dmatthewbarnes512 Reviews

Undercover Girl (1950)

Groundbreaking and Significant

[9/10 · 20 August 2023]

This intense and captivating film noir from 1950 feels groundbreaking and significant and deserving of noteworthy acclaim, which unfairly it hasn't received. While watching this remarkable film, I couldn't help but be keenly aware of how ahead of its time Undercover Girl is, not just for its content but cinematically. The story follows a female police officer named Christine Miller (played with mesmerizing brilliance by Alexis Smith in a career-best performance), who is determined to avenge the murder of her father by going undercover to take down the narcotics ring responsible for his death. In so many ways, this feels like a fantastic precursor for Police Woman, Cagney and Lacey, and even Law and Order: Special Victims Unit. Yet, the gender of our main character is not the only celebratory element: this is a damn good movie from start to finish. Giving Alexis Smith terrific on-screen support is Royal Dano in a complex role (his movie debut nonetheless) with which the very talented actor gains the audience's sympathy - something tough to do for a desperate low rent character. Director Joseph Pevney (who would continue to helm films with strong female leads including Because of You with Loretta Young and Female on the Beach with Joan Crawford) knows how to hold his audience in a permanent state of suspense, masterfully creating a level of nail-biting intensity, evident in the last riveting ten minutes of this taut thriller (you'll be on the edge of your seat cheering our tough and clever heroine on). There's much to admire about this hugely underrated cinematic gem: from breaking gender norms (a woman on the screen who has a dangerous job and isn't relegated to housework and cocktail serving to her overworked husband) to being one of the best crime films made, Undercover Girl deserves far better glory and a lot of respect.

Joy Ride (2023)

The Third Act Could've Been Better

[8/10 · 6 August 2023]

Joy Ride is a lot of things: a bawdy comedy, a fun road trip movie, a daughter's quest, a hero(ine)'s journey, and a not-so-deep exploration of gender norms and stereotypes. While the laughs are plenty and the cast is charming, the film tries to figure out what it is and the result is a bit muddled.

Director Adele Lim (in her directing debut) knows how to tell a good story. Her pacing of the movie is what keeps this comedy going. Little room is left to catch your breath before you've been moved on to the next outrageous situation, seemingly set up to allow the cast of comedians to shine. And they do, in part to Lim's directing, but also because all four actors are so damn entertaining: Ashley Park. Sherry Cola, Stephanie Hsu, and Sabrina Wu. Any of them could easily carry a film on their own. Here, they each have some terrific moments, but are ultimately diminished by a film that's too full.

Structurally, the film's first two acts work really well. After a quick set up in Seattle, we're off to the other side of the world (in this case, China) where the adventures begin. And wild adventures they are. Yet, it's in the third act where the film becomes a sentimental mixture of all too familiar tropes and, as a result, suddenly loses all of it's brilliant originality it's just built. Gone is the frenetic energy, the hilarious and masterful physical comedy, and instead we sit through twenty minutes of implausibility and a sappy ending that undermines this otherwise wicked romp and doesn't give the audience - or it's great actors - the badass send off we thought we were getting.

The Adam Project (2022)

A Fun, Thrilling Experience

[8/10 · 16 February 2023]

Watching Shawn Levy's sci-fi action comedy The Adam Project is a fun, thrilling experience. The concept of the film is clever: a fighter pilot travels back to a specific point in his life, only to meet (and bond with) his younger self. The always-charming Ryan Reynolds is our leading man, playing the grown-up version of Adam Reed. Reynolds continues to prove he knows a thing or two about being funny. Here, his comedic timing is sharper than ever, evident each time he delivers hilarious lines of dialogue. The pairing of Reynolds with young actor Walker Scobell (who plays a 12-year old version of Adam Reed) creates a fantastic comedic duo. Their dynamic is very enjoyable to watch. They are surrounded by an all-star cast, appearing mostly in supporting roles, including Mark Ruffalo and Jennifer Garner (both should've been given more screen time), and a devilish performance by Catherine Keener as an ultra-villain who you will love to hate. At the heart of the film, this is a good vs. Evil story that feels familiar yet comforting. The film rises above similar movies because of the excellent script (I was surprised to find out that four very acclaimed screenwriters worked on this screenplay; the films feels very cohesive as if it were penned by a single writer and not a team) and terrific direction. The movie moves quickly, never allowing the momentum to slow to a dull roar. Instead, we're at full throttle for most of the film. Levy does allow his actors to have a few tender moments, but bookends them with some awesome action sequences infused with terrific humor. As a result, The Adam Project will leave a smile on your face.

The Young Stranger (1957)

Seeking Love and Validation

[8/10 · 14 January 2023]

Released a year-and-a-half after Rebel Without a Cause, John Frankenheimer's delinquent youth drama The Young Stranger is filled with echoes from the iconic James Dean film. Here, high school student Hal Ditmar (played with a passionate intensity by James MacArthur) is blamed for something he didn't do: assaulting the manager of a local movie theater. Claiming the act was self defense (which it was), MacArthur spends most of the movie trying to convince the other characters of this truth, namely his father who is a wealthy film producer, played by James Daly. The only one who seems to believe in him (albeit not without a layer of doubt) is his mother, played by acclaimed actress Kim Hunter in a subdued role compared to the more powerhouse performances in her remarkable repertoire of work. This is a simple film in that it features a small cast telling a straight forward story that takes place in only a handful of locations. Certainly a precursor to the ABC Afterschool Specials that would follow a couple of decades later, The Young Stranger is not so much a cautionary tale as it is an exploration of a young man seeking love and validation from those around him, especially his father. It is MacArthur who brings a beautiful complexity to this film. His performance is filled with an authentic anguish, allowing the audience to understand and recognize his need for acceptance and love.

Caged (1950)

Brutal and Compassionate

[8/10 · 7 January 2023]

Long before there was Orange is the New Black or Wentworth, there was Caged. This women-in-prison film noir from 1950 is an intense, gritty movie that offers an in-depth look into the complicated lives of its characters. Adapted from the story Women Without Men by Virginia Kellogg and Bernard C. Schoenfeld, the script (written by Kellogg) holds nothing back. While the drama is certainly heightened, the film is remarkable in its seemingly realistic depiction of prison life for women (at least for the time it's set in). Kellogg gives us relatable characters to root for and loathe, portrayed by a talented cast of women including Eleanor Parker in an Academy Award nominated lead role, Betty Garde in a heartbreaking performance as homicidal shoplifter Kitty Stark, and Agnes Moorehead as the sympathetic prison superintendent Ruth Benton. A prison movie wouldn't be true to genre without a villain and Hope Emerson gives us a ruthless one in her sadistic portrayal of the evil prison matron Evelyn Harper. A character shouldn't be this much fun to hate. Emerson devours every scene she's in rightfully earning an Academy Award nomination for Best Supporting Actress for her role. There is much to admire about this brutal yet compassionate film. Yet, the standout here is the brilliant performance of Eleanor Parker. Her transformation from meek to corrupt is breathtaking to watch. A true ensemble film, Caged is a daring, brave exploration of women shunned and forgotten by their society. Fueled by unforgettable performances and a solid script, acclaimed director John Cromwell has delivered one hell of a great movie.

Empire of Light (2022)

Colman Will Take Your Breath Away

[10/10 · 10 December 2022]

From start to finish, Empire of Light is an exquisite film. Set in the early 1980's in a beautiful, vintage cinema in a quaint English seaside town, the film explores the complexities of the lives of those who work at the movie theater. While it's certainly an ensemble film, Olivia Colman's brilliant performance coupled with Micheal Ward's nuanced portrayal of her unexpected leading man allows both to shine in extraordinary ways rarely seen in contemporary films. Their performances are masterful individually, yet equally powerful as a poetic duet of two seemingly different people impacted by the collision of lives. Featuring a sensational supporting cast that includes standout performances by Toby Jones, Hannah Onslow, and Tom Brooke, Mendes creates a bittersweet extended family out of his characters all connected by place, something anyone who has worked in a similar public-serving job can relate to.

At it's core, Empire of Light is a fascinating and sometime brutal tale about the fragility of human emotions. What is the breaking point of a character? What is their moment of redemption? Their darkest place? Their point of no return?

Writer and director Sam Mendes is clever with his artistry, knowing when to allow poignancy to occur while balancing it with the harsh realities of life - at least those that exist within this cinematic world. It is this sometimes heartbreaking juxtaposition that makes the film the haunting viewing experience it is. Mendes achieves this within the duality of the main location of the film: the cinema. While the lobby and the two screening rooms are gorgeous to look at, there are two hidden screening rooms that the public never sees. Forgotten and appropriately referred to as the pigeon coop, some of the film's most tender moments occur against this backdrop of hidden decay, reminding the audience that what's beyond the surface can be far more significant and compelling. All of this is achingly underscored by a stunning score composed by Trent Reznor and Atticus Ross.

Yet it is Colman's performance that fuels this fierce engine. Through her, Mendes gives us a flawed character who's mental break speaks to the despair of vulnerability and the beauty of rebirth. To her role, Colman brings an intensity and ache that is unforgettable. Both the film and Colman's portrayal will take your breath away.

The Menu (2022)

Deliciously Devilish Film

[8/10 · 22 November 2022]

I hope you bring your appetite to this deliciously devilish film. The Menu, a dark horror comedy film directed by Mark Mylod, delivers every course it serves. Stylistic and aesthetically exquisite, this movie will be celebrated not only for its mesmerizing visuals but for it's clever script, expert direction, and nuanced performances from a cast of ultra talented actors, including a wonderful Judith Light (will someone please put this wonderful woman in more films?). The creepy premise feels simple: a group of self-obsessed strangers find themselves sharing a terrifying experience. They're the guest at a posh, elite private restaurant located on a secluded island in the middle of nowhere (or, so it seems). The first half of the film is a slow move, keeping the audience (and the characters) in one location: the dining room and adjacent kitchen of the restaurant. Mylod takes a chance by keeping us here for so long, but it's a risk that works because, as an audience member, I grew anxious and uncomfortable. Like the characters, I wanted to leave that space and escape. The one-location and ensemble approach feels theatrical, as if we're watching the first act of a play - specifically a Greek tragedy (one probably written by Aristophanes because of its dark wit). Much of the film feels like a cinematic connection to Plato's Allegory of The Cave. As fantastic as the supporting cast is, the film really belongs to Anya Taylor-Joy and Ralph Fiennes, each of their character's are similar in their quest for power, despite their seemingly differences in social standings. Taylor-Joy continues to prove her brilliant worth in yet another astonishing performance, certainly on par with her career-best performances in Thoroughbreds and The Queen's Gambit. Fiennes devours every scene he's in (which is most), giving a controlled, strategic performance that is as commanding as it is terrifying. High on eerie atmosphere and rich with wicked suspense, The Menu is a fun feast of a film.

Empire Records (1995)

Nostalgic Sweet Spot

[7/10 · 14 November 2022]

It's hard to believe that this cult classic from 1995 is nearly three decades old. While elements of the film have stood the test of time (including one of the best film soundtracks to ever be made), there are bittersweet reminders here that the world that Empire Records depicts no longer exists. For those who were around in the 1990's, this often poignant movie will hit your nostalgic sweet spot, making you yearn for yesteryears. Yet, sentimentality aside, Empire Records presents a romanticized view of retail life as we once knew it. The fact the film takes place in a record store (which have sadly become extinct - for the most part) and only a few other locations are shown, the movie possesses a theatre-like charm. At times, you can't help but wonder if Empire Records should really be adapted for the stage (hey, there's a musical in there somewhere). The cast is attractive and clever, tossing witticisms left and right in a style reminiscent of Dorothy Parker. Everyone here has something smart or sassy to say. It's only when the film tries to go deep emotionally that things feel more maudlin than they need to. Fortunately, director Allan Moyle (there should be no surprise that he also directed two other cult favorites, Pump Up the Volume and Times Square among others) knows exactly when to lighten the mood with comedic bits that would fit in well on any sitcom of the era (hello, Friends). Some of the actors here went on to huge cinematic success, including Renee Zellweger in a fantastic early-in-her-career performance. On that note, we need her version of the song Sugar High to finally get the record release it deserves. Her performance of it (albeit it's less than two minutes on screen) is alone worth watching the film for. That and a look back at a time where young people had cool jobs in cool places and listened to really, really cool music - on vinyl, even.

His Girl Friday (1940)

Quintessential Classic Comedy

[10/10 · 26 October 2022]

This fantastic comedy from 1940 is filled with brilliant, clever dialogue and outstanding performances. Based on the stage play The Front Page (written by Ben Hecht and Charles MacArthur), His Girl Friday was actually the second cinematic adaption of this story (the first being the 1931 film also titled The Front Page). Director Howard Hawks made an excellent choice in changing the lead role of Hildy to a female character instead of male, as originally written. This decision not only allowed Rosalind Russell the opportunity to give a career-best performance, but set the foundation for this version to take a romantic turn by allowing our two leads (Russell and Cary Grant) to fall back in love (they were once married). It also gives us one of the earliest film depictions of a woman with a successful career. Russel's character is a force to be reckoned with, as she goes toe-to-toe with every male colleague in her no-holds-barred approach in a competitive newsroom. Filled with not-so-subtle jabs at the ethics and morals (or lack of) that the world of journalism is scrutinized for (still relevant today), this comedy has much more to say than most films of the era. The rapid fire dialogue is spoken at whiplash speed, so only a careful listener will catch the many thought provoking statements, especially since so many of them are not directly spoken. Truly one of the funniest films ever made, Russell and Grant shine in their roles. Intensely physical, the comedy here is at master level and both stars deliver some of their best work. There is an intoxicating quality to this film, mesmerizing audiences with the high energy of every moment on screen, matched with perfectly choreographed staging (it makes you wonder how much rehearsal went into every scene). This is a film that has stood the test of time, still revered by audiences and actors alike. It's influence is apparent in most American sitcoms and even classic television shows such as Gilmore Girls (this movie is referenced in episodes of it supporting my theory that show creator Any Sherman-Palladino found it inspiring). His Girl Friday is often referred to as the quintessential classic comedy. Watching it you will certainly agree with its earned legacy in the world of cinema.

Halloween Ends (2022)

Different and Daring

[8/10 · 24 October 2022]

Halloween Ends is not a perfect film but it offers audience members a wild cinematic ride. The Halloween film franchise is loved by a very devoted fanbase (myself included; the original Halloween is my all-time favorite horror film). With that said, no matter what artistic choices director David Gordon Green made for this supposed final entry in the Michael Myers vs. Laurie Strode cannon, there was bound to be unhappy skeptics and intense scrutiny. Here, Green makes bold choices. Instead of following the prescribed playbook for all things slasher film, Green takes us deep into what feels like a dark character study, exploring the psychology of the hunted and the hunter. It's one major downfall is this: the plot feels like a hodgepodge of never fully realized story ideas and this weakness almost derails the film (it's predecessor Halloween Kills was dreadful and ranks as the worst Halloween film made - my opinion). Yet. Green knows these characters, their lore and legacy. He knows how to tell a scary story. What works here is the mesmerizing world we're submerged into (underscored by an awesome soundtrack). Lives are crossing and lines are blurring. We have super survivor Laurie Strode (played with a sweet intensity by the Queen of Scream, Jamie Lee Curtis), settling into a peaceful existence and leading a seemingly healed life. We also have bullied teen Corey Cunningham (played with fantastic complexity by Rohan Campbell, mostly known for his leading role on the recent TV adaptation of The Hardy Boys) sinking into a violent pit of no return. Both of these characters serve as great juxtaposition, each reflecting the impact violence and victimhood can have. Some of the production elements in the film are masterful, including the cinematography and the editing. Green takes his time exploring space and place, allowing the visuals to build and sustain the shifting moods of the movie. While Green gives us the battle we've been waiting for, when Michael Myers and Laurie Strode finally face off for a final time, the film is layered and offers commentary and thoughts on the often brutal society we've become. While Halloween Ends won't make everyone happy, it's a unique horror film on its own, brimming with an artistry rarely seen in contemporary horror films.

House on Haunted Hill (1959)

A Fun Thrill Ride

[8/10 · 19 October 2022]

This fun flick from 1959 feels like a thrill ride, navigating viewers through a haunted house seemingly filled with creepy ghosts and moments of sheer terror. The concept of this spooky tale is fairly simple: a wealthy man (played deliciously by Vincent Price who knows a thing or two about horror films) gathers a group of strangers together and challenges them to spend the night in his home, which is reportedly haunted. Whoever survives the night will walk away with cash. The night takes a turn when the guests are informed they're actually trapped inside the house. There's no way out until dawn. What follows is a string of carnival-like pranks and frights, all intended to scare the guests away. The action of the night is paralleled with a subplot focusing on the marital discord between Price's character and Carol Ohmart's character, his wife. Directed by master of schlock William Castle (who was legendary for turning B-movies into surprise cinematic hits), the film is a feast of scary scenes, pushing the characters to their limits and ultimately to their breaking points. The cast offers top-notch performances, especially Carolyn Craig as a constantly terrified woman who does what she can to survive the night in the House on Haunted Hill.

Bros (I) (2022)

An Important Film

[8/10 · 18 October 2022]

Billy Eichner's has broken new filmmaking ground with this charming, hilarious romantic comedy. Although fairly formulaic (the film checks many required romcom boxes), the movie sets itself apart by telling the story of two men falling in love, played by Eichner (who also co-wrote the script) and Luke Macfarlane (Brothers and Sisters and many Hallmark Channel movies). It's to director Nicholas Stoller's credit that Bros moves forward at a brisk, enjoyable pace. Even during the lengthier scenes in which our two leads talk through their feelings (including a very powerful, passionate monologue delivered by Eichner), the film never feels stalled or sluggish. It's only flaw is this: Bros tries to please everyone and in doing so feels a bit overwhelming with excess that distracts us from the love story. There's a lot of (sometimes heavy handed) political correctness happening that feels as if the creative team were trying to fill the movie with as much as possible - instead of just focusing on two people and their complex romantic journey. We also don't get to spend nearly enough time with the wonderful cast of supporting characters, especially Guillermo Diaz and Jai Rodriguez. We're also left in the dark regarding the dream of Macfarlane's character to become a chocolatier. Yet, there's much to love about Bros, from the fantastic soundtrack, to the exquisite cinematography (terrific film work by Brandon Trost), to the happy-for-now ending. The movie will make you laugh, make you think, and make you fall madly in love - at least for a couple of hours.

Julie (1956)

A Terrific and Terrifying Ride with Doris Day

[8/10 · 1 October 2022]

Julie is an edge-of-your-seat suspense thriller featuring Doris Day in one of her few dramatic roles. Day plays the title character of Julie Benton, a woman who is trapped in a volatile marriage to a insanely jealous man, Lyle Benton (played by Louis Jourdan). The first half of the film is about Julie's harrowing escape from her husband. Having being threatened that she would be murdered if she ever tried to leave him, Julie risks her life to get away. The second half of the film sees Julie return to her former career as a flight attendant, only to find herself on a plane with her homicidal husband as a passenger. As he reaches his breaking point and shoots the flight crew, there's no one left to land the plane except for Julie. The climax of this strange but thrilling movie was a precursor to Karen Black's iconic performance in Airport 1975 (who also plays a flight attendant who has to land a plane in the middle of crisis). It's a shame that Day didn't make more dramatic films. Here, she demonstrates tremendous range by showcasing her ability to play multiple levels in a single scene. Director Andrew L. Stone seems to be aware of the power of his leading lady, opting for closeups on her as much as possible. Day is such a strong actor, she's able to fill each silent beat with clear emotions, often with a slight shift of expression. The only stumble in the film is the casting of Louis Jourdan as the menacing husband. While he and Day certainly shared an intensity in their scenes, his performance could not match Day's layered, nuanced acting. She outshines him in every scene. While watching Julie, I wondered how much of an influence this film was on subsequent and similar films such as Sleeping with the Enemy or the recent remake of The Invisible Man (starring Elisabeth Moss in a role echoing Day's). Nevertheless, this fantastic film noir thriller from 1956 offers up a terrific and sometimes terrifying ride. At the very least, it will give you a new appreciation for flight attendants.

The Black Phone (2021)

Emotional Thrill Ride

[8/10 · 26 September 2022]

The Black Phone, a supernatural horror film directed by Scott Derrickson (Hellraiser: Inferno, The Exorcism of Emily Rose, Doctor Strange) and adapted from a short story by award-winning writer Joe Hill, has a lot to say. In a single movie, The Black Phone is many things. Sometimes it's a family drama (a drunk father raising two children after his wife dies). Other times it's a psychological thriller (will a young victim of kidnapping find an escape from his evil captor?). And then there's the supernatural element (ghosts guide the main character to eventual safety and younger sister having visionary dreams related to missing children). Collectively, these story ingredients make the perfect blended recipe for one heckuva fun film. Sure, there's flaws along the way (our villain has very little backstory leaving us questioning why he does what he does). Yet, these minor issues are easy to overlook because they're eclipsed by brilliant cinematic storytelling, powerhouse performances, and nail-biting suspense. The acting is top-notch, specifically the performances by our two young leads, Mason Thames and Madeleine McGraw, who play brother and sister Finney and Gwen Blake. Both demonstrate incredible range and give two of the best onscreen performances in this genre(s) in years. I anticipate many great things from these actors. Ethan Hawke, as the nightmarish child abductor and serial killer called The Grabber, gives the most terrifying performance of his career. It's to the director's credit that our time with The Grabber is kept to a minimum, making us anticipate (with terror) his next appearance. Tom Savini proves his mastery yet again with the creation of one of the best mask in a contemporary horror film. Let's give this man an Academy Award already. Seriously, his artistry knows no limit. If you're looking for an edge-of-your-seat emotional thrill ride, look no further than The Black Phone. You're guaranteed an intense movie-watching experience.

It Should Happen to You (1954)

Judy Holliday Shines

[8/10 · 23 September 2022]

The always-charming Judy Holliday gives a brilliant performance in this romantic comedy from 1954. Produced four years after her career-making and Academy Award winning performance in Born Yesterday, Holliday proves (yet again) in It Should Happen to You that she was a force to be reckoned with. The fact that she's one of my favorite actors from classic films is no secret. As many have mentioned before, I will echo the sadness that her life ended way too soon (she died at the age of 43). It's a cinematic tragedy that she didn't make more movies. Here, Holliday plays fame-obsessed Gladys Glover, a down-on-her-luck woman who has recently been fired. To her luck (and his), Gladys meets a documentary filmmaker in Central Park named Pete Sheppard (played by Jack Lemmon in his first major screen performance). The plot focuses on Glady's climb to fame. Along the way, Gladys discovers that being famous is not as easy as it looks, experiencing many pitfalls in her humbling journey. While the theme of the film could be interpreted as a cautionary tale for a young woman wanting a career (instead of being content with being a homemaker), it is to Holliday's credit that the films says so much more, when director George Cukor gives her the space to do this. It's in her endearing performance that the audience feels her struggles: should Gladys conform or follow her dreams? Is wanting to be famous a bad thing? If the film is lacking anything it's the missed opportunity to change the outcome of the film by allowing Gladys Glover to thrive and succeed on her own and not make love a backup plan. Lemmon and Holliday have sweet chemistry and will have you rooting for their happy ending, despite the story possibilities of Gladys Glover's short brush with fame.

An American Werewolf in London (1981)

Sexy. Hilarious. Terrifying.

[10/10 · 20 September 2022]

An American Werewolf in London is a brutal and brilliant film. Paying tribute to the great monster flicks of yesteryear, director John Landis serves up a terrifying cinematic homage to the creature feature genre, while breaking new ground in the process. The concept of the story is simple, reminding the audience of legends and lore related to a fateful attack by a werewolf. In this case, the victims are two American men backpacking their way across the moors in Yorkshire. Jack (played by Griffin Dunne) is killed and David (played by David Naughton) survives despite his injuries. As the film moves forward, David's insistence that his transformation into a werewolf is imminent is what fuels the movie. We, the audience, are aware that his change is coming and we wait for it with edge-of-your-seat anticipation. And what a change it is. It's worth noting this film received the first-ever Academy Award for Best Makeup and that accolade is well-deserved. The transformation scene in which David's body morphs into that of a werewolf is an iconic moment on film. An American Werewolf in London is also unabashedly sexy. When David meets nurse turned love interest Alex Price (played by Jenny Agutter with a subtle seductiveness rarely seen in films these days), the two bring heat to the film. Landis also infuses the film with a strange but appealing sense of humor. Never do we (the audience) take what we're seeing on the screen as serious as we should because comedic moments remind us of how wild of a tale this is. It as if Landis is making a commentary along the lines of Sometimes life is so intense, you just gotta laugh.

Village of the Damned (1960)

Creepy, Suspenseful Tale

[10/10 · 18 September 2022]

Movies don't get much creepier than this fantastic classic from 1960. Director Wolf Rilla takes his time introducing us into the strange world of this sinister tale. In this case, we are in the British village of Midwich, where something strange has just happened: the residents of the village lose consciousness for four hours. When they awake, several women have been impregnated. Even more bizarre, all of the women give birth on the same day. The children themselves possess telepathy, all have a similar look (large eyes, blonde hair) and speak as of telling a cautionary tale. The children become the objects of fear and speculation by their fellow villagers. What follows is chilling to the point of terrifying. Peeling back the many layers (include the symbolic ones), Rilla masterfully creates beautiful suspense on the screen with help from cinematographer Geoffrey Faithfull, whose aesthetical choices are stunning. Visually this film has become iconic, known for its glowing eyes effect. It's devoted following and critical acclaim are well deserved.

The Screaming Skull (1958)

Gaslighting and a Screaming Skull

[7/10 · 16 September 2022]

A lot can be said about The Screaming Skull. Is it over the top? Yes. Is it a great film? No, not really. Is it fun to watch? Definitely. The concept of the movie is fairly simple: a second wife is a victim of gaslighting by her new husband who is guilty of murdering his first wife, who haunts everyone she can. This low-budget gothic horror film from 1958 was directed by Alex Nicol, who up to this point in his career was known for his work as Broadway actor. Peggy Webber, the star of the film whose performance is nothing short of brilliant, loathed the movie stating it made it her want to throw up after viewing it (because of the quality, not because of any gore). Yet, Webber is a power house in her role. Her considerable acting skills are demonstrated in scene after scene as her character Jenni Whitlock is convinced by those around her (including by herself) that her sanity is slipping. Playing the scheming, homicidal husband, John Hudson gives an equally impressive performance. Adapted from a story by Francis Marion Crawford (who was inspired by folklore about the legend of a screaming skull), screenwriter John Kneubuhl infuses the script with empathy for Jenni, allowing the audience to fear for her safety, as well as root for her escape. I was fortunate enough to watch the Blu-ray version of the film, which Shout Factory released a few years ago. The picture quality and the packaging were fantastic.

I Saw What You Did (1965)

Terrific Suspense Thriller

[8/10 · 16 September 2022]

I love most films William Castle directed in his nearly forty year film career. This cinematic gem from 1965 is no exception. This low-budget no frills thriller is centered around a clever concept: two young woman prank call strangers one night leading them into a web of danger when they accidentally cause a murderer to panic when they inform him "I saw what you did, and I know who you are." Believing what they say to be true, killer Steve Marak (played by a menacing John Ireland) is intent on finding the young women (played by Sara Lane and Andi Garrett who are believable as naïve high school friends, unaware of the consequences of their actions) to silence them. Castle knows how to create suspense on the screen. Here he gets the most out of a single idea, filling each connected moment with subtle terror before bringing us to the edges of our seats with a nail-biting ending. The film features Joan Crawford in a supporting role. Castle's only misstep here is not making her part larger. Crawford, as usual, devours every scene she's in. She deserved more screen time. Second only to Psycho (which this film pays cinematic tribute to, as well as other Hitchcock movies), I Saw What You Did features another frightening shower scene. The 1988 made-for-television remake is also well worth a watch.

Mermaids (1990)

Adorable, Charming Film

[10/10 · 14 September 2022]

Adapted from the novel by Patty Dann, this coming-of-age family dramedy from 1990 is an adorable film, filled with charm, terrific and very quotable dialogue, and career-best performances. Set in 1963, the film follows the lives of three women, specifically a single mother and her two young daughters. Told from the perspective of Charlotte, the oldest daughter (played by Winona Ryder), Mermaids is endearing from start to finish. Director Richard Benjamin creates an intimate connection between Charlotte and the audience by allowing her inner thoughts to be shared through often hilarious voice overs. It's through these one-liners and monologues that our fondness for Charlotte grows, drawing us into the often-turbulent navigation through her young life. The characters of this film feel like people we know: you have the larger-than-life mother (played by Cher in her best role yet), her antithesis in the form of a conservative daughter, and the wild youngest child (a very young but impressive Christina Ricci) who possesses her mother's free-spirit while still growing in the shadow of her odd older sister. It would be easy to simplify this film as a mother-daughter tale, or even another film about a misfit growing up (in the 1960's). Yet, Mermaids really shines because of the heart and soul of the film. There are poignant moments that ring true taking place in a world that feels idealistic and hopeful yet bristles with brushes of reality, especially when it examines the tough transition from childhood into adulthood. The performances by the entire cast are masterful, including career-bests from Cher and Winona Ryder. Although he no longer makes films (sadly), Michael Schoeffling shows considerable depth and range here as the male love interest of a lovestruck Charlotte. It's impossible for him to ever escape his iconic portrayal of Jake Ryan in Sixteen Candles, but Schoeffling's understated approach to his role of Joe gives his performance a believable naturalness. Like the toe-tapping energetic soundtrack filled with iconic hits from the era, the fantastic score composed by Academy-Award winner Jack Nitzsche compliments every scene. Screenwriter June Roberts has filled the film with delicious dialogue. Many lines from this movie have taken on a life of their own ("Charlotte, I know you're planning a celibate life, but with half my chromosomes, I think that might be tough.") and are frequently quoted by the many fans of this wonderful, unforgettable film.

The Slumber Party Massacre (1982)

A Wild Ride

[9/10 · 14 September 2022]

From the opening frame when the iconic title is splashed across the screen in blood red letters, you know you're in for a wild ride with Amy Jones's cult slasher classic The Slumber Party Massacre. Set in sunny Southern California, the 1980's aesthetic of beautiful surroundings are juxtaposed with a terrifying murder spree thanks to a power drill wielding maniac. Shot on a next-to-nothing budget, this mighty film went on to make millions and become a three-film franchise, similar to other successful slashers of the same era. This one stands out as being different from the pack. Sure, all the genre expected tropes are there. We have beautiful women being hunted by a serial killer. We have brutality and blood. There's a lot of T and an abundance of A. And, most importantly for my fellow horror film aficionados, we have a high body count. Yet, there's a stylishness to the movie that isn't always as prevalent in comparable films. Much of this is apparent in Jones's very effective directing (she knows how to pace a slasher film) and the masterful cinematography of Stephen L. Posey. In particular are the wide shots inside the high school gymnasium, filmed on a cherry picker to create the ultimate voyeur perspective. Jones also makes a very distinctive rule-breaking decision in not making her killer wear a mask. We know the face of danger from the moment he comes on screen (a role played in almost complete silence by a very effective Michael Villella). Overall, The Slumber Party Massacre is a film worthy of its devoted following, setting itself apart from similar films with artistry and an attention to story and craft. And, on the note of story, it's worth mentioning that the script was penned by feminist writer Rita Mae Brown, who would go on to write many iconic novels, including the acclaimed Rubyfruit Jungle, a book that makes a cameo in this fun and frightening flick.

The Invitation (II) (2022)

It Wants to Be Many Things

[6/10 · 14 September 2022]

The Invitation, a new horror film from director Jessica M. Thompson, wants to be many things. At times, the film feels like a wonderful tribute to gothic horror romance novels of the past (there's even a Jane Austen reference in the movie for Northanger Abbey fans) and other times it feels like a solid entry in the cinematic canon of great vampire flicks. While watching the film, I caught intentional echoes of Dracula, True Blood, Interview with a Vampire, Midnight Madness, and even Downton Abbey. These influences and tributes are apparent, but there's so many of them they inadvertently create a strange hodgepodge of a film. It's as if the film is suffering from an identity crisis and isn't quite clear what it wants to be. Is it a ghost story? A movie about a haunted house? A supernatural horror film? A film about how far best friends will go to help each other? Instead, you're left unsure and confused. The film is enjoyable and fun, but it could've been groundbreaking on a higher level. I had a tough time buying into the way the main character Evie ends up making her way from a somewhat hand-to-mouth existence in New York City to a posh new life in London in a matter of days. Using the results of a DNA test to move the story forward felt forced and implausible. In an era of cinematic greats like Get Out and Tigers Are Not Afraid, I wanted something more clever. The two leads, Nathalie Emmanuel and Thomas Doherty, bring much depth and likeability to their roles. Both are impressive in their performances. The supporting cast is also solid, especially Alana Bolden as Lucy. Yet, I found myself wanting to spend more time with the supporting characters than I was allowed to. Often, interesting characters are killed off just when we're starting to know who they are. Also worth noting is the exquisite work of cinematographer Autumn Eakin. The film is shot beautifully. While The Invitation is rich with creepy ambiance and the performances are top-notch, the movie feels uneven. There are some terrific, terrifying moments in the film, but they're often undermined by weaker moments that don't feel as realized.

The Midnight Story (1957)

Dramatic Film Noir

[8/10 · 14 September 2022]

This dramatic film noir from 1957 is a fun watch. The plot is pretty layered, allowing for a few nice twists along the way. The story centers around a San Francisco traffic cop intent on solving the murder of a priest who was a father figure to him. He goes undercover, falls in love with a female cousin of the suspect, and comes up with a strategy to get a confession. Thanks to the screenwriters (John Robinson and Edwin Blum), the film is more character-driven, rather than relying on action. The character development is rich here, demonstrated in the writers choice to give the cast of characters complicated lives, including those of the police officers involved in the murder case. The acting is top-notch, including one of Tony Curtis' best performances. Marisa Pavan and Gilbert Roland also shine in their roles, each bringing an intensity and beautiful desperation to the screen. Filmed on location in San Francisco, director Joseph Pevney keeps the story moving forward at a great pace. Also of particular note is the fantastic score composed by Hans J. Salter and Henry Vars.

The Gilded Lily (1935)

Charming Romantic Comedy

[8/10 · 14 September 2022]

From the opening scene on a bench outside of the New York Public Library in which Fred MacMurray's character (Peter Dawes) tries to convince Claudette Colbert's character (Marilyn David) that she's capable of more in her professional life, this romantic comedy from 1935 is brimming with sweet charm and a big dose of female empowerment. There's much to enjoy in the story, including a commentary about journalism threaded seamlessly throughout. Colbert is especially appealing in her portrayal of an earnest, hopeful woman who's trying to balance her quest for success with her search for love. Her comedic timing is razor sharp here and director Wesley Ruggles gives her the breathing space on screen she deserves to demonstrate her considerable range as an actor. Known more for her dramatic work, it's refreshing to see Colbert in such a fun role. There are echoes here of the stellar, Academy Award work she did one year prior in the classic film It Happened One Night. Both MacMurray and Colbert make the most out of the clever, humorous script by Claude Bunyan. Their chemistry is strong and natural. It's no surprise this was the first of seven films they would make together. The supporting cast is equally enjoyable to watch, especially Eddie Craven as a young, impressionable photographer. It's a shame he didn't star in very many films. Also of note is the fantastic jazzy score, composed by Sigmund Krumgold, Heinz Roemheld (who would go on to compose The Lady from Shanghai), and Tom Satterfield. Watching the film, it's hard to believe it was released in 1935. It feels much more modern and even contemporary. It could easily be remade today (Anna Kendrick should take note and turn this film into new gold), given how relatable and successful the single-girl-searching-for-love trope is and how effortlessly it works in this lovely film.