THE KING OF STATEN ISLAND (2020)

Directed By: Judd Apatow

Written By: Judd Apatow, Pete Davidson & Dave Sirus

Cinematography: Robert Elswit

Editor: Jay Cassidy, William Kerr & Brian Olds

Cast: Pete Davidson, Bill Burr, Marisa Tomei, Steve Buscemi, Bel Powley, Moises Arias, Carly Aquilino, Maude Apatow, Kevin Corrigan, Pamela Adlon, Rich Vos, Keith Robinson, Jimmy Tatro, Dominick Lombardozzi, Colson Baker, Ricky Velez, Lou Wilson

Scott has been a case of arrested development since his firefighter dad died. He spends his days smoking weed and dreaming of being a tattoo artist until events force him to grapple with his grief and take his first steps forward in life.


This is not Writer/Director Judd Apatow’s worst or most disappointing movie, but disappointing to a certain degree.

Saw the somewhat similar BIG TIME ADOLESCENCE where Pete Davidson played a similar aimless character who seems stuck in arrested development and mental illness. That film had a more straight to the point story whereas this seems to be comfortable in the moments. Wherever they go. Which is great for the performers, for the audience it can go either way. Which might be why this film isn’t as good as I had hoped as it feels a little familiar.

One of Judd Apatow’s talent is always getting comedic actors who he wants to work with to kind of write their own stories and movies that are a bit autobiographical and then they can try to tie it to a more central plot-oriented conceit. Allowing them to bring out the talents and charm of the actors. As well as make it feel more real as it is partly based in the leads life. This helping to bring out the best in them and showcase their talents. Usually giving them more depth and heart then they have ever been allowed before. 

He has become so good at mixing comedy and drama he feels like a modern-day James L. Brooks. Strangely Judd Apatow movies are also always reminiscent of John Cassavettes films. As he always wants to cut to the truth of the scenes and characters. Where he also let’s then scenes flow freely from comedy to devastating drama. This usually works when his films are further away from formula. 

It also helps that the characters in these movies might be more comedic and therefore humor but they also feel loved in more than just actorly in performance. 

This is one of the few films he has made that is less high concept. Usually there is a concept and users the comedians personality, charm and instincts to make it more of a character piece.

The film is big yet the main character is aimless. Things happen throughout making the film more eventful but leaving the film still kind of formless. Even with a skeleton underneath. As the film is too long. 

Pete Davidson is pretty much playing a less successful version of himself or his public persona. He is a charming knucklehead who seems charming and fun. Yet has presence and you would be friends with. It never totally understands. 

The cast gives it all but feels like a pilot. As it seems to set up a lot but never quite pull the trigger. so that there seems to be more room for development amongst the characters. 

The film offers comedian Bill Burr a great role close to the leading man and he is excellent in the role.

One wishes Pamela Adlon was in the film more and had more to do. The same with Marisa Tomei. As the film comes off more like a boy’s club. It’s the same fate As well for bel Powley as she is funny and sexy in her role. As a sometimes love interest who gets tired of being used and taken for granted.

The film doesn’t seem to know where it wants to go. As it leads us to various places. Sometimes it stays around, but often makes a pit stop and then moves forward going along and not really looking back too much and it doesn’t really have an ending. An Especially  satisfying one 

Once a plot does rear its head. The film stays with it then takes a turn to allow for some more wandering. Which leaves the film entertaining but makes it feel endless. 

The film leaves a lot of plates spinning. Where some characters appear and then disappear. Which works as it shows once away from the lead their influence is on existent. Their lack of importance to the main character is that small of an important overall to the Film and they almost come off as forgotten by the end. 

Grade: C

BUFFALOED (2020)


Directed By: Tanya Wexler
Written By: Brian Sacca 
Cinematography: Guy Godfree 

Editor: Casey Brooks 

Cast: Zoey Deutch, Judy Greer, Jai Courtney, Jermaine Fowler, Noah Reid, Lusia Strus, Lorrie Odom, Brian Sacca, Raymond Ablack

Set in the underworld of debt-collecting and follows the homegrown hustler Peg Dahl, who will do anything to escape Buffalo, NY.


These are the type of mid-budgeted, character comedies that you wish studios still made. Even though comes off more like a low  budgeted one that has a good cast 

This is the second time I can say that actor Jai Courtney has given a performance that is impressive in A film. He is practically unrecognizable (In case you are interested SUICIDE SQUAD is the other) 

When it comes to actress Zoey Deutch, I don’t know if in some roles all she has to do is look Good without much effort or engagement and or works for those films or that at times she either overplays here roles, putting in so much energy or we can more see the strings on her performances. And we don’t expect it from her that’s what makes her so surprising. That like Anna Faris she excels in comedic Roles giving her all only more subdued. 

It also depends on the strength of the material. Which might be why Anna Faris isn’t quite the star she should be yet. The scripts and material are not particularly strong and in her favor. She is recognizable but not thought of in the great comedic stars of the time. Thanks to movies and roles that never quite took off.

One is hoping Zoey Deutch doesn’t serve the same fate. Here she plays the role almost like a recurring SATURDAY NIGHT LIVE character at first. Who becomes more dramatic and real throughout. always chipper and calculating. 

The character seems like she is a character from FARGO, only here the character is over ambitious and from Buffalo. She also happens to be the smartest person throughout the film.

Where the performance is actually better than the film. As her performance makes the film and you can’t imagine anyone else playing the role. But you need the other characters and the film as a garnish to get the performance and have it make sense. Making the film a good time.

A film that basically offers or gives Ms. Deutch a spotlight role. That makes her leading performance the highlight but not off of star power but how strongly She plays the character going for gold. This Is more of a star-making performance. That is not necessarily sexy.

Luckily the script and the rest of the film Doesn’t keep the pace but clears the way for a successful run. 

GRADE: B –

YES, GOD, YES (2020)

Written & Directed By: Karen Maine
Cinematography: Todd Antonio Somodevilla
Editor: Jennifer Lee

Cast: Natalia Dyer, Timothy Simons, Donna Lynne Champlin, Wolfgang Novogratz, Alisha Boe, Francesca Reale, Susan Blackwell, Parker Wierling

After an innocent AOL chat turns racy, a Catholic teenager in the early 00s discovers masturbating and struggles to suppress her new urges in the face of eternal damnation.


A star vehicle of sorts for actress Natalia Dyer of the television show STRANGER THINGS. That seems a little controversial but by the end might be shocked at how human and tame it ends up being.

The film is short but makes it presence filled just enough.

This presents itself as a kind of teen comedy about sex or at least puberty and feelings of sexuality and masturbation in particular. 

Though the film is small scale and feels a lot more Personal. As it presents a bunch of different problems for the characters but doesn’t offer all the answers. As the ones it does provide can be seen as right or wrong depending on the individual.

It takes it’s time but doesn’t offer much in the form of energy. As it plays more dramatic at times and has it’s own moments to ponder and take into account what has just happened.

Not a typical teen coming of age comedy. As the characters have a Hypocritical nature but you can understand the characters somewhat and see that they mean well 

What is honorable about the film is that not every character is good or evil. They are not right or wrong. They go with what they believe is the truth even if not living by those rules.

They live by what they believe is best for all. They aren’t doing it to be cruel just to help in their own way. 

The characters are allowed to be flawed and not totally good or evil. Though some might be more annoying and some just don’t know any better. Even the ones who are going to have it all together and know what they are talking about and strong, in the beginning, prove to be weak by the end. 

Finally what works is that even though some of the events come off as cynical throughout the film like it’s lead character never seems to go that route. They have faith and belief that they stick to despite it all throughout and by the end have their own kind of acceptance.

Grade: C+

VAMPIRES VS. THE BRONX (2020)

Story & Directed By: Oz Rodriguez 

Written By: Blaise Hemingway 

Cinematography: Blake McClure 

Editor: Sara Shaw & Alex O’Flinn 

Cast: Jaden Michael, Gerald Jones III, George Diaz IV, Cliff “Method Man” Smith, Coco Jones, Joel “The Kid Mero” Martinez, Sarah Gadon, Shia Whigham, Zoe Saldana, Judy Marte, Chris Redd, Jeremie Harris, Imani Lewis, Jordan Tyson, Torre Alexandre, Adam David Thompson 

A group of young friends from the Bronx fight to save their neighborhood from gentrification…and vampires.


The film manages to have an opening celebrity kill to try to throw you off and gives the film some star power and sets out the gauntlet to show that anyone can be a victim in this film. 

My love for this film might be because it so a film That is so recognizably New York and relatable to ave rain extent when you come to the neighborhood and the characters. An element that is disappearing in New York and not necessarily modernizing. 

This is a movie made by a New Yorker for New Yorkers. The title gives away the plot but also gives it a sheen that seems like a gimmick or an exploitation movie title. That actually has a lot of heart and surprisingly a coming of age tale partially. While keeping the genre elements.

The film is kind of a modern-day urban  LOST BOYS. Even mimicking a scene from in the latter half of the film. Or even the film THE MONSTER SQUAD only all with vampires instead of a choice of movie monsters  If looking more for mood, this film is a horror, but the appeal is more aimed at teens who are the protagonists and heroes though more humorous. Offering a film for a neglects audience with crossover appeal. 

As this is an Amblin type film. It’s never scary and while it does have violence. it never gets too gory.  Tying into the STRANGER THINGS audience a bit.

A flavorful offering slice of life with colorful characters of color with a natural presence, personalities that make them charismatic.

The film is constantly humorous, while also horror in a kind of old school classic horror way. It’s a film that is nurturing and wears it’s Inspirations while trying to create some and subvert some coming of age cliches. 

A good gentrification analogy making it look more like a species battle or battle of the living undead. Following in Jordan Peele’s and George Romero’s social commentary or socially conscious genre filmmaking. A genre movie that informs while being a solid genre specimen itself.

The film presents an urban neighborhood. Not in a bad light for once but as a colorful, cultural fin and supportive community. A film obviously made by a resident or insider to the neighborhood. As the film isn’t stereotypical nor does it talk down to the audience or characters. As it remains a self-contained adventure with supernatural elements.

Like they don’t have enough to worry about day to day. Now the supernatural who want them exterminated for access to what they were never concerned with or thought they were too good for. Again Europeans trying to take over land cultivated by the locals for decades. 

Nice to see a film about a community coming. Together.

Satirizing gentrification taking over urban neighborhoods and spaces with new stores and posters that seems to take over and work like subliminal messages and inside jokes. Similar to those in the movie THEY LIVE. Not necessarily a message movie but has a minor one.

It’s like reading a young adult book, not necessarily the audience for the film but get into it nonetheless. Easily could have gone the exaggerated route of slapstick sort of HOUSE PARTY 2.

It’s nice to see people of color in this type of film and be the main characters. As I am all for more people of color in horror films. Though less as victims or the first one killed. And usually the only one in the film, usually the provider of illegal substances or drugs. Still desire more representation even though it still counts but more equal. If the victims and protagonists are in the same number. 

It’s only main weakness might be that it is a little predictable. Though it ends up being a fun rollicking adventure with characters you rarely see in movies especially this type. 

Grade: B

YUMMY (2020)

Directed by: Lars Damoiseaux Written by: Lars Damoiseaux & Eveline Hagenbeek Cinematography: Dean Nieuwenhuits Editor: Pieter Smet

Cast: Maaike Neuville, Bart Hollanders, Clara Cleymens, Annick Christaens, Eric Gordon

Yummy is an orgy of blood, violence and fun in which a young couple travel to a shabby Eastern European hospital for plastic surgery. The young woman wants a breast reduction. Her mother comes along for yet another face-lift. Wandering through an abandoned ward the boyfriend stumbles upon a young woman, gagged and strapped to an operating table; she is the result of an experimental rejuvenation treatment. He frees her, but does not realize he just caused the outbreak of a virus that will change doctors, patients and his mother-in-law into bloodthirsty zombies.

It’s a fun little horror film that has gore galore.


The film is more explosive with it but isn’t an exploitation movie. Though it has the freewheeling sport of one. Where almost at any moment anything goes. As that is the unpredictable nature of the film. 

Though the film stays excessively violent it is also silly and nothing you haven’t really seen before. As the humor stays more on the juvenile side.

The film has good scares and starts it’s action pretty quickly and is over before you even realize time has passed. It stays that consistently entertaining. Even though after a while it just feels like an onslaught of violence. 

This is essentially a zombie movie that takes place in a plastic surgery clinic with a European flavor. That deals with infections and diseases that are timely for our current crisis and might not a little too close to home for some. 

What up’s the ante a bit is that while the initial survivors are getting picked off one by one. half of the characters are pretty much untrustworthy so while trying to survive some are not above sacrificing others and sabotaging some. So that they can either get away or to make sure if they survive nothing can happen. So there are quite a few double-crosses throughout.

One of the main male characters has to gain back his masculinity. Like every time he tries to show it something goes wrong or he is thwarted in his attempts to. He proves to be a klutz to the very end.

The film is creative but doesn’t offer too much most fans of the genre haven’t already seen. Though it does offer plenty of nudity including The penis scene is a standout of humor and bad taste. Which also seems to show the audience that no one passes out from immense pain. 

The film even has a Ryan Gosling lookalike seeming hero. Who takes a wrong turn at each juncture to be a hero.

Though The film ends up offering as many laughs as it does scares. The film has a very nihilistic ending that takes all the fun out of what came before or showering in a meaner tone. Asking to survive are we willing to forsake all others or condone them just for a bit more time of survival?

GRADE: B

THE LODGE (2020)

Directed By: Veronika Franz & Severin Fiala Written by: Veronika Franz, Severin Fiala & Sergio Casci  Cinematography: Thimios Bakatakis  Editor: Michael Palm

Cast: Riley Keough, Alicia Silverstone, Jaeden Martell, Lia Mchugh, Richard Armitage 

A soon-to-be stepmom is snowed in with her fiancé’s two children at a remote holiday village. Just as relations begin to thaw between the trio, some strange and frightening events take place.


The film’s Style is what becomes more memorable. As it seems set by the directors. The style and story feel similar to their first feature GOODBYE MOMMY. As this also is a slow burn thriller that seems to have an adult and two children secluded in close quarters with one another and seemingly needing each other to survive.

While one is up for a good slow burn in a thriller especially if it has a worthy pay off. This film comes off as dull. As it has many twists and turns that are shocking but also once we get to the end. You wonder why and the reasoning for the twists and turns make no sense and depends on the audience’s suspension of disbelief or the old adage kids will be kids. 

Though when dealing with a character who survived a horrific incident even before we are introduced to them. First of all, you wonder why the father would bring someone they were dating and knew had mental problems around their children who are already traumatized but then also leave them with her alone.

Sort of like the opening scene where we see the familiar face of Alicia Silverstone dripping ehr kids off to their father who tells her he wants to go through with the divorce and she just immediately locks herself in a room and Killa herself with little to no explanation. We in the audience are just left to assume she has problems with such an extreme act 

This film tries to be THE OTHERS only in reverse it feels. 

The film isn’t bad as Riley Keough again. Gives a shattering good performance. The rest fit eh cast do what they are supposed to do and the direction is on point but the script needs a bit of work. 

As the script seems made to fit the direction more than the story here. As it feels more conceptualized then lived in. This leaves the audience wanting more or at least to show the worm in supporting the film’s plot points. As the film comes off too vague then just ends.

Where as by the end. One can’t help what they enjoy or are entertained but here it feels like this film’s praise is more for style over substance. Even if in the end if for all the ingredients that work. It comes off as a letdown. 

Grade: C

THE BABYSITTER: KILLER QUEEN (2020)

Directed By: McG
Written by: Dan Laguna, McG, Brad Morris & Jimmy Warden
Based on characters created by: Brian Duffield
Cinematography: Scott Henriksen 
Editor: Martin Bernfield

Cast: Judah Lewis, Jenna Ortega, Emily Alyn Lind, Bella Thorne, Andrew Bachelor, Robbie Amell, Hana Mae Lee, Ken Marino, Chris Wylde, Leslie Bibb, Samara Weaving, 

Two years after Cole survived a satanic blood cult, he’s living another nightmare: high school. And the demons from his past? Still making his life hell.


I was wasn’t expecting this but there was a part of me that was expecting this movie. Now while I enjoyed the first film in this franchise a lot more than expected. I didn’t know if it really had legs for more sequels.

This film is just as fun as the first film but a lot dumber than the first film. This film seems to know what type of film it is and goes full tilt with its own distractions and humor. No matter how stupid or illogical it could be.

If you are a fan of these types of films and want to have a good time and be entertained then this film is for you. As it seems to continue In Director McG’s wheelhouse of horror and sci-fi films for Netflix that have teenagers or preteens at the center of everything. Though this film and the first babysitter film feel more money he works or inspired by director Joseph Kahn(DETENTION)(BODIED) who has more of visual flair and quicker cuts when it comes to editing.

As this film seems to be missing a certain element. Maybe the dynamic of having Samara weaving on screen more made the film a little more believable and watchable if even just for her charisma in the role.

Here it is almost a repeat of the first film only at a different and bigger location and a twist in the story that seems there to make room for a new character and leading lady for the main character. Though we have the same characters returning from the dead to try to sacrifice the main character for a blood ritual that will make them Immortal.

This is an interesting premise, but as they return they are just as easy to kill as in the first film. So again they are dispatched in a similar manner only here more gruesome and grotesque.

The new main villain is just as close as the babysitter was int he first film and the film tries to also sex her up more in tight and revealing clothes which is the first amongst other clues in the film before the big reveal that they have become evil. What is interesting is that at least they kept the new leading lady Jenna Ortega cute but dressed normally and sarcastic but a hard ass. So she is the opposite of the villain though has the dirtier look.

We see How the original crew was recruited which offers a distraction. Visually but seems like they were recruited in the 1980s more even as the film and the last one was more modern. This just seems out there as a stylistic choice but then also disrupts the continuity of what we know from the original film, but then again this isn’t the type of film to take seriously.

Though most of the cast from the original returns. It is actually nice to see them and their characters. As they remain hilarious and it is nice to catch up with them and learn a little more about them and their pasts.

The film never takes itself seriously and doesn’t expect the audience to either. As the film constantly shows or uses inspiration from the past or other movies to power scenes and the soundtrack. 

This movie feels lien CRANK 2 where it takes all that was from the first film And cranks it up as more for a spectacle that while not going to make any cinematic elitist lists is a fun time and a proper guilty pleasure. That you wish was just a bit better though that might take away the charm. 

The film tries but doesn’t come close because it seems to kind of pander to what it believes the audience wants more of rather than have more of a clear plan and structure. 

So it becomes kind of what it is parodying. Where you can tell when someone is trying to be something or someone that they aren’t to try and impress and while it’s entertaining at first it becomes sad and obvious quickly. Whereas if maybe it was itself from the get-go the audience would come and get to k ow it and appreciate it for it’s sincerity and truths. Though if you are a fan of splatter and gore in your horror. You have come to the right place.

Samara weaving does return for this film in more of an extended cameo. The film needed more of her. As whenever she comes on screen she seems so smooth and takes over her scenes. That when she is gone it only exposes how hard others are trying to just be as good and memorable.

It seems like in most teen horror films I see Bella Thorne always has a death scene. It would be nice to see her survive in a horror film. As here yet again she seems typecast.

The title seems to imply there is a queen when in fact it just seems to have that title as either claiming Samara Weaving’s character is a queen of the kill or tied into the and Queen’s recent popularity or trying to imply that this film is full of campiness. While the film is full of humor, sarcasm, and cynicism. Nothing is truly campy in this film 

Grade: C

CAPONE (2020)

Written, Edited & Directed By: Josh Trank
Cinematography: Peter Deming

Cast: Tom Hardy, Linda Cardellini, Matt Dillon, Kyle Maclachlan, Al Sapienza, Katherine Narducci, Noel Fisher, Jack London, Neal Brennan, Tilda Del Toro

The 47-year old Al Capone, after 10 years in prison, starts suffering from dementia and comes to be haunted by his violent past.


There is a lot here to deal with. Most of the film and material comes off as a fever dream that hints at or points out places of interest. Though pretty soon the films succumb to the madness of the protagonist and soon becomes where you can’t tell memory from a flashback of reality or madness.  

Tom hardy is clearly enjoying himself going fully overboard in a lived-in performance under tons of make-up and using active tics constantly. He sounds like a human cobra commander and the makeup seems realistic in that it is overdone think Johnny Depp in BLACK MASS where neither of them looks natural or all that human necessarily. Where he mostly makes noises and his character continuously poops on himself. To show degradation and how sick he is and the mighty have fallen but it happens so often. After a while, you feel like you could program a drinking game to it.  

The film swings and attempts a kind of David Lynch vibe of the film where the strangeness and non-linear storytelling will be fascinating in Itself and it’s own art that the audience will find the beauty in all of this. Which works with a director who is used to or knows for telling stories in that way. Unfortunately, this one isn’t. Casting Kyle Maclachlan in the film only helps strengthen this theory.  

As this is supposed to be writer/director Josh Trank’s comeback after the FANTASTIC FOUR movie bombing. One can understand why he went this route. As most of the films he made before were special effects spectacles and science fiction. Here he gets his hand to try drama and thriller of sorts. As well as a crime story based on real people.  

This film just seems all over the place and might have been more interesting with some cohesiveness and an understanding as half the people in his house we are left wondering their relationships. A lot of stuff isn’t explained And it comes off as more random And not fun random. 

As the audience might not know that much about al Capone and his past. So when bringing in various information, characters and showing them to have significance later in the film is purposeful but when we are introduced we don’t know of their importance and seem more random or built up to not mean as much when their character is more revealed. 

This is a film that has a lot of symbolism but nothing really behind it as it offers no hints or notes. So it keeps building to ultimately nothing. It could have been tightened by the missing buried money plot, a treasure hunt if you will, making it stronger. 

Even if it feels like a point of interest for the other strands of stories and characters to revolve around, it would also help as half the time making us wonder if this is all an act and he actually is mad or at first he is faking and then slowly he and we realize he is actually going crazy. As watching it now we know he is crazy but never knows what is real, fantasy, flashback. 

Which doesn’t help when we see scenes of characters that have nothing to do with him mixed in. So we take those as real and then later male reveals where maybe they weren’t. The randomness includes Matt Dillon being introduced during a sex scene why? So the film will have some Sex In it? Then being called into Florida with his amour. We never see her again and as it is separate why are we seeing it when we eventually learn of his character and his eventual fate. 

In the end, you can see what attracted the cast and why the director made the film Or at least his intentions, but it seems to have had the equivalent of shooting himself in the foot.

While also having the last hurrah on a sinking ship that only he thought might survive and prosper.  

Grade: D

THE HALF OF IT (2020)

Written & Directed By: Alice Wu  Cinematography: Greta Zozula 

Editor: Ian Blume & Lee Percy 

Cast: Leah Lewis, Daniel Diemar, Alexxis Lemire, Wolfgang Novogratz, Collin Chou, Becky Ann Baker, Catherine Curtin 

A shy, introverted, Chinese-American, straight-A student finds herself helping the school jock woo the girl they both secretly love. In the process, each teaches the other about the nature of love as they find a connection in the most unlikely of places.


I can sometimes be a sucker for a coming of age story. even if it has a romance at the heart of it and they usually do.

This one isn’t as conventional but it is as sweet as any teen love story. Only here dealing more with confusion and revelation. An almost teen Cyrano story only with lgbtq romance and character. 

You’ll enjoy that the fil mHas the emotions but doesn’t overload the audience or story with it. It’s what brings the characters together but it’s not what the film Is all about. As the storylines never become so dire that it feels like life or death, not in the consequences.

This is an original unsuspecting love triangle tale with no true villains. It actually has more depth, drama, and humor than expected, but stays perfect for it’s intended audience. As the film is more character-driven by a few of them rather than Story or plot. As it actually feels layered.

While it has it’s Goofy moments it feels surprising down to earth and earnest. Even if it has the hallmarks of a more cute, quirky indie film. That with youth brings an amount of energy but also a still calmness. 

Which I applaud Netflix for presenting such a film Showing a balance as it has it’s More conventional teen films and then a film like this that actually approaches it’s Material respectfully and treats the audience the same way

This is an LGBT crush’s story that creeps up on you more like a romance and then a romantic comedy before becoming a love story and a surprisingly minor character study.

What can be really appreciative other than that the film and characters are more open-minded then you would expect is that the more all the characters get to know each other they like them for the qualities they notice and learn about them and appreciate that other then just looks. Just as the characters are more than their looks and have talents and know-how.

This film shows the beauty in the plain and makes small-town loving look luxurious itself in its own little hidden nooks, crannies, stories, and mysteries.

Grade: B

HOST (2020)

Directed By: Rob Savage 
Written By: Rob Savage, Gemma Hurley & Jed Shepherd 
Editor: Brenna Rangott 

Cast: Haley Bishop, Jemma Moore, Emma Louise Webb, Radina Drandova, Caroline Ward, Alan Emrys 

Six friends hire a medium to hold a seance via Zoom during the lockdown, but they get far more than they bargained for as things quickly go wrong. When an evil spirit starts invading their homes, they begin to realize they might not survive the night. What it might lack In originality it makes up for In Inventiveness and chills.


It catches you by surprise as you didn’t expect much and the movie knows that takes it and runs with it and Impresses the audience without making it loom like it is barely making a sweat.

This is what filmmaking is supposed to be about a general sense of wonder and fun as well as discipline and being. At least the strings and work put into.

What is interesting is that the making of is just as Exciting as what is happening on the screen, Like an amusement park ride, you are ready for certain. Actions and can’t wait while you see the setup but then As it goes along it actually angers to affect you even though you believe you know what is going to happen and by the end you are fearful yet it feels like fun.

This film actually manages to scare you and not through cheap theatrics ok, Maybe a little bit also through General mood and atmosphere. This is definitely not a film to watch alone in the dark and especially not to watch it on a computer or smartphone.

The film was filmed in quarantine which it references and makes the whole experience much more impressive. As it leaves you just as interested in how it was made As what you are seeing.

As not only do you have to film the movie but have to have to Direct the cast remotely and have them do some of the effects themselves and instruct them on that. Which gives the film a kind of BLAIR WITCH PROJECT vibe. Only this might be preferred as it doesn’t wear out it’s Welcome as fast. This film is just under an hour long.

It might also remind some audience members of the UNFRIENDED films. Only this doesn’t come off as glossy or seem as dependent on technology and the fact it’s being filmed mostly on home computers. As this seems more a result of conditions rather than the original premise. It just happens to work in the film’s favor.

As always the film leaves us with the message to never mess around with spirits and it’s a premise where the character knows better but having just one mistake leads to the downfall of everyone. Out of disrespect really.

The films goes so far In close claustrophobic settings and still manages to feel bigger then it is and a bit glossy. Managing to do a lot with what looks like so little.

That the film comes off a bit like JAWS where some of the best creativity can sometimes come under limited resources. The characters come off as goofy and believable lie real friends rather than just types. We get to know a bit about them And their personalities. –The film definitely makes it’s presence felt.

Grade: B+