Well… That’s Brave. The Doctor Sleep Trailer Is Here,

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Warner Bros. have just dropped the trailer for Doctor Sleep, the sequel to The Shining and, well, it’s quite something…

You can’t fault the studio’s bravery here, choosing to lean so much into Stanley Kubrick’s classic 1980 film by reusing footage and recreating sets. If nothing else it’s a bold statement of intent.

King’s sequel novel has proven to be highly divisive, eliciting equal amounts of love and scorn (nothing unusual there, of course, when tampering with a property so firmly lodged in the public psyche), but director Mike Flanagan has some serious scare chops as the writer/director of Netflix’s big hit series, The Haunting of Hill House (as well as the adaptation of King’s “unfilmable,” Gerald’s Game.

That’s certainly an intriguing trailer, and for those of you unfamiliar with the book, here the official synopsis for the movie:

Struggling with alcoholism, Danny Torrance remains traumatized by the sinister events that occurred at the Overlook Hotel when he was a child. He soon finds a new purpose when he forms a psychic connection with a girl who shares his shining ability.

Doctor Sleep will open on November 8th when we’ll all get the opportunity to love it or hate it. Which side do you think you’ll come down on?

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Pennywise Is Back – Here’s Your Super Creepy Trailer for It: Chapter Two

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First of all, let’s get your goosebumps raised with this…

Well, if that doesn’t get you excited for Andy Muschietti’s It: Chapter Two then it’s possible you’re as dead as the old lady in that super-creepy sequence at the beginning of the trailer.

It: Chapter One took pretty much everyone by surprise when it became a box-office smash in 2017, and now the same director is back with a fabulous cast of all-grown-up Derry Losers Club kids including Jessica Chastain, James McAvoy and Bill Hader. Along with the return of Bill Skarsgård’s Pennywise the Clown, of course.

It is a particular favourite book of many Stephen King fans (including me) so we can only hope Muschietti does the same good work on this second chapter. The trailer certainly bodes well, as that sequence between grown-up Beverly and the not-what-she-seems Mrs Kersh got my skin all kinds of crawling.

Let’s get ready to float down here again when It: Chapter Two opens on September 6.

Sabrina Gets Devilish in New Trailer!

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Entertainment Tonight Online have just dropped the brand new trailer for Chilling Adventures of Sabrina, Part 2, and as usual it looks like a whole lot of fun…

The show’s creator and executive producer, Roberto Aguirre-Sacasa, has this to say (as reported by ET) on what’s in store:

“[In part one] we were telling the story of Sabrina trying to hold on to the mortal world. She was dragged into the witch world – a little bit kicking and screaming. 

The second half of this season is kind of more about Sabrina accepting this part of her life and deciding, ‘What’s wrong with being a little bit wicked? I’m here – I might as well explore it.’ So it’s a lot more about Sabrina embracing her darker, more wicked side.”

That wicked side may well include the character briefly glimpsed at the end of the trailer, none other than Lucifer Morningstar (or Satan, to his fiends).

Regular followers of this blog will know that I am totally down with this Netflix show and I can’t wait to get cosy with Sabrina again on April 5th!

 

 

 

 

 

These Are A Few Of My Favourite Films: 2018 Edition

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Okay, because many folks have asked… here are my favourite nine films from 2018.

Notice I said favourite and not best. I was recently interviewed for a newspaper piece where the reporter asked my favourite three movies. This felt like a refreshing change as I didn’t feel a need to spend time over-intellectualising my responses as I might have done if she’d asked what I thought were the best three films ever.

Before I launch into my list, it’s worth pointing out I still have some catching up to do, hence no possible entries for films such as Spider-Man: Into The Spider-Verse, You Were Never Really Here or Bohemian Rhapsody.

So, with that caveat clear and without further ado, let’s head to my favourite nine (…nine, because, why not!?) films of the past twelve months…

9. Mission: Impossible – Fallout.

I have to admit the M:I films were mostly sort of washing over me, enjoyable in the moment but somewhat unmemorable bar their set-pieces. But then Fallout appeared, not only leaving me with a bill from my local cinema for having left fingernail holes in my seat, but also with a much greater enthusiasm for the previous entries. I’m gearing up for a run-through of the series at home in readiness for a second viewing of Cruise and Christopher McQuarrie’s remarkable piece of breathless skullduggery. Also, finishing off a series with two films featuring Sean Harris is always a bonus.

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8. The Rider.

Yeah, yeah, I know that it premiered in the Directors’ Fortnight section at the Cannes Film Festival in 2017, but those of us in the real world didn’t see it until its official release in 2018. Hopefully that doesn’t trigger anyone too badly.  Chloé Zhao’s contemporary western drama concerning rodeo riders feels like a top contender for the ‘film more people should see‘ award, 2018. Both painfully intimate and sweepingly widescreen, Zhao paints a portrait of a contained community with universal problems. You can read my full review here.

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7. Eighth Grade.

In many ways this shares some DNA with The Rider, taking me to a world I knew nothing about. This time, the unknown is the life of an adolescent girl in a time of social media, and this smart, sensitive, occasionally excruciating and ultimately uplifting film, from director Bo Burnham, features a hugely engaging central performance by newcomer, Elsie Fisher.

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6. A Quiet Place.

The first of two horror films in a strong year for the genre (see also Apostle, Mandy, Halloween, etc). Unfair on my behalf, but I was absolutely not expecting this from Jim Halpert from The Office. Directed and co-written (along with Scott Beck and Bryan Woods) by John Krasinski, this post-apocalyptic monster movie hits all the right beats, gradually unveiling a world of silent terror using a personable family, headed up by Krasinski and the always-excellent Emily Blunt. Understated until it doesn’t have to be, this is great, old-school horror that could easily have worked as an old Twilight Zone episode.

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5. Ant-Man & The Wasp.

Tricky one, this. I didn’t want to fill my list with Marvel movies (seeing as we had three releases from them in 2018) and I really struggled between this and Black Panther, but in the end I had (slightly) more fun with Peyton Reed’s delightfully light-touched sequel, especially since I’m the type of Marvel Geek who believes this film will pay off more once we see Avengers: Endgame.

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4. Hereditary.

Ari Aster’s uneven but striking mix of family grief and the supernatural is a divisive film, very much a case of go-with-it-or-don’t. The first three-quarters of the movie is mostly all slow-burn intensity until the final twenty minutes or so go off into full-blown hysteria (which is where many viewers seem to check out). I went with it the whole way on my viewing, but will be curious to see how it holds up next time. Worth pointing out that regardless of any future reaction, I’ll still laud it for probably the most outrageous WTF moment in cinema this year.  Review here.

3. The Meg (just kidding).

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3. The Other Side of the Wind.

Freewheeling and meticulous, Orson Welles’ lost masterpiece (never a more fitting appellation) first started production in 1970 and was only completed after Welles’ death by a team headed up by Peter Bogdanovich and producer Frank Marshall. Released onto Netflix at the end of the year, Welles’ mesmerising film is both a celebration and a satire of Classic Hollywood and avant-garde filmmaking. Review here.

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2. Roma.

The only disappointing thing about multihyphenate Alfonso Cuarón’s almost tone poem telling of a tumultuous period in the life of his childhood home-help is that I haven’t yet had the opportunity to see it on a cinema screen, seeing as it’s one of the most beautiful things I’ve laid my eyes on in a long time (to avoid a lynching by my significant other, I mean cinematically, of course). Review here.

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1. Avengers: Infinity War.

Marvel Geek nirvana. The Russo brothers and co. pulled off a remarkable, if overpacked, feat in bringing to a head ten years of films across multiple franchises while still managing to create a cultural zeitgeist moment with a single finger click. Of course, we know most of the galaxy’s missing half will be restored (…don’t we!?), but the joy, as with many comic books of the source material, is in seeing how our heroes snatch victory from the jaws of defeat. And now we don’t have much longer to wait. Review here.

Dishonourable mention: Suspiria (don’t @ me).

See you all in 2019. Feel free to leave me your favourites from 2018 in the comments below.

Every Little Thing She Does Is Magic – Chilling Adventures of Sabrina

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First created in 1962 (by writer George Gladir and artist Dan DeCarlo), Sabrina The Teenage Witch has become a mainstay of popular culture, existing in comic books, a long-running, live-action TV series, animated series and more.

More recently, Sabrina Spellman found herself reinvented once more, written by Roberto Aguirre-Sacasa, with art by Robert Hack, for the line of Archie Horror comics, replacing the more child-friendly version with a darker take on the same material.

Now Netflix has given this latest incarnation a new afterlife as a ten episode first season, Chilling Adventures of Sabrina.

The essential set-up is the same, half-witch, half-human Sabrina lives (in Greendale, neighbouring town to Riverdale, home of Archie, Jughead, Betty & Veronica) with her witch aunts, Hilda and Zelda, and dates the human Harvey Kinkle. As the show opens, Sabrina is approaching her sixteenth birthday, when she will attend an unholy ritual to sign over her soul to The Dark Lord (that’s Satan, to you and me). Of course, Sabrina has been keeping her true nature a secret from Harvey and her school friends, Roz and Susie. And Sabrina, deep in the throes of love with her human boyfriend, is having doubts about her forthcoming dark baptism.

Mixed in with all this are Ambrose, Sabrina’s cousin, a warlock confined to house arrest in the Spellman home and Mary Wardell , Sabrina’s teacher and mentor who proves to be, well, something else entirely…

It’s a great roster of characters and the first thing to say about the show is that it’s packed with terrific actors. A hearty well done to the casting director. Kiernan Shipka makes a superb Sabrina, not quite the bubbly teenager from the 90s show, this incarnation is more complex, and Shipka balances the character’s sweetness with an emerging arrogance and carelessness, while never losing our sympathy. It’s an intriguing juggling act for the young actress to pull off, but Shipka never puts a foot wrong.

Lucy Davies and Miranda Otto are both quite delicious as Sabrina’s aunts, and Chance Perdomo is delightful as her frisky, pansexual cousin. Michelle Gomez is frankly magnificent, obviously relishing her role as Wardell, while Jaz Sinclair and Lachlan Watson make the most of their well-defined ‘best friend’ parts, both providing strong role models. Ross Lynch is somewhat less successful as boyfriend Harvey, which brings me to one of the show’s failings.

Chilling Adventures of Sabrina provides us with a raft of strong female characters, with family, friends and rivals all well-written and acted, their relationships complicated and defined. I’m less enamored of some of the fellas, however.

As mentioned, Ambrose is good value, but the other male roles don’t stand up to strong scrutiny. Gavin Leatherwood’s Nicholas Scratch, a classmate of Sabrina’s at the Academy of the Unseen Arts, has mostly been used as a one-dimensional, slutty rival and counterpoint to Sabrina’s boyfriend to little effect, and Richard Coyle, as the Academy’s head (and High Priest of the Coven) is fun and the best of the bunch but, like Scratch, his character hasn’t been gifted with much depth so far. Finally, and most damagingly, Lynch’s Harvey is a 100% genuine wet blanket.

The character is so insufferably dull that you wonder what exactly it is that Sabrina sees in him, and why she might consider giving up her witch-hood for him. Not only does it make any scenes with him a chore but it also diminishes Sabrina’s character as, unfortunately, many of her actions revolve around her relationship with him (which could certainly be argued as another of the show’s failings).

Even when the character finally gets some gumption in the final episode, he does so in a dull-witted manner which just made me want to punch him. Note to writers: must try harder when it comes to Harvey.

The irony of all this is quite rich and I’m sure there might be some readers (rightfully) thinking: well, this is the kind of nonsense female parts have suffered forever! But weak characters make for weak drama, no matter the gender, and Chilling Adventures of Sabrina could do with a serious male shake-up for its second season. Be clear, I’m not suggesting the fellas take center stage, far from it. I do feel they should make better use of the corners of the stage they occupy, however. It’s common sense that a show is more enjoyable as a whole if we can get behind all the characters.

Despite these caveats, I can recommend Sabrina as a thoroughly good time. I’ve read certain reviewers having a tough time with the show’s often whiplash changes in tone, but for me this was one of its plus points, adding a frisson of enjoyable unpredictability to proceedings. One moment we’re enjoying Spellman family larks, the next a host of witches are hanging by their necks from a gnarled tree or engaging in a pansexual orgy. Melissa Joan Hart would have a heart attack, but that’s part of the ghoulish fun.

Happily, Sabrina isn’t content to spin its wheels and maintain the status quo, as the show gets gradually darker as the season progresses and leaves many of the characters in very different, more complex places by the end of the final episode.

There’s plenty of subtext behind the show’s blood and zombies too, with fundamentalism and fanaticism, LGBTQ intolerance and even censorship in schools all having healthy swipes taken at them.

For long-time horror fans a swathe of references can be spotted, everything from the sibling cycle of murder and resurrection of DC Comics’ House of Mystery hosts, Cain and Abel, to ‘Salem’s Lot’s hovering ghoul at the window and The Evil Dead’s tree demon. Movies such as Hellraiser, The Shining, The Craft and even The Devil and Daniel Webster all get pointed shout-outs too.

This was a highly anticipated show for me, as I’m a big fan of the Archie Horror comics it’s based on, and while it doesn’t get quite as dark I’m happy to say I wasn’t disappointed as it does find its own voice and, overall,  I had a blast with it.

Chilling Adventures of Sabrina has me in its spell and I can’t wait for season two to materialise in a puff of demonic fire and brimstone.

The Haunting of Hill House – The Stuff Of Nightmares

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“Silence lay steadily against the wood and stone of Hill House, and whatever walked there, walked alone.”

Whatever you do, set aside some binge time for Netflix’s new ten part horror series, The Haunting of Hill House. Since both Shirley Jackson’s original novel and the 1963 movie The Haunting from director, Robert Wise, are among my all-time favourites I went into this quite guardedly. Thankfully, what we have here is not a straight adaptation or remake, but something else entirely.

Directed and written by Mike Flanagan (Hush, Ouija: Origin of Evil), the show is a slow-burn drama of a family going into emotional meltdown, with the added bonus of an utterly malevolent haunted house as the disease which tears them apart (in that way completely faithful to Jackson), told through a constantly surprising series of time shifts – which gradually peel away to reveal what lies at its rotten core.

Loss and mourning lay heavily against the beams and timbers of the house, and it’s these psychological terrors that are used to torment the unfortunate Crain family who choose to inhabit the spooky corridors and clammy bedrooms.

Though one or two revelations are a little too easily signposted (I picked up on the true identity of The Bent-Neck Lady at least two or three episodes before her mid-season unveiling) this is pretty masterful stuff, and one episode in particular revels in its glorious nature of seemingly taking place as one, 50-minute long, continuous shot (it’s not, of course, but the trickery is sustained), but does so in service of the story, racking up the tension of a family gathering for a funeral to sometimes truly queasy degrees.

The cast are uniformly excellent, featuring excellent turns from both Carla Gugino and Timothy Hutton (who really comes into his own during the previously mentioned ‘single take’ show).

If there’s a downside to all this, it’s in an element of the denouement which I actively disliked, but it’s difficult to discuss without going into spoiler territory. It’s enough to say that it irritated me but didn’t take away from the excellence of the preceding story.

Filled with both plentiful jump scares and a surprising number of subtler chills, the show will not disappoint viewers either looking for a funfair ghost train ride or those of us hoping for something whose depth of character allows for horrors of a darker shade.

The Haunting of Hill House is streaming now on Netflix and comes with my highest recommendation. Just don’t expect to sleep easily afterwards…

 

Spellbinding New Trailer For Chilling Adventures of Sabrina

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Regular readers will know I’m all about the forthcoming Netflix show, Chilling Adventures of Sabrina. And after seeing this new trailer I’m even more all about the forthcoming Netflix show, Chilling Adventures of Sabrina! Cast a look at this:

Campy, funny, sexy and downright creepy in places, this is frankly the most fun I’ve had with a trailer in ages.

Can you tell I’m excited yet!?

With an awesome cast (Kiernan Shipka, Jaz Sinclair, Michelle Gomez, Chance Perdomo, Lucy Davis, Miranda Otto, Richard Coyle, Ross Lynch, Bronson Pinchot and Tati Gabrielle) and a really cool look (those are some stunning visuals up there), this is shaping up to be one of my most anticipated shows this season (alongside the return of The Deuce, of course).

Based on the Archie Comics series, Chilling Adventures of Sabrina hits Netflix just in time for Halloween, on October 26th!

She’s coming to get you, Barbara (yeah, yeah, I know… I couldn’t resist)!

The Chilling Adventures of Sabrina Teaser Is, Well… Chilling.

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Regular readers of this site will know that the forthcoming Netflix series of The Chilling Adventures of Sabrina is highly anticipated around this neck of the (haunted) wood. The brand new teaser trailer has just dropped and it’s rather lovely.

Based on the cult, hit series from Archie Comics, the show tells an updated version of the 90s kid-TV favourite, with less emphasis on humorous shenanigans and more on blood and horror.

The trailer is appropriately spooky and the show,  starring Mad Men’s Kiernan Shipka as Sabrina Spellman, who has to decide whether to sign the Devil’s book and become a Bride of Satan on her 16th birthday, looks like a whole heap of horrible fun.

With a great cast including Miranda Otto, Michelle Gomez and Lucy Davis, I can’t wait for this to raise my spirits on October 26th.

Hereditary: New, Old-Fashioned Scares

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I’ve seen many reviews stating that Hereditary is a “new kind of horror”, and similar nonsense. In fact, there’s very little new about Ari Aster’s film, but that doesn’t mean that what he does with it won’t creep the living daylights out of you.

Rather, what Aster and co. do is not wholly rely on what have become the standard, tired tricks of a great deal of modern horror: the jump scare of something appearing in frame, or a door slamming, the sudden burst of sound and music. Instead, we are treated to long moments of dread and unease, surrounded by a film which takes its time exploring the emotions of its central characters and wrapping it all in the universal pain of grief – in particular, how we often don’t deal with it. Only once we’re pulled in by all this does Hereditary blow up with reanimated corpses and family members crawling across the ceiling.

And then, of course, it gives us that much talked about ending, which will really test whether or not the film has you in its hooks.

Hereditary begins quietly, pulling a little Stanley Kubrick Overlook maze trick from The Shining with a model house, but doesn’t do so frivolously: it’s a great unsettling moment, revealing one of the movie’s first pieces of disturbing symbolism, teasing us that there’s something not quite right about this family home. More of the film’s themes are immediately set out as we follow the family preparing for a funeral, for the mother of Toni Collette’s Annie.

Soon enough, both Annie and her two children, Peter and Charlie, are sensing things around the house and at school, and we see the family, rounded off by Gabriel Byrnes’ father, Steve, resolutely not coming to grips with not only this death but also events that have occurred in their lives previously.

Tension builds, and Aster, along with editors Jennifer Lame and Lucian Johnston and committed performances by the cast, allow their film all the time it needs to do so, as we are gradually introduced to wilder events beyond the confines of the house and the family, before one of the truly great shock moments of cinema leads us into a more heightened third act, letting the story fully off the leash in the last fifteen minutes or so. One or two of the final scares and revelations almost threaten to derail the careful build, but by the time they come we’ve been engulfed enough by the family’s deterioration not to stop us from enjoying their obvious pleasures.

It’s difficult to discuss the final five minutes without veering into spoiler territory, but suffice to say the various breadcrumbs laid throughout the previous two hours are brought together in a truly off-kilter way, with an ending which reminded me both of Rosemary’s Baby and of Robert Egger’s modern classic, The Witch, being both truly horrific (as you understand the fates of two of the central characters) and utterly bizarre.

Hereditary allows a few howlers through which occasionally threaten its entry to the hallowed halls of classics such as the aforementioned Rosemary’s Baby, The Exorcist and The Haunting: clunky lines of dialogue here and there (“Dad, it’s the cemetery,” “About what?”), the discovery of a book (“Guide to Spiritualism”) which might as well be labelled “plot device”, and some irritatingly, The Deadly Bees level superimposed flies (yes, I’m being nit-picky, but these elements stand out like sore thumbs in an otherwise classy affair like this).

But despite these caveats, Hereditary works like a dark charm because it picks at a sore scab and works at it: grief is something most of us struggle with, and while we may not conjure up dead loved ones in an effort to deal with that grief – or at least, I presume we don’t – we are given time to empathise with the very real and raw emotions experienced by the film’s family, and the unravelling of that family as a result of their inability to deal with their pain. And that’s true horror, after all, even with the addition of a meddling witch’s coven.

To return to my original point, Hereditary might not actually offer us something new, but it does what it does to a mostly masterful level, where the simple sound of a vocal clicking is made scary, and follows the lead of John Carpenter’s Halloween by using the frame to create unease.

And if you’re unfortunate enough to have dealt with death and the ensuing emotions we’re left with, it will resonate long after a dozen pump-up-the-volume, jump scare Paranormal Nun horror movies have faded into one another.