Indifference Archives - Can't Stop the Movies
Can't Stop the Movies

Unfriended: Dark Web (2018)

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Matias' new laptop will finally make connections easier with his loved ones. What he doesn't realize is that his new laptop hides secrets and connections to a vile world full of people ready to do what they want to Matias and his friends. Stephen Susco wrote the screenplay for and directs Unfriended: Dark Web, which stars Colin Woodell, Stephanie Nogueras, and Betty Gabriel.

The worst thing I can write about Unfriended: Dark Web (just Dark Web moving on), is that it's the exact kind of film I thought 2015's Unfriended was going to be. Dark Web has more excellent sound design, some creepy detours into internet vaporwave aesthetics, and chilling implications for the way our "always on" technology has continued to ingrain itself into our lives. But it lacks the moral and cultural punch of Unfriended with Dark Web's characters not having much at stake going into the terror they're about to experience.

The biggest problem is that Dark Web's main characters are, for the most part, innocent of the kind of wrongdoing that warrants punishment from an international criminal cabal. Aside from main character Matias' (Colin Woodell) laptop theft that kicks off the night, no one has much of a life - digital or otherwise - that weighs in on what happens in multitude of screens in Dark Web. They're little better than blank slates and it's hard to get invested in what happens when the only expected response from each is, "Oh my god," or, "Why is this happening?" in various combinations. We're just waiting for the next scare instead of being drawn in by the character's reactions to what's going on.


Halloween (2018)

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Laurie Strode's waited over forty years for the moment her brother, Michael, might come slashing his way back into her life. With Halloween again on the horizon she waits while her disbelieving daughter and sympathetic granddaughter struggle to understand what she's going through. They'll know soon enough. David Gordon Green directs Halloween, with the screenplay written by David Gordon Green, Jeff Fradley, and Danny McBride, and stars Jamie Lee Curtis, Judy Greer, and Andi Matichak.

David Gordon Green, the once consistently now sporadically poetic director who seemed the heir to Terrence Malick, is at first blush an odd choice to helm the latest Halloween. Dig a bit deeper into Green's career and you'll find Undertow, Green's oozing with Southern Gothic take on the fantastic classic The Night of the Hunter.  Green can do seemingly invincible monsters with murder on their minds and he can do it with aplomb. But that was before the stoner comedies, the inconsistent creative input of co-screenwriter Danny McBride, and before our culture continued its exodus away from sincerity.

So the quality of this Halloween is suitably volatile considering the series' tumultuous production history with Green's effort frustratingly close to something great. The biggest problem is that Green's Halloween is trying to fit the inconsistent tone of the series into a single film. Green's Halloween is trapped between the traumatized caricatures of Rob Zombie's films (and I write that with love, no one does caricature like Rob Zombie), the cracked out 4 through 6 installments, making a space for the surviving Laurie Strode of John Carpenter's original, and the bit-too-goofy self-awareness of Green's work with McBride.


Hereditary (2018)

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The Grahams know no peace. After Annie's mother dies, she fills the vacuum of conflict and emotional pain by sniping at her husband Steve, son Peter, and daughter Charlie.  As Annie's wounds fester in the handcrafted details of her miniature art she begins the cycle of trauma once more for the next generation.  Ari Aster wrote the screenplay for and directs Hereditary, which stars Toni Collette, Alex Wolff, Milly Shapiro, Gabriel Byrne, and Ann Dowd.

Toni Collette, and - to a lesser extent - Gabriel Byrne, sensed a tremendous horror film inside Hereditary.  Both function as stars and Executive Producers working in front of and behind the camera of writer / director Ari Aster's debut film.  That's a mighty twosome, and when Hereditary centers specifically on Annie (Collette) it conjures an unpredictable edge that rivals similar traumatized home horror film The Babadook.

The rest of Hereditary could use some of the unpredictable energy Collette brings to her role.  It's rigorously composed with the steady sway of the camera attempting to lure the audience hypnotically into the Graham family's tense and empty home.  Hereditary always looks excellent, but the aesthetic served to keep me at a distance from the open nerve of trauma.  Right up until the end, the traumatized Grahams function mostly as gruesome puppets in a sterile home with the artifice of the former unfortunately highlighted by the cautious framing in the latter with the threads of horror's past wafting into view.


How It Ends (2018)

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Disaster strikes on the west coast and is felt throughout the United States.  Will and Tom must put aside their hostility for one another to traverse the American landscape to save Will's girlfriend, and Tom's daughter, Sam.  David M. Rosenthal directs How It Ends from the screenplay written by Brooks McLaren which stars Theo James and Forest Whitaker.

After I finished watching How It Ends, I went searching for the poster and - once discovered - let out a big laugh.  The poster shows Will (Theo James) looking like an action hero with a bit of flare from the sun in the foreground and a transparent Tom (Forest Whitaker) looking somber in the background.  Its visual message is muddled and even after finishing How It Ends I have to wonder what the poster's creators were trying to communicate.  Is Tom an evil haunting Will, the man overseeing Will, some compatriot, or the one Will is trying to rescue?

Brook McLaren's screenplay answers, "All of the above," and David M. Rosenthal's direction responds, "Why not?"

Thus, How It Ends comes into existence with little clue about its identity as it strives to be multiple films at once and not succeeding at a blessed one of them.  Some of that has to do with how thinly stretched the apocalyptic content is if you have the barest knowledge of American weather patterns.  More of that has to do with James' lead performance that isn't exciting enough to call bland.  Then there's Whitaker, a professional and master of his field no matter where he shows up, throwing himself full speed into whatever emotional tone is required of him at the moment.


Ni No Kuni 2: Revenant Kingdom (2018)

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There are exactly two moments in Ni No Kuni 2: Revenant Kingdom (just Revenant Kingdom moving forward) that I felt a bit of magic moving through me.  The first was when the deposed Prince Evan and new bodyguard / advisor / interdimensional time traveling President Roland (more on that in a moment) escaped Ding Dong Dell to enter the world at large.  Tiny chibi representations of the two and Evan's adorable jump animation were so precious I uttered, "That's darling," to myself.  The second occurred in Goldpaw - a gambling-based kingdom run by a dog - that enchants an annoying bird to follow around people who owe the kingdom money screeching, "U O ME U O ME".

Latter bit there might be an annoyance to some players, but it was the right amount of silly to make me think there would be some surprises in Revenant Kingdom.  I was wrong. Okay, not entirely wrong as the airship Freud would have had quite the time analyzing makes for a jarring midgame sight.  But that's not magical, or much fun, it's just a bit of grotesquerie that broke up the otherwise clean artistry of Revenant Kingdom that rarely challenged my skills or sparked my imagination.