-age film. Her character ark is a kind of sneak attack where all of a sudden the supporting performance is actually the main one. By the end, we realize she is the film’s heart and soul. 

Here the main spectacle was supposed to be Cher as after all she is the star of the film and is center stage in all the advertisements but while she is healthy in the film she comes on strong at the beginning then becomes more of a supporting background performer. The nemesis to a certain degree of the protagonist is her daughter played by Winona Ryder.

This is a film that is dependent on each element. As only Cher had the star power and the cool to be the spectacle. She ends up doing good character work, but also she is the only person at the time who could play a fabulous independent female character. who is strong and knows what she wants and is not ostracized for it. Where it fits her personality to a t. It also allows for her to shine as a character and show more shades and a bit of vulnerability.

If anything I applaud this movie for its cast. Young Christina Ricci’s debut film and Bob Hoskins as Cher’s love interest and father figure to her daughters. A shoe salesman who is an artist at heart and open-minded, who tries to domesticate the family but not forcefully. He is understanding and a nice guy. Not to mention Michael Schoeffling is older, but kind of playing an older version of the same type of character he played in SIXTEEN CANDLES more of a mystery but genuinely a nice guy

Though Winona Ryder at large walks away with the whole film. Playing a teenage neurotic girl who also is the narrator and makes this almost a woody Allen Esque adventure in pursuing a crush. Only while the film seems that way it is about more than that. As she is driven by teenage angst and catholic religious obsession. Not to mention the changing and challenging times of the 1960s

Directed by Richard Benjamin who was a replacement for original director Lasse Hallstrom. and then Frank Oz. Before he finally came along. Whereas you could see Hallstrom’s version in your thoughts. Richard Benjamin’s direction is sensitive and strong.  Even more impressive that he was more of a last-minute replacement. One of his best-directed pictures. While some others came close this was truly his most heartwarming and dramatic that hit all the buttons. His best next to this movie MY FAVORITE YEAR.

By the end, the film shows how when young something can be an obsession you think about day and night but also how once something new comes along it can easily be dropped and forgotten entirely. It’s a quality of youth but might also be an inherited quality. 

Though this film at times might seem more formulaic, one quality the film possesses. Is that it feels lived in. It’s comfortable and feels more natural. The habitat of the characters is refreshing and gives the scenes so much more strength and allows them to be subtle when they need to be. 

The film even has a memorable soundtrack. Including the theme song which is a remake but sung by the star Cher. 

I will admit this is more of an underrated film that I have enjoyed ever since it came out. 

Grade: B

SWEETIE (1989)

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Directed By: Jane Campion
Written By Gerard Lee & Jane Campion
Cinematography: Sally Bongers 
Editor: Veronika Haussler 

Cast: Genevieve Lemon, Karen Colston, Tom Lycos, Jon Darling, Dorothy Barry

An introspective young woman’s life is upturned by the arrival of her maladjusted sister.

Not the first Jane campion movie I have seen but one of the few so far. Also, One that I have so far enjoyed the most. 

The film plays like an awkward comedy of dysfunctions more than anything else.

It has emotional hard-hitting moments but most of the film. While beautifully and symbolically filmed. The characters all come off as strange or off for the sake of the story more than naturally.

The title character comes off the maddest and while it seems has a mental illness. One wants to take her to a professional. So that she drives everyone around her mad. As they have to take care of her and know she will never see any of her behavior as wrong. Yet she still kind of fits in with the rest of the characters.

As the film is frantic but comes off as a rather dry romantic comedy. That seems more composed rather than written. As the romantic comedy storyline. Is only one of few that runs throughout but is affected by the behavior of the title character. 

The longer you spend with the characters the more you care and get more invested. The same can be said of the film the longer you watch the more you get used to it and find yourself brought into the film’s and characters’ world.

This is a film worth investing your time in. By the end, you feel like you were part of something special. 

Grade: B

THE INFORMANT! (2009)

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Directed By: Steven Soderbergh 
Written By: Scott Z. Burns 
Based on the book by: Kurt Eichenwald 
Cinematography By: Steven Soderbergh (As Peter Andrews) 
Editor: Stephen Mirrione 

Cast: Matt Damon, Melanie Lynskey, Scott Bakula, Joel McHale, Clancy Brown, Tony Hale, Ann Dowd, Rusty Schwimmer, Eddie Jemison, Tom Papa, Rick Overton, Thomas F. Wilson, Scott Adsit, Andrew Daly, Ann Cisack, Patton Oswalt, Tom Smothers, Paul F. Tompkins, Candy Clark

Mark Whitacre has worked for the lysine developing company ADM for many years and has even found his way into upper management. But nothing has prepared him for the job he is about to undertake – being a spy for the FBI. Unwillingly pressured into working as an informant against the illegal price-fixing activities of his company, Whitacre gradually adopts the idea that he’s a true secret agent. But as his incessant lies keep piling up, his world begins crashing down around him.

Based on a true story. This seems like the perfect set-up for a comedy a rather dry one. 

The film starts off a little haphazard at first laying it’s groundwork. That at first is confusing, but you get the full picture as the film goes on. The first half of the film also feels a little pretentious as it seems to feel it’s the smartest kid in the room and has jokes and humor that seems to be inside and to itself, but the film becomes more interesting and compelling as the film goes on. 

Though there are many good actors in the film their roles are so small they never get a chance to shine. Quite a few stand-up comedians in the cast. I believe more in their improv skills and ability to punch up the lines to have a humorous stance, but most of them play straight and deadpan whereas the dramatic actors are playing more comedic roles. Which I believe is another cinematic experiment by director Steven Soderbergh to subvert genre rules and play with the material. 

The film is practically a one-man show for Matt Damon who gained weight for the role. Already a great actor. He is certainly having fun here while portraying a three-dimensional real character. 

It’s always nice to see Scott Bakula on screen as a character actor. Who always seems to pop up in the odd film. Who I always feel should work more though it maybe my hero-worship of him from the Tv Show QUANTUM LEAP. 

I have a love/hate relationship when it comes to Mr. Soderbergh and his movies. I applaud his filmmaking skills and the fact that he brings more experimental techniques and direction to mainstream films. The problem is that at times it generally distracts and makes you pay more attention to it. Then the actual story that is onscreen can work if it’s a story you’ve seen many times (ERIN BROCKOVICH) before or the films. Theme and plot are thin or more of a character study, but if it’s a straightforward film it can be a bit much. I respect and honor him for it, but at times it feels a bit much. 

What works here is that in his head Matt Damon’s character is playing this espionage mission and is a hero and has convinced himself that he is the innocent hero and his employers are the villains when in actuality he is the villain, yet see’s himself as a double agent and is able to convince others of this. Only it’s not an exciting action-packed cat and mouse situation, but the most mundane and boring business double-dealing. It’s a nice an interesting contrast considering we have seen Damon actually play a character in life or death Espionage action films in The Bourne Trilogy 

In an NPR radio interview, Matt Damon said that Steven Soderbergh, to get Mark Whitacre’s final apology to the judge just right, directed Damon to perform the lines as if he were accepting an Academy Award. (Damon said it was an example of “perfect direction”.) 

The mood of the film comes off as a timely classic period piece though it is thoroughly modern. Steven Soderbergh makes films full of ideas that might not always work for general audiences, but at least he is trying you get a general sense of excitement behind his films as he is actually thinking far ahead while in the moment. This doesn’t make for the fastest most exciting moments while watching the films. Once you are finished watching the film though it does leave you to think more about what you have seen. it stays with you a bit longer. You just don’t dismiss and forget. It’s not exactly disposable. That is what a true artist as a director brings to the screen. 

The film purposely styles itself like a classic 70’sfilms in tone and mood. Even its titles and score by Marvin Hamlisch. This also leans it more towards the Pretentious style or maybe I am being a bit harsh and it’s more a homage. 

I realize that at times Soderbergh more goes for the documentary-style where he seems like he is filming as it really happens. I give more kudos to the cast for never breaking and making the mundane of the character believable. 

The film starts off as a guy who tells a lie to get out of trouble and the lie just snowballs bigger and bigger leading to a bunch of lies and when he finally gets caught. He tries to lie and deal his way out. The thing is as he is lying at times he even seems to believe the lies but ends up destroying many lives for nothing while still feeling and portraying the victim as not understanding or refusing to see why people are mad at him. 

I believe his character appears to want to be the rebel because he believes he is always being slighted but wanting to be popular also and believing he is the smartest guy in the room. 

GRADE: C+

SPIRAL: FROM THE BOOK OF JIGSAW (2021)

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Directed by: Darren Lynn Bousman
Written by: Josh Stolberg & Peter Goldfinger
Cinematography: Jordan Oram
Editor: Dev Singh 

Cast: Chris Rock, Samuel L. Jackson, Max Minghella, Marisol Nichols, Dan Petronijevic, Richard Zeppieri, Patrick McManus 

Working in the shadow of his father, an esteemed police veteran, brash Detective Ezekiel “Zeke” Banks and his rookie partner take charge of a grisly investigation into murders that are eerily reminiscent of the city’s gruesome past. Unwittingly entrapped in a deepening mystery, Zeke finds himself at the center of the killer’s morbid game.

This film feels like a script that was written to be a thriller and then was rewritten to throw in some horror elements and connect it to the saw movies. Which it barely does.

The film is predictable and while like previous saw films it seems to like to play around with time or reveal certain elements to the audience when it needs to explain certain things.

The twists don’t feel as shocking, truthfully they never even feel earned. 

Amazing that this film was filmed before last summer’s racial political upheaval surrounding the murder of George Floyd. As this film seems almost like a kind of giving the audience what it wants. In a tale of dirty cops being the victims. As only one non- cop is killed throughout.

The surprise is making an African American cop The leading character. Now this film is built around Chris Rock as the star. As he supposedly also helped come up with the story. His character seems to be the only truly innocent person throughout and the film comes off as cruel. As the film seems to want to keep punishing him.

The acting throughout the film is spotty and Chris rock as hard as he tries is miscast. At times he tries too hard and his delivery sounds more comedic or non believable in his inflections. Not trying to rain on anyone’s parade he is a talented person and one of my favorite stand-up’s but here in this role, he leaves a lot to be desired. 

Samuel L. Jackson plays a supporting role in the film, but his part is integral. It also feels like he is barely in the film. 

Also, the film looks cheap. Know that these films are usually limited in the budget and tend to stay small and in a few locations, but watching the film you can tell. As it keeps making itself obvious. Which hampers the enjoyment of it.

The special effects are still top touch and the film is gory. Maybe not trying as hard as the previous films. 

All of this is a shame as this film seems to be more aimed at African Americans and starring them with representation horror. Which Could definitely use more of, but this is not the right project. 

Grade: F

NIGHTBOOKS (2021)

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Directed By: David Yarovesky 
Written By: Mikki Daughtry & Thomas Iaconis 
Based on the Book by: J.A. White 
Cinematography: Robert McLachlan 
Editor: Peter Gvozdas

Cast: Krysten Ritter, Winslow Fegley, Lydia Jewett 

A young boy named Alex becomes the prisoner of a witch to avoid certain death, he convinces her to let him tell her a scary story every night. Upon meeting the witch’s servant, Yazmin, the two must use their wits to escape her apartment, a magical labyrinth filled with various dangers, before the witch kills them both.

This film feels more like what the GOOSEBUMPS MOVIE franchise should have been. Less goofy with more terror and real-world stakes. So that there feels like there is something truly troubling Constantly and a kind of emotional connection with the audience. Where you actually care about the characters.

A true fantasy film to capture the imagination that can be deadly but also fun and enchanting. 

This film revolves around only a few of them, but it also showcases the power of imagination and through action encourages reading and books. Without really having to spell it out too much.

This film is clearly made for a younger audience but parents and adults could easily appreciate the film. As it does have those moments of danger from the kind of kids in peril movies of the 1980s where parents or guardians are largely absent. 

Krysten Ritter is perfectly cast and shows she is having fun In her role. As she is always engaging and still avid tongued at times literally. Even if one question you might ask is why the platform shoes always.

The film offers animation when stores are being told and sections of the film are always brightly colored. Especially the lad and gardening sections. 

It’s a film that appreciates horror and scary stories. A perfect film for kids around Halloween. As it rises the lie. Between horror and scary for kids. It might be the perfect starter film for them and get them interested more in these types of stories.

Grade: B-

SCARE ME (2020)

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Written & Directed By: Josh Ruben 
Cinematography: Brendan H. Banks
Editor: Patrick Lawrence 

Cast: Aya Cash, Josh Ruben, Chris Redd, Rebecca Drysdale 

During a power outage, two strangers tell scary stories. The more Fred and Fanny commit to their tales, the more the stories come to life in their Catskills cabin. The horrors of reality manifest when Fred confronts his ultimate fear.

This is a film that depends on a certain quirky factor to keep it going. Where your interest in the characters will determine how much you end up enjoying this film. 

The cast works so well together. Even though for most of the film it is only two characters. It almost feels like an improv show focused on horror and some defining personalities. 

Aya cash is hilarious in particular. She catches the eye especially when her characters are being critical, that is when she seems to be more in top form.

Though the film is mostly dialogue. You get into the stores they tell you the way they tell them. and caught up in them can almost visualize them yourself. The fact that they feel spontaneous only adds to the fun.

As the film also constantly feels like it is leading to a secret. So that for all the fun there is some kind of dread heading your way.

The film still has room For plenty of jokes with it’s more character based comedy.  The less the way to a mildly surprising ending. 

GRADE: B-

BEDEVILLED (2010)

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Directed By: Chul-Soo Jang 
Written By: Kwang-Young Choi 
Cinematography By: Gi-Tae Kim 
Editor: Mi-Joo Kim 

Cast: Yeong-Hie Seo, Seong-won ji, Min-ho Hwang, Ji-Eun Lee, Jeong-Hak Park 

A woman subject to mental, physical, and sexual abuse on a remote island seeks a way out.

It’s not a typical horror film as it doesn’t follow any of the rules of one except for its violence. This film Ultimately this film ends up becoming a revenge film. Though to sum it up that way is too simple.

It is more of a human horror story rather than a supernatural or killer on the loose tale. Here we know the killer and the motivations.

The film is fresh in original ways through the story feels familiar. Presented in a different way that makes it feel fresh.

As the film starts we are introduced to a character who we believe will be our protagonist and while she stays in the film out attention soon shifts I her friend on the island she is taking a vacation at, which is her hometown from youth.

Once we get on the island we see how old school it is and a different world. Where men are thought supreme and women as lowly. We also are witnesses to how her childhood friend is practically a slave and see the indignities that are forced onto her on a daily basis that she endures only for her daughters’ sake and hope of escape someday.

The film really builds in this middle section as it actively makes you hate all the characters except for her and you can’t wait for something to happen to them badly, it gets routine as the film goes on you will feel your anger rise and a blood lust start to take form. Once a tragedy happens that is when the blood begins to flow in a graphic manner.

What is amazing about the film is that it takes its time for the revenge to come so that when it does you truly feel it is about time as you have waited so long. The revenge also happens relatively quick ad not so well thought out. As the character does become a killing machine, yet not invincible nor cunning and quick. None of this is well thought out by her. Just reacting to circumstances and opportunity.

Now while this is a woman strike back at her captors unlike the I SPIT ON YOUR GRAVE films this doesn’t feel quite as exploitive and sensationalized. Though there is sexual energy and atmosphere throughout, not in an erotic or act way more rough and lecherous. While there is sex it’s not necessarily gratuitous though graphic it is not shot in an erotic way or fantasy way. It is just rough and painful to watch.

That is what helps make the film is its pace. Taking it’s time to let things build. You grow to hate the characters, not for one single act but the acts they build up and we are only watching for a short time she has had to love with this for years.

Once the tragedy happens an element and act are suggested though never confirmed as the film has shown a character’s true side and has no positive qualities you believe they committed the act as it would seem to be normal behavior for them. Though the covering up is the truly last appalling act.

Now while all this is happening the only part of the film happened that I didn’t believe was that her friend while staying there misses half of the things happening throughout. Now as the film has introduced her to be selfish and bitchy. She seems to stay that way while trying to be compassionate. We also learn of their friendship history. Even as all of this goes on around her and suspecting the horrors she hears about she still chooses to deny and just sit on the sides choosing to be neutral. Which in its own way makes her just as bad or worse than the actual tormentors.

The last act of the film is off the island but putting the island’s legacy and spirits to rest. It’s more action-packed than it sounds. Though the last minutes seem to reach out to try to explain or symbolize that point.

The lead played by is a revelation here she ones from simple to dangerous o advanced and also sexy with little effort.

Now what I really enjoyed about the film is that it was so alive that you believed anything can happen at any point. A few times, I was trying to predict where the film would I as what would happen next and it went another way. My suspicion would have made it more of a typical film and not as advanced as it comes off.

The film’s message seems to have something to say about compassion and personal responsibility as the last scene truly breaks our hearts. As it has been best up throughout the film.

While the film is hard to watch it is captivating as many times watching it at home it was late so I was convinced ” i will watch only 30 minutes, then o.k. let me watch only 15 more minutes before you know it I am halfway through the film and my tired so I figure let me watch the whole thing” and I wasn’t disappointed

Grade: A-

VEROTIKA (2020)

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Written & Directed By: Glenn Danzig 
Cinematography: David Newbert 
Editor: Brian Cox 

Cast: Sean Kannan, Ashley Wisdom, Alice Tate, Kayden Kross, Natalia Borowsky, Kansas Bowling, Rachel Alig

Follows the surreal and bloody trilogy of erotic horror stories culled from Danzig’s comic.

Wow!!! I was warned about this film beforehand, but I couldn’t really have expected this. Some people, they will love this film for how bad it is. Nothing truly prepares you for this film. 

Where you have to wonder was it planned this way. As it is hard to take anything seriously. Though that might sound like fun. This is a movie that is not fun to sit through at all. Unless maybe you are just into seeing onscreen nudity. As very little throughout this movie makes any sense.

All the women in most of the roles look like professional topless or naked models. Other than making the film overtly sexual at all times 

In the first story for instance the main female has eyeballs where her nipples are why? As it is never explained and then somehow the albino spider becomes human-sized and then proceeds to murder women for no reason. He is obviously in a latex suit that looks like a bad Halloween costume. Though only strikes when the lead female goes to sleep. 

Every character in this first story has a foreign accent for no real reason and they come off as sex objects mroe than characters. As they are all scantily clad for little to no reason. 

The acting is horrible throughout like in an acting class. The bad dialogue doesn’t really help even when it includes it’s influences with many scenes where the camera just stays and lingers and the characters awkwardly stand around really doing nothing or their last action over again such as a head shake. 

There is a TV reporter who is dressed more like a private detective in the first story. Just as to why in the first story does the lead female go to a porno theater and photoshoot after her roommate is murdered. Then while at the porno theater falls asleep and is groped and nearly raped and once she wakes up just gives the guys a nasty look.

Throughout the film women are the only ones killed. Most of the characters wear wigs for no real reason. 

The film Has modern touches but an old school culture and scenery like the third last tale which is basically the tale of Elizabeth Bathory who believed that by bathing in the blood of virgins she would stay looking young forever and that is exactly what happens in the third story she picks her victims strip them (young women) then bathed in their blood in what feels like real-time. Then will slice open a throat and there to get blood sprayed on her face that is the whole story.

Any lack of nudity in the first story is supplanted in the second and third stories. Only in the second, we get another, what feels like real-time, dedicated to watching strippers do routines in a club That looks almost like a huge basement. 

This is the only segment of the film that feels serious as it is a thriller about a stripper who cuts off faces to put on her wall because she is disfigured and wears a mask when she performs. This is also one of the only segments with an actor of note Sean Kanan from KARATE KID 3 playing the detective on the case. 

I can understand this film is supposed to be more inspired by gothic old-school macabre horror anthologies but it comes across as more ridiculous than inspired. Even the first scene where we are introduced to our host seems there more to shock than to make sense.

The film is low budget and you can tell as it comes across more like a failed student film. This feels like a modern-day Ed Wood movie.

The tales don’t offer a moral or any kind of irony and definitely no twists but they leave room for the anthology host to make ghastly bad joke punchlines for the endings and not even deliver that creatively 

The only reason I could even see this film truly getting financed and recognized is that rock star Glenn Danzig directed it and seems to price the soundtrack. 

Even at 90 minutes, this film feels indulgent. It’s not even the type of film you can have fun picking apart. This movie isn’t fun to watch or sit through. This is one of the worst films I have seen this year and maybe one of the worst ever 

Grade: F

THE SIMILARS (2015)

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Written & Directed By: Issac Ezban 
Cinematography By: Isi Sarfati 
Editor: Oscar Figueroa 

Cast: Luis Alberti, Carmen Beato, Fernando Becceril, Humberto Busto, Cassandra Ciangherotti  
On the rainy night of October 2, 1968, eight characters waiting on a remote bus station for a bus heading to Mexico City start experiencing a strange phenomenon.

The film is like a twilight zone episode made into a feature-length film. Heavy on mood and atmosphere.

The film feels like its own spin on one of the tales of THE TWILIGHT ZONE movie and a lot more ominous. This is a good piece of filmmaking. That moves along nicely for the audience and doesn’t leave them Confused. It feels more like a retro dream. Though eventually becomes more like a nightmare.

The film plays more like an OUTER LIMITS episode rather than a TWILIGHT ZONE one which most people will say it is. Only in feature-length form. As there is really no irony and the film at least tries to explain its far-out situation and accepts it. Not leaving you around waiting for some twist or allegory on the human condition or sociology.

Even if the film seems inspired by a particular episode of THE TWILIGHT ZONE. That actually became part of the movie spin-off of the show It’s like a 1950’s movie as it takes place in one location. Making the film automatically claustrophobic, but so much happens that it feels so vast and open. Even though most stay in the same room you can always see them somewhere. Except when it is time to make a big reveal.

The film becomes more interesting as it goes along. As the mystery deepens. That plays in homage to classic horror films of the ’50s. Relying more on momentary thrills and revelations. Rather than monsters. But with plenty of advanced modern special effects. Those are impressive yet rudimentary in use. Especially for the time period represented.

The filmmaking is what you will come away with rather than necessarily the plot.

It also seems very influenced by pop culture Sci-fi. From literature, television, and film, Especially Stephen King

The first film in Mexico and Latin America that was shot with the new Red Camera sensor (the Red Epic DRAGON) although, since this camera would give great quality and sharpness to the image but the film is a period piece and takes place in the ’60s, Director of Photography Isi Sarfati decided to use a lot of filters to make the image look like something out of a 60’s film, as director Isaac Ezban had envisioned. The voice-over used doesn’t help necessarily explain anything.

The filmmaking here is more imaginative than exciting. So the more the film explains it. The more there is to marvel at and be amazed by. As it is immersed, presented, and filmed in such a way for as smart as it is. It never quite lives up to the promise of the higher level it seems to want to work at. Especially by the end it just becomes too familiar. Almost betraying the promise it once had.

Grade: B