V/H/S/BEYOND (2024)

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Directed By: Jay Cheel (ABDUCTION/ADDUCTION)
Jordan Downey (STORK)
Justin Martinez (LIVE AND LET DIVE)
Christian Long and Justin Long (FUR BABIES)
Virat Pol (DREAM GIRL)
Katie Siegel (STOWAWAY) 

Written By: Jordan Downey and Kevin Stewart (STORK) (Based on the artwork by Oleg Vdovenko) 

Mike Flanigan (STOWAWAY)

Virat Pol and Evan Dickinson (DREAM GIRL)

Justin Martinez and Benjamin A. Turner (LIVE AND LET DIVE) 

Christian Long and Justin Long (FUR BABIES)

Cinematography: Taban Basu (DREAM GIRL)

Mike McLaughlin (ABDUCTION/ADDUCTION)

Kevin Stewart

Alexander Chinnici

Editor: Jay Cheel, Tanya Chhabvia, Jordan Downey, Thom Newell, Benjamin A. Turner 

Cast: Mitch Horowitz, Namrata Sheth, Rohan Joshi, Bix Krieger, Rhett Wellington, Libby Letlow, Matthew Layton, Alanah Pearce, Thom Hallum

Six bloodcurdling tapes unleash horror in a sci-fi-inspired hellscape, pushing the boundaries of fear and suspense.

At this point these movies are a tradition, That some can look forward to and some might dread. While the films aren’t as dynamic as when they premiered with this premise. They also seemed to have lost their way. As at first it seemed like a new way to present horror and had some excitement behind it. As well as giving emerging directors a chance to tell their stories in inventive short-form ways. 

After the second film, it felt like it was losing steam and even now this film while passable. it feels a bit stale or not as dynamic. It almost feels at times like a dumping ground. These films feel like a television show that has some standout episodes but disappointing seasons. Resembling the show AMERICAN HORROR STORIES. This version’s theme as there tends to be one with each new film is Aliens. 

The first segment is STORK which is one of the most violent out of the tales the first three of the tales truly are the goriest out of them all. This story is about a group of renegade cops hunting who they believe are serial kidnappers. Though once they enter the house they see what they are truly up against. While visually gifted, it plays more like a first-person shooter video game. This seems like the most mainstream and the one that could easily be seen as a spinoff of its own    

The next segment DREAM GIRL is set in India and follows a group of paparazzi photographers trying to get photos of a new female star whose films are constantly hits. Early in the film, there is a bit introduced which makes the story seem like it is going one way, and then by the end, it goes another way, As they find out to a degree what is behind the superstar’s success. This is one of the tales that seems like it might veer away from the main theme of Aliens 

LIVE AND LET DIVE seems like it is going in so many directions. By the time it literally lands the visual effects are impressive. it offers nothing really new or different. Except to provide a slasher-type tale with excessive violence. That is ok but frustrating in the many ways it could have gone. 

 FUR BABIES is next and noteworthy as it is written and directed by Christian Long and his brother Justin Long (Yes, the one and only) Now this short film has a premise that is ghastly and a bit original. This segment doesn’t belong in this edition; its theme feels like a holdover from the last one. It also seems like it’s only here because of who made it and is a case of celebrity. As he is one of the biggest names attached to this film even as director

STOWAWAY is the true final full tale about a young woman. who is trying to do a documentary on a location that is a hotbed of alien sightings and activity. She follows the trail of the sightings. She gets all she wants and more once she makes her way onto an alien craft and it takes off and we see her having to deal with the consequences. Which mixes with a home video of her as a little girl. that portrays her innocence and wonder about what is happening to her and the changes.  

then there is the wraparound story ABDUCTION/ADDUCTION which is really a documentary presentation of an alien invader video and its veracity that only lasts a few minutes. That seems used to tie everything together.

Now while one will stay critical of this anthology. one can also appreciate them for what they present and giving independent directors a showcase. it’s also nice to have a yearly franchise for Halloween.    

Grade: C

IN A VIOLENT NATURE (2024)

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 Written & Directed By: Chris Nash
Cinematography: Pierce Derks
Editor: Alex Jacobs 

Cast: Ry Barrett, Andrea Paviovic, Cameron Love, Reece Presley, Liam Leone, Charlotte Creaghan, Lee Rose Sebastianis, Sam Roulston

When a locket is removed from a collapsed fire tower in the woods that entombs the rotting corpse of Johnny, a vengeful spirit spurred on by a horrific 70-year-old crime, his body is resurrected, and becomes hellbent on retrieving it.

This film tries to be something different that comes across as more experimental, and while one can applaud what they try to do artistically it doesn’t quite rise to the occasion.

It’s never quite as thrilling or inventive as it should be. This results in any movie that feels quite familiar and also a little bit slow. as it tries at times to be a little more artistic, which there is nothing wrong with that is all there is.

The story is familiar or could be any other slasher. The FRIDAY THE13th movies will be the main one that comes to mind.

At the beginning of the film, it seems like the film will take place more from a certain perspective throughout but while the film starts that way, and sometimes returns to that at other times, it plays more typically for thrills and set up the characters and to offer a bit of mystery even though there aren’t any jump scares.

What there is are notable violent gory death scenes where practical effects are used and it seems a lot of the time the movie is just setting up for the audience to Marvel at those which are over the top violent at times for no real reason other than to show off or offer something after all that time waiting.

Even at first the story which seems simple and seems to be a kind of revenge story ends up just becoming a slasher as the victims might be connected very thinly or really, not at all to the slasher’s reason for killing but usually it’s just that they either associate or are there And that’s really the reason. What’s even worse is that the violence that is truly cruel and over the top seems saved more for the more innocent victims rather than the guilty

There’s nothing wrong with a film, taking its time and the reason is there as it is more setting up things, but could’ve easily also been cut like the kill in the shed with the log splitter. There was no reason for it to be that truthfully, or at least try to spice it up with some thrills

This film could’ve been more effective if they had kind of momentum to keep it going something that keeps the audience on the edge of their seats, but a lot of the time is just waiting when you finally see another person at least you know something going to happen and even then, the film still takes its time 

It’s not a bad film, but this comes across as the type of film that is overhyped because of differences before major audiences can see it and then once audiences do see it realize it’s not all cracked up will have fans as it deserves it, but it doesn’t seem to do as much as it could with its ideas. It was never quite as thought out past that or they couldn’t make the story necessarily work as much with it.

They realized that this was the only way to make a slasher that was a bit different than usual.

It’s a film worth checking out, but be worn beforehand that it’s not as exciting as one might hope or think. 

Grade: C

KILLER BODY COUNT (2024)

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Directed By: Dansihka Esterhazy 

Written By: Jessica Landry 

Cinematography: Manoel C. Ferreira

Editor: Lee Walker 

Cast: Cassiel Eatock-Winnick, Savana Tardieu, N’Kone Mametta, Khoshi Ngama, Bjorn Steinbach, Jessie Diepeveem, Ethan Saunders, Jason K. Ralph 

Mistaken for a sex addict by her devout father, Cami is sent to an isolated rehab center. But when a killer begins to hunt the teens, Cami realizes that her survival and her independence are intertwined in ways she could never imagine.

Considering the subject matter this film could have been a lot worse, bordering on pornographic or even exploitive. 

The cast is mainly made up of new faces for the most part and they do what is required, but don’t necessarily make too much of an impact. Except for Alex McGregor, who seems to be one of the more acting veterans of the cast who plays one of the brothers and sisters who run this camp.

A Horror film that revels in its exploitation that could’ve had a real message about conversion therapy and religious hypocrisy not to mention, power dynamics, and even the way sex is handled or dealt with between the sexes

Instead, it goes with the easy route of being an 80 slasher film being awkward and hokey humor makes it perfectly disposable and entertaining while you watch, but won’t gather too many thoughts or memories after 

It’s possible and a little more lighthearted, despite its violence like the director’s previous film banana splits the movie only here it doesn’t seem to celebrate or find fun in it in this film is more about presenting and hoping it’s shocking 

As each death scene seems to go a little further and its violence is almost like the film itself following the baseball euphemism when it comes to the sex of first base second base, and third base each goes a little further 

The film comes across as a nice attempt, but it’s never quite engaging nor do any of the characters stay particularly memorable. What would you expect when we’re not really ever given anything to really remember them by other than names and looks there’s nothing particularly memorable about them as even their personalities almost seem similar 

so that you care truly about them except for maybe the lead and that is because we’re supposed to as she is our introduction into the story, even as the action takes place a little bit before we meet her

There is a budding lesbian relationship, which might be why the lead character can’t seem to get an orgasm, which seems to be a major plot point of the film female characters consistently the lead characters are a little different than any other lady with those same byproducts.

Though truthfully you know what you are getting into and what type of film this is, as it goes for the easiest way out and tries to be more humorous at times.

The third act tries to surprise itself by piling on the surprises. as even the audience will be left, guessing and having their own theories until all is revealed. That eventually might make some in the audience’s eye roll. Though at least is trying for maximum entertainment. 

Grade: C- 

TOURIST TRAP (1979)

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Directed By: David Schmoeller

Written By: David Schmoeller and J. Larry Carroll

Cinematography: Nicholas Von Sternberg

Editor: Ted Nicolaou 

Cast: Chuck Connors, Tanya Roberts, Jocelyn Jones, Jon Van Ness, Robin Sherwood, Keith McDermott, Dawn Jeffory 

Four people go in search of their missing friend. What they find is Slausen’s Lost Oasis, and mannequin-dressed museum, and a seemingly abandoned mansion owned by gentle old Mr. Slausen. He agrees to help with their car trouble, but some of the girls decide to look for a working phone inside the house even though Mr. Slausen warned them not to. Hidden within the home is Mr. Slausen’s misunderstood mask-hidden younger brother. What they learn is that the mannequins seem very much alive, or is there something much more terrifying behind the mask?

A great old-school horror of the 1980s. That was a video store heyday that haunted the shelves. It took me this long to finally watch and it’s a shame as this is definitely a film that stays on your mind.

This is one of those films you think you have seen a long time ago then when watching realize you never did. Even as you have seen the poster title for the longest time.

This film at first seems like it will be run off like the poster that could be for any 1980s generic horror film, but this one set itself apart with a kind of creepy puppet tree. That leads to a disturbing atmosphere throughout.

The characters/victims are the usual suspects. You never get to really know them and barely care about them. You were just appalled that they have to go through this torturous violence for nothing. 

The mask of a character from an episode of the Nickelodeon show  SALUTE YOUR SHORTS. The episode was creepy out of nowhere and didn’t seem to be as intentional as it is in this film.

Were it not for the originality and creepy atmosphere the characters and kills are pretty basic and almost not eventful. Except for most of the cast, conveniently short summer outfits.

Especially Tonya Roberts cleavage heavy, and tube top that only adds to its exploitation factor.

This is a shame, considering its originality and other aspects as it becomes more and more unsettling 

There are some action sequences, though they are slow and it seems like the characters wound,  very easily.

The film is not too far off. it’s believable at least in the first half of the film. 

The film seems to be designed to be more atmospheric with a smaller number of characters which leads to the film feeling more intimate. When there is a Chase the film has more time like the killer to stalk.

As a fan of Chuck Connors, this film is quite enjoyable as he is clearly having fun in his role and he is truly the big-name star of the film, especially at the time of its release.

The film is inventive when it does things that are there to surprise you like switching around the final girl you might expect. The survivor truly ends up, becoming someone you would least expect. By the end, the film still offers something that makes it feel even creepier.

That makes you wonder in the end if there is still a certain psychosis meaning that the killer has succeeded. it certainly leaves the audience with something unexpected and unsettling. 

Grade: B 

THE STRANGLER (1970)

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Written & Directed By: Paul Vecchiali

Cinematography: Georges Strouve

Editor: Francoise Merville

Cast: Jacques Perrin, Julien Guiomar, Eva Simonet, Paul Barge, Jaqueline Danno, Katia Cavaignac, Jean-Pierre Miguel, Helene Surgere, Sonia Saviange, Nicole Courcel 

Unhappy women are being murdered by Emile, a psychotic young man suffering from the delusion that his acts are mercy killings.

The title seems simple, but there is a deeper meaning, and this film proves to be so much more.

This might’ve been regular fashion back when it was made but everything feels so stylistic Maybe because, to a modern audience, it is so far and was made to feel that way. As it is a French Giallo that provides less mystery and violence and seems to be more about the setup

The first kill in this film seems like the victim, experienced it, and welcomed it. It comes off as stylish and fetishistic in a romantic or erotic way

And choosing his victims, the title character it seems like they welcome him and aren’t surprised last encounter liaison or fling before the end so that it’s almost romantic and putting them out of their misery or granting a last request.

Which ends up setting the tone for the film as a romance yet not a love story 

Almost like his actions are doing the victims of favor, as they are suicidal and feel they have no reason to live anymore. He offers assistance So they don’t do it themselves. Or go through the experience alone, nor have to worry about depending on their morals or beliefs going to hell, necessarily if religious

The victims, female, fashionable, and gorgeous, and presentation before their last breaths

The choreography of the floor show of one victim’s death scene is memorable and a delight, its style or international attitude and ideas.

The film can be drilled yet makes much out of a little and remains truly unforgettable, as well as an underrated gem that can easily throw an audience a bit of valance as the film goes on. We get to know the victims a bit more as we see the melodrama with each new one giving them, brava last scenes of their character’s last moments

We never see the actual kills only the before, and a bit of the aftermath to know that the deed was done

Wow, also witnessing the investigation of the case buying adults, Nancy, Drew, the character, and the police captain who start a kind of romance or at least a relationship hence toward romance

We watch as the killer gets upset as someone perverts his act of mercy per se by following him to the crime scenes and then stealing from the victims, making it seem like the killer’s motives are more about material gains making his gift seem  more common and presents a rivalry

Victims come off as if they feel forgotten or betrayed by the world, or maybe just betrayed by a man or lover, and they will finally be immortalized and die and finally get attention special before the end. This desperation makes them feel sparkling before putting them out of their misery.

Presented as glamorous the Weathered it feels like a Hitchcock film as it has it set pieces that are usually the murders that come off as artistic and depth at times. As the film plays, Layfair and laid-back, not too concerned or drastic despite the actions and the film’s move.

When it comes to Giallo there is a certain beauty it provides it showcases. One of the reasons I like them is that they know how to present the female characters stylishly, sensual, gorgeous and fabulous. Like screen sirens. Sexy for sure but not cheaply classy and less exploitive all about beauty. They feel like women Of class and culture. It’s presented more as normal not necessarily down to earth. Special in fact but somehow normal and approachable

Amongst the crowd with Imperfections seemingly edited out. 

The Death scenes feel like little short stories that offer glimpses of life lives and characters are given more dignity and death than might’ve had in life

They are double-crosses as the thieves seem to turn to murder groupies with funny emotional moments of turmoil as the third act is dragged out, but has plenty of beautiful moments

The film is more than just its simple title. This Gallo is a weird romance of the killer, granting his victims, and lovers wishes and making them feel special. Laissez-faire laid-back look at the serial killer and the investigation around his killings. That seems to be in no rush and strives to be more artistic than surprised filled or a procedure, except for a random dream sequence. The film is never exploited but creative and its simplicity is not so much a psychological study nor a thriller

The synopsis seems conventional, but that’s the film’s artistic aim. It has mainstream scares with deeper meanings and emotions in between that get confusing at the end and make it more cultivated.. there is also a boom mic visible in the final scene

The murder towards the end seems to be out of a discussion with the society around him, which is depressing as even the film feels like it betrays itself towards the end. There is even a boom visible in the final scene 

The film also has a great score 

Grade: B+

1BR (2019)

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Written & Directed By: David Marmor

Cinematography: David Bolen 

Editor: David Marmor, Rich Fox And Anna Rottke 

Cast: Nicole Brydon Bloom, Giles Matthey, Taylor Nichols, Alan Blumenfeld, Naomi Grossman, Celeste Sully, Clayton Hoff, Susan Davis

When Sarah lucks into a sweet one-bedroom at Asilo Del Mar Apartments in Los Angeles, she thinks she’s hit the jackpot. It’s got plenty of space, friendly tenants, group BBQs, and even a cute neighbor next door. All is not what it seems: loud noises start keeping her awake at night; her cat is missing; everyone seems to be a little too helpful and friendly, except for the weirdo, Lester. Soon, Sarah learns she didn’t choose this apartment – It chose her.

This film is short. It might’ve been more effective as a short, but I don’t know if it could’ve made it or been felt as deeply if it was a short short. 

As you get a little more backstory and understand how everything works more.

The film is interesting though it’s never quite strong enough. The premise is strong, but it feels here. They try to do more hands-off presentations and try to be more psychological and subtle, which does work as more of the scares psychologically physically. 

There are scenes of violence. It seems the territory they’re trying to mental rather than going for shocks or anything that could be seen as exploited.

One of the hurdles, the film never quite gets over is how bland and basic the film feels no matter what happens as one can understand that it wants to be more subtle. No, the film feels like it needs to have more life in it. 

Even as you were talking about a certain subject that is played a little bit more clinical it doesn’t feel like it has that much of a spirit.

Though it keeps your interest up until the end and makes the mistake of trying to be shocking or at least add a new shock in each act, which then pushes it into overkill, also helps the film to keep the viewer interested as if it didn’t it would pretty much almost be a drama with some extremes.

Again, this feels more like the type of film that feels part of a yearly Halloween anthology or could easily be an episode of an American horror story except without as much sensationalism. It could’ve said the same thing in a shorter time. 

By the end, you can’t say that the film is bad as it has plenty of promise that it just falls short of truly fulfilling, but there are great ideas and decent acting throughout. Once the filmmakers get a little more season could really give the audience more of a run for their money.

Grade: C

CALIBRE (2018)

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Written & Directed By: Matt Palmer

Cinematography: Mark Gyori

Editor: Chris Wyatt

Cast: Jack Lowden, Martin McCann, Tony Curran, Ian Pirie, George Anton, Kate Bracken, Therese Bradley, Kitty Lovett 

A shocking deed turned their weekend trip into a nightmare. Now their only hope is to swallow their paranoia and act normal.

I knew very little about this film originally. Which is often best. Though wondered why it had gotten past my attention.

The film is a nice little atmospheric thriller. Whose premise played off as more all-knowing and clever or comedic. Here it is played deadly seriously.

While working as a thriller it also has more drama than you would expect. As not only fighting for survival but guilt that never truly lets up.

As it’s the worst that could happen scenario. That at first is shocking is played more realistic than expected. 

Throughout the film makes you feel uncomfortable as there is an uneasiness and sense of tragedy that hangs over the film. So much so that similarly like myself you might find you can hear or feel your heart beating faster as you wonder where the situations will lead or relieve the audience. 

The film Never wants to let the audience or characters off. At first, you wonder if they will get away with it and avoid trouble. Soon the villagers seem like the worst challenge you can have. Rather the. The supernatural or characters who are easily hateable 

The storyline might be familiar but the presentation style is noteworthy. Though this is quite an original vision. That never quite goes where you expect it to.

One only wishes the few female characters had a bit more to do. The troublemaker seems there only to add a bit of trouble early on and the compassionate one seems there to help humanize one of the characters in trouble and have someone in his corner once trouble arrives. 

The film will make some audience members as haunted as the ending leaves some characters 

Grade: B- 

THE POSSESSED (1965)

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Directed By: Luigi Bazzoni and Franco Rossellini

Written By: Luigi Bazzoni, Franco Rossellini, Giulio Questi and Ernesto Gastoldi 

Based on the novel by: Giovanni Comisso

Cinematography: Leonida Barboni 

Editor: Nino Baragoli

Cast: Peter Baldwin, Salvo Randone, Valentina Cortese, Pia Lindstrom, Pier Giovanni Anchisi, Ennio Balbo, Verna Lisi, Philippe Leroy 

Famous writer Bernard travels to a small lakeside town for an off-season winter vacation. He checks into an old hotel owned by Enrico and his daughter Irma expecting to meet Tilde, the maid he had a crush on the last time he visited the town. However, he discovers that Tilde has committed suicide, and when he meets the local photographer, Bernard learns that she was pregnant. He becomes obsessed with finding out whether she really committed suicide and to guess what really happened. When Enrico’s son Mario and his wife Adriana arrive at the hotel, Bernard has daydreams about Tilde’s fate.

It’s true they don’t make films like these anymore and it’s a shame

This is a film. I have only heard about it recently. It’s a film. I am happy to have discovered it’s based on a true story. It might remind some viewers of Alfred Hitchcock’s Vertigo more for its obsession and mystery aspects than necessarily the filmmaking or direction.

Only here it’s an Italian film and it’s beautiful to look at and the woman at the center of the mystery is pretty though not as haunting as other heroines in this type of film.

Which has the main character, a photographer, and writer comes to town to look up a female whom he had an acquaintance and took pictures of the year before and might be hoping to romance only to find that she is dead and that it was murder. He finds himself obsessed with getting to the bottom of it, aided by the few friends in town who give him hints but never quite the full story. 

It’s a short film you can pretty much guess who the guilty is, though throughout there are plenty of twists and turns and revelations that you don’t quite see coming that even the audience is introduced to that the author has until certain aspects of the story come into play.

This isn’t a very romantic film, but it’s a film shot in black-and-white and looks beautiful and the film does stay haunting even after the ending is revealed and the third act is full of twist. The film isn’t as deep and penetrating as you hope it is quite a surprise for those who don’t know about this film that is worth seeking out.

This isn’t a super sleuth tail, nor is it a tale of unrepentant evil characters. As it unfolds It’s a story that feels all the more human and it fails with characters who are more three dimensional, and ultimately tragedy is a fulfilling film by the end. 

it can only go so many places, especially based on a true story. I can’t say it’s something you’ve never seen before but it is a story that will keep your interest. It not only focuses on the who but also the Y and the aftermath

Grade: B-

MY SPY: THE ETERNAL CITY (2024)

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Directed By: Peter Segal

Written By: Pete Segal, Erich Hoeber & Jon Hoeber 

Based on Characters Created By: Erich Hoeber & Jon Hoeber 

Cinematography: Larry Blanford

Editor: Jason Gourson 

Cast: Dave Bautista, Chloe Coleman, Ken Jeong, Kristen Schaal, Anna Faris, Craig Robinson, Foula Borg, Taeho K., Billy Barratt, Tanner Burjaq 

JJ, a veteran CIA agent, reunites with his protégé Sophie, in order to prevent a catastrophic nuclear scheme threatening Vatican City, which disrupts a high school choir trip to Italy.

While the first film was surprisingly endearing and entertaining, this sequel isn’t horrible, but while it hits half of the same spots as the first film, this time, it feels a little more forced and unfocused as the first film felt specific this film felt general 

Now anyone who was looking forward to this sequel I’m sure won’t be greatly disappointed, though the problem here is that as with all sequels, it must be bigger while the first film was singular. This one is more international and foreign locals. It has its moments but seems to be missing that, and the sweetness that made the first film work

It also doesn’t help that this film has a much bigger cast a lot of bigger more recognizable names and small roles that you would expect more 

The film is predictable and it tries and all the characters do have their chemistry, but for some reason, it just isn’t as charming as the first though it is entertain 

The film feels like a successor of the Frankie Muniz starring film AGENT CODY BANKS this is a continuation and the kid’s spy genre, not the SPY KIDS franchise.  only here more of a buddy comedy like AGENT CODY BANKS, less a James Bond-type story, and adventure as this one is more all about teamwork.

Dave Bautista actually looks a little smaller this time around, but he is still an imposing force who gets stuck in more comedic situations, but he used well in the action sequences. 

Chloe Coleman is hilarious a girl with a crush, but who still also has her eyes on the prize as far as missions go and hold her own and all of her scenes of action and comedy and even a little romance. 

There is plenty of action in comedy and some jokes and languages that I am a little surprised they got away with a PG-13 movie but then again it’s all done and innocence and fun and not trying to be dirty or nasty. Even if it feels a little more risqué, the previous film was more of a children’s film. This is a little bit more of a preteen movie, but it’s still at heart a family film that you can watch together.

Grade: C

WONKA (2023)

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Directed & Story By: Paul King

Written By: Paul King & Simon Farnaby

Based on Characters Created By: Roald Dahl

Cinematography: Chung-Hoon Chung

Editor: Mark Everson

Cast: Timothee Chalamet, Calah Lane, Olivia Colman, Keegan Michael-Key, Sally Hawkins, Tom Davis, Paterson Joseph, Matt Lucas, Jim Carter, Natasha Rockwell, Kobna Holbrook-Smith, Rakhee Thatkar, Hugh Grant, Rowan Atkinson, Freya Parker, Matthew Boynton, Rich Fulcher

Willy Wonka is the mastermind behind some of the most delicious and innovative chocolate creations the world has ever seen. But before shaking up the chocolate industry and making a name for himself as a confectionery genius, the ambitious young creator had to defy all odds. As a result, Willy transformed his wildest dreams into reality with a bold vision, determination, and unexpected help from new friends. After all, hard work and a dash of magic can make anything happen. Because, as Willy already knows, it only takes a dream to make a difference.

One thing I can definitely say about this movie is that it has its charms it won’t. It doesn’t erase the memory of the first WILLY WONKA AND THE CHOCOLATE FACTORY but it still feels more pure and miles above Tim Burton, CHARLIE AND THE CHOCOLATE FACTORY  doesn’t feel as predictable. Nor as made by the committee.

The film is a musical, which was a bit unexpected, but makes sense, and it does use a few of the original films’ classics throughout, though in quite a different way that does instill nostalgia, but also tries to make it its own. 

At times, it does feel like a big Broadway musical, but under a greater production and a grander vision, you could easily see this making its way the reverse way and going from a movie into a Broadway show.

The film perfectly fits Director Paul King’s style as it feels like a fantasy and a living storybook come to life. It’s as big and silly as the two PADDINGTON films that he has directed so this one is a little less comedic, even with all of its outrageousness. Though no nightmare scenes as the previous two films had.

Can’t help, but put a smile on your face in Timothee Chalamet actually works in the lead role, even though he is tasked with pretty much always being happy no matter what throughout even when disappointed. he’s not as iconic as Gene Wilder Daffy goofy, but ultimately wise and quirky Wonka but again we’re at the origins of Wonka as a character so he has a happier disposition, and is still full of hope at the beginning of his career.

This is a film that is fun for the whole family. It’s pretty much an offensive and feels magical throughout. It literally is another generation’s version of Wonka, or as this is more of an original story than an actual remake or reboot, which is refreshing, even if it is still Dealing with an existing IP.

Hugh Grant is here as comedic relief as an Oompa Loompa, and he mostly works as this is the most we’ve ever really heard an Oompa Loompa speak other than singing. The film is full of quirky characters that feel straight out of a children’s book, and have outrageous looks to follow. though again, he seems to be relishing and playing a more comedic supporting role just as he did, and PADDINGTON 2 only here he is, isn’t the villain

The production design and visual effects are excellent. The songs are catchy, but not as memorable as the originals again, I say this now, but at heart eventually, time will tell, and also the fandom of this film, if there will be one as great as the classic film in which men grew up with.

It’s a film that is definitely worth checking out. It won’t leave you mesmerized, but if this is your type of movie, you won’t leave sad or disappointed. 

Grade: B