REVIEW BY BENJAMIN GREGORY

• JOKER: FOLIE a DEUX
• Starring:  Joaquin Phoenix and Lady Gaga
• Directed by:  Todd Phillips
• Rated:  R
• Running time:  2 hrs 18 mins
• Warner Bros

“Joker: Folie à Deux” arrives as the eagerly anticipated follow-up to the groundbreaking “Joker” released in 2019, which captivated audiences and critics alike with its daring portrayal of the iconic villain’s origin story. Directed once again by Todd Phillips, the sequel sought to delve deeper into the psychological chaos and complex dynamics that surround the infamous character of Arthur Fleck. Given the original film’s success (second highest grossing R rated film) and Joaquin Phoenix’s Oscar-winning performance, expectations were sky-high for this installment. However, “Joker: Folie à Deux” struggles to capture the same raw intensity and emotional depth, leaving audiences with an experience that feels disconnected and underwhelming.

In “Joker: Folie à Deux,” we return to the fractured psyche of Arthur Fleck, who now finds himself navigating the complex aftermath of his descent into madness and infamy in Gotham City. The film attempts to explore Arthur’s ongoing struggle with identity and reality as he confronts both internal and external adversities. Central to the plot is the introduction of a new character who serves as both a confidant and a catalyst for chaos, potentially altering the course of Arthur’s tumultuous journey. Despite its intriguing premise, the narrative often meanders, lacking the cohesion and sharp focus that defined its predecessor. This disjointed storytelling is unable to fully capitalize on its ambitious themes, leaving viewers with a sense of unfulfilled potential and ambiguity.

Joaquin Phoenix returns to his role as Arthur Fleck with a committed performance that captures the character’s descent into further depths of madness. Despite the film’s shortcomings, Phoenix remains a compelling presence on screen, embodying the Joker’s erratic nature and emotional volatility with remarkable intensity. Though his performance is consistent with his previous portrayal, the lack of new character development limits his ability to elevate the sequel beyond its narrative constraints.

Accompanying Phoenix is Stefani Joanne Angelina Germanotta (Lady Gaga), who introduces a new character that adds complexity to Arthur’s world. While Lady GaGa delivers a solid performance, the character’s potential feels undermined by underdeveloped writing, preventing them from leaving a significant mark. The supporting cast, including familiar and new faces, deliver competent performances, but the script does not provide them sufficient depth to stand out or contribute meaningfully to the film’s impact. Overall, the ensemble does its best with the material provided, but even their collective talent struggles to overcome the film’s narrative hurdles.

Todd Phillips returns to the directorial helm, aiming to expand upon the gritty psychological landscape established in the first film. While his direction still captures the dark, unsettling tone of Gotham City, the sequel lacks the tight, focused narrative that made the original so compelling. Phillips’ attempt to weave multiple storylines and character arcs leads to a fragmented experience that struggles to maintain a clear trajectory or cohesive theme.

The writing, once a standout feature of “Joker,” falters in “Folie à Deux.” The screenplay attempts to explore deep psychological and societal themes, but often does so in a manner that feels forced and disconnected. Dialogue that should reveal character depth and move the plot forward instead comes across as repetitive and occasionally contrived. This dilutes the emotional impact and suspense that were so successfully achieved in the original.

“Joker: Folie à Deux” ultimately suffers from an identity crisis, caught between the expectation to expand on its precursor’s success and the desire to forge a new path. The film’s pacing is notably uneven, with scenes that either drag on unnecessarily or progress abruptly without the needed emotional buildup. This inconsistency detracts from the tension and engagement that are crucial for a psychological drama of this nature.

Character development is another area where the film falls short. While there are glimpses of interesting dynamics, especially between Arthur and the new characters, these relationships remain largely superficial, leaving audiences craving deeper exploration. The film also struggles with balancing its ambition and execution; while it attempts to address complex themes, it often resorts to surface-level engagement without deeply probing the implications.

“Joker: Folie à Deux” attempts to replicate the success of its predecessor but loses focus in its execution. While anchored by Joaquin Phoenix’s steadfast performance, the film lacks the cohesive narrative and emotional depth needed to leave a lasting impact. Fans of the original may appreciate the return to Gotham’s dark and chaotic world, but many may find that the film’s ambitions outstrip its execution. Ultimately, it offers a glimpse of potential brilliance but remains overshadowed by the standard set by its acclaimed forerunner.

Overall, the direction and writing in “Joker: Folie à Deux” strive to recapture the boldness of its predecessor but falter in delivering a narrative that resonates with the same potency, giving the overall impression of “Too many cooks”.

On a scale of zero to five, “Joker: Folie a Deux” receives ½-Star. 

You can follow Ben’s  NERDANOMICON Facebook Page HERE

• SATURDAY NIGHT
• Starring:  Gabriele LaBelle, Racel Sennott and J.K. Simmons
• Directed by:  Jason Reitman
• Rated:  R
• Running time:  1 hr 49 mins
• SONY Pictures

October 11, 1975.  I was a 15-year old boy living in Tampa and for the past two weeks I had been talking to my friends about the movie “Jaws,” which I had just seen (20) days earlier.  On that night I sat down in front of the television to tune in a new show that, fifty years later, and despite many highs and a few lows, continues to air weekly.  Live from New York…it’s SATURDAY NIGHT.

Late night programming on NBC was pretty much non-existent in the 1970s.  Johnny Carson, and “The Tonight Show,” ruled 11:30 pm on weeknights and was so popular that Saturday nights the network would run repeats of previous shows.  This changed when Lorne Michaels (LaBelle) pitched a show about the youth of the day featuring the youth of the day.  And despite deranged writers, a cast of nobodies and the network censor, the show went on.  Barely!

Brilliantly written by Gil Kenan and director Reitman, the film captures the true chaos of the ninety minutes prior to the airing of the first show.  We are introduced to familiar characters, including head writer Michael O’Donoghue (Tommy Dewey), Jim Henson (Nicholas Braun, who also portrays comedian Andy Kaufman) and, of course, the original Not Ready for Prime Time Players.

The casting is spot on, with each actor not only resembling but channeling their character.  We meet Dan Aykroyd (Dylan O’Brien), John Belushi (Matt Wood), Chevy Chase (Cory Michael Smith), Jane Curtin (Kim Matula), Garrett Morris (Lamorne Morris,) Larraine Newman (Emily Fairn) and Gilda Radner (Ella Hunt).  Each of these actors do justice to the characters, capturing their personalities perfectly.  It’s obvious that Reitman, whose father worked with many of the original cast members in film, wanted to make sure that each character was brought to life with love and respect.  Two veteran actors take on two very iconic characters with Brad Garrett portraying Rodney Dangerfield and J.K. Simmons as an insufferable Milton Berle.  And kudos to the film for highlighting Berle’s legendary “talent.”  As Max Bialistock says in “The Producers,” if you’ve got it, flaunt it!

The script is a love story to a show that has influenced multiple generations with it’s brand of humor.  Even in its worse times – I’m looking at you 1985-86 cast – the show continues to entertain.  The film is well paced and the jokes hit hard and often. It took me back to a time when there were only three television channels and you could get a burger, fries and drink at McDonalds for a dollar.  Really.

On a scale of zero to five, “Saturday Night” receives ★★★★★

• MEGALOPOLIS
• Starring:  Adam Driver, Giancarlo Esposito and Aubrey Plaza
• Directed by:  Francis Ford Coppola
• Rated:  R
• Running time:  2 hrs 18 mins
• Lionsgate

I’ve had time to think a lot about what I wanted to write because there are parts of “Megalopolis” that show the touch of a master filmmaker. That being said, a muddled story, and most unsympathetic characters, take a lot of the shine off of the project.

New Rome in the not too distant future is a city in shambles, with supporters of two very different men in a constant battle with each other.  On one side you have Cesar Catalina (Driver), an encentric visionary whose ideas are both embraced and ridiculed.  On the other side you have newly elected Mayor Cicero (Esposito), who considers himself a man of the people.  Both try to get their message to the people by the way of personality Wow Platinum (Plaza, in an amazing dramatic performance).  As each side tries to one up the other, the state of the City continues to deteriorate.  Who will save New Rome?

Packed with a cast that has sixteen Academy Award nominations (and three Oscars) among them, “Megalopolis” is an acting showcase for the audience.  Driver and Esposito, two of the best actors of their generation, give powerhouse performances, doing their best to sell a weakly constructed, and confusingly written, story.  Plaza, who I only knew from “Parks and Recreation,” is a revelation as the scheming and manipulative social media diva dealing with declining ratings.  Veteran actors like Laurence Fishburne, Talia Shire and Dustin Hoffman shine in smaller roles while Jon Voight proves why he has been one of the best actors of the past six decades with a featured role as Hamilton Crassius III, a man whose money helps things run.

The drawback for me is the script, also written by director Coppola.  My thought is that he was trying  to make a film similar in style to Baz Luhrmann’s “Romeo + Juliet,” mixing snippets of Shakesperean language with a modern vision but sadly some of the dialogue is clunky and falls flat.

Visually the film is breathtaking, and it is here that Coppola shines.  The man has fourteen Academy Award nominations and five Oscars and his place in the history of cinema is assured.  While not his best effort, there are still enough flashes of the master at work that make me give the film a favorable review.

On a scale of zero to five, “Megalopolis” receives ★★★

Directed by: Jordan Downey, Christian and Justin Long, Justin Martinez, Virtal Pal, and Kate Siegel
Rated: NR
Running Time: 110 Minutes
Shudder

Our Score: 3.5 out of 5 Stars

Here at MediaMikes, we love the V/H/S franchise. While we haven’t reviewed every single entry, the ones we have have averaged 4 out of 5 Stars. Unfortunately I’m here to break that trend, but that shouldn’t distract from “V/H/S Beyond,” the latest entry. It appears to be the first foray into a solely sci-fi realm for the franchise. While not every short within the anthology has a sci-fi beat, it maintains the exaggerated style the films have held recently.

Continuing a recent trend in the franchise, “V/H/S Beyond” has a framing narrative that really doesn’t matter or fit into the overall structure at all. Thankfully “Abduction/Adduction” is as short as it is forgettable, moving straight into “Stork,” a short that feels like a first-person shooter. “Stork” is very much like a horror video game playthrough as a SWAT team storms a dilapidated building looking for the culprit behind missing babies. The short manages to squeeze in every ounce of creepiness, jump scares and unrelenting gore from its disturbing premise.

“Dream Girl” lets off the accelerator a tad as we watch two paparazzi members find out a somewhat predictable secret behind the latest Bollywood sensation. The superstar bloodbath that ensues doesn’t necessarily save the weak story in this one. Luckily, “Live and Let Dive” goes back to slamming the film’s foot on the accelerator. A group of friends are going skydiving for a pal’s birthday celebration, but a UFO and the American military have a different idea as chaos unfolds mid-air and on the ground. Outside of some wicked kills, “Live and Let Dive” has a great creature design and a concept that never lets go of you. Also ,it might actually be the only short in the whole movie that actually follows found footage rules.

If “Live and Let Dive,” didn’t rattle you, then surely “Fur Babies” will. You can kind of surmise what’s going to happen when a group of animal rights activists decide to sneak into the home of a pet and taxidermy enthusiast home to check out her doggy daycare. Even if you can predict what’s going to happen, it can’t prepare you for the horrific body horror comedy that follows. This, and “Stork,” are the highlights of “V/H/S Beyond.” These two shorts make the latest addition a worthy watch.

Before “Abduction/Adduction” wraps up, “Stowaway” provides an artistic reprieve from the chaos beforehand. A mother documents her journey into the desert to uncover what the mysterious lights she sees every night are. Unlike the other shorts, “Stowaway” has an emotional core as grainy cam footage appears to have overwritten a tragedy this woman is attempting to forget in the name of alien exploration. In that regard, I enjoyed it for bringing us back down to Earth (or out of Earth) after the insanity of “Fur Babies.”

Overall, I enjoyed “V/H/S Beyond,” but my head wasn’t joyously spinning as hard as the past few entries in the franchise. Just like before, found footage rules be damned as several shots were clearly just filmmaking and not footage from a body cam, handheld, cellphone, or something else. At this point it’s hard to tell if these newer films in the franchise actually go for an aesthetic. “V/H/S Beyond” feels like it should be sci-fi up and down, but “Stork” and “Fur Babies” prove that’s not entirely the case. If you were to remove those films, the entire anthology will feel a little hampered by a narrow sci-fi horror preference. Regardless, “V/H/S Beyond” offers a little bit of something for all horror fans, whether it be gallons of blood, gruesome dismemberments and shattered bones, creature designs burned into your retina or good ol’ fashioned jump scares. The “V/H/S” franchise is becoming a yearly treat for those who enjoy what makes horror great.

• THE WILD ROBOT
• Starring the voices of: Lupita Nyongo, Pedro Pascal and Mark Hamill
• Directed by:  Chris Sanders
• Rated:  PG
• Running time:  1 hr 41 mins
• Universal Pictures

Writer/director Chris Sanders has been involved, in one way or another, with some of the greatest animated feature films of all time.  “Beauty and the Beast,”  “The Lion King,”  “Lilo and Stitch,” “How to Train Your Dragon,” and “The Croods” are only a few of the classic films he had a part of.  This week he adds another title to his list of classics with the release of “The Wild Robot.”

Meet ROSSLUM unit 7134, the latest AI robot invented to help mankind and all of its tasks who finds itself stranded on a lonely island full of pretty much every species of animal you can think of.  Attempting to speak to the creatures, the robot – “Roz” for short – soon learns that nothing on the island, with the exception of herself, speaks English.  Built to learn she shuts down as she slowly learns to communicate with all the animals, learning each of their “languages.”  Enter Brightbill (Kit Connor), a gosling who thinks Roz is his mother.  And the adventure begins.

The story is a cross between “The Iron Giant” and “E.T.,” with love for others over oneself the message that is being delivered.  And it is one that should resonate with everyone.

Not sure if animated films are eligible for the Best Cinematography Academy Award or not, but if they are “The Wild Robot” would be a worthy contender.  The film is beautifully rendered, presenting images that could surely pass as post cards, and the accompanying music score, composed by Oscar winner Kris Bowers, is a perfect partner to the beautiful images on screen.

The vocal cast is at the top of their game, with Oscar winner Nyongo giving Roz not only a voice but a heart. She is joined by Pascal as Fink, a mischievous fox, Bill Nighy as Longneck, the leader of the geese and Hamill as Thorn the Bear.

As noted above, the animation is spectacular, though I’d expect nothing less from Mr. Sanders and company.

On a scale of zero to five I give “The Wild Robot” ★★★★★

Starring: Adam Driver, Giancarlo Esposito and Nathalie Emmanuel
Directed by: Francis Ford Coppola
Rated: R
Running Time: 138 minutes
Lionsgate Films

Our Score: 2.5 out of 5 Stars

“Megalopolis” is a difficult film to summarize. It’s Writer/Director Francis Ford Coppola’s 40-years in the making magnum opus that’s equal parts Shakespearian, dystopian, utopian, unintentional comedy, self serious, overacted, haphazard, silly, and about a dozen other adjectives. If at one point you’re disgusted, bored, or chuckling to yourself, give it a few minutes and it’ll elicit another emotion. This is the kind of film that will draw, and has drawn, criticism for being over bloated, confusing and ultimately a flop. Others will find it to be a prophetic stroke of genius that will take years, if not decades to be appreciated. For me, it was an enjoyable, sometimes overwrought, experience that finds unique ways to entertain while finding baffling ways to tell a story.

“Megalopolis” takes place in New York City, I’m sorry, New Rome. The city represents the U.S., er, I’m sorry, ancient Rome. Basically New York City/the U.S. is ancient Rome. That is a nauseating metaphor that the movie uses constantly, and you can use it if you’re ever wondering what the hell is going on. As for what exactly is going on, Cesar Catilina (Adam Driver) is an architect and nephew to Hamilton Crassus III (Jon Voight), the billionaire, if not trillionaire, representation of capitalism in New Rome. Everything revolves around Crasuss’ money. Not only does Catilina rely on it, but so does Clodio Pulcher (Shia LaBeouf), Crassus’ anarchist nephew with political aspirations, TV news reporter Wow Platinum (Aubrey Plaza) whose face appears in the dictionary next to the term “gold digger,” and Mayor Franklyn Cicero (Giancarlo Esposito). Mayor Cicero recognizes the power the dollar has in New Rome, but believes that cash, through Catilina, Pulcher, Platinum and others, is corrupting the city. But the city is already corrupt and falling apart under Mayor Cicero’s abusive police force. Making sense so far? Good, because I haven’t even bothered explaining the magic metal element or Catilina’s ability to stop time.

There’s way too much plot getting in the way of…well…the plot. I haven’t even mentioned Jason Schwartzman’s useless character that seems to be contractually obligated to pop-up randomly in the background or foreground every 10 minutes, Nathalie Emmanuel simply being a “Romeo and Juliet” love interest, a virgin teen pop star controversy magnet played by Grace VanderWaal and Dustin Hoffman who’s character only seems to exist to pad the film’s star power. Which is another big reason the film, at times, feels dizzying. There’s characters that go nowhere, character actions that are never explained, much less hinted at, and Laurence Fishburne who plays the dual role of limo driver and narrator. Even the narration peters out towards the end and title cards, which were previously read by the narrator, flash on screen as if someone forgot to dub in Fishburne’s voice.

It’s obvious to see why this film has been called a mess, because it really is. Even if I found myself enjoying this thoroughly, I’d be struggling to find the words to even express the joy. Speaking of joy, the only thing stopping me from rating it lower than a 2.5 is that it’s an entertaining mess. Moments of exposition, which felt serious, had me smiling at the absurdity as if someone was handed the script to “Airplane!” but didn’t know they were making a comedy. You can actually never really predict where the film is going, even when it’s using obvious parallels between the U.S. in 2024. It sometimes avoids the low hanging fruit while ripping up that vary tree to gnaw at every single low hanging fruit. The movie restrains itself during some scenes while egregiously indulging Coppola’s ego in others.

This is truly a mess that seems like the writer/director has decided to unload every essence of his own humanity and perception of humanity into it. While the world seems bleak, dominated by narcissistic losers who’s only abilities are to manipulate those around them, Coppola’s film is ultimately an optimistic one. “Megalopolis” seems to believe that even when the pillars of a righteous civilization crack and break under the pressure of corruption, there is the ability to make amends and create something more beautiful in its wake. We see that through Catilina’s eyes, who may as well be Coppola himself; a flawed individual with talent. However, Coppola’s own ego gets in the way, several times, when we see characters seek Catalina’s admiration and love. Maybe that own Coppola ego is why some shots are visually impressive and hypnotic, while others feel right in line with a Sci-Fi original.

I’m sure many papers, videos and blog posts will be written about “Megalopolis,” negative and positive. For me, it was difficult to find the balance because I’m still at odds over the film. Did it need another four decades or maybe it should have been pushed out when the idea was fresh and hot. I honestly don’t think “Megalopolis” is a film I can fully recommend because it is so convoluted to explain, yet I can’t fully write off the film. It has some unspoken magnetism, a combination of art, politics, and history that has everything to say, yet sometimes says nothing. I can also see myself watching it again and again, either because it is truly awful or because it requires a thorough digestion.

• BEETLEJUICE BEETLEJUICE
• Starring: Michael Keaton, Winona Ryder
• Directed by: Tim Burton
• Rating: PG-13
• Running Time: 1 hr 45 mins
• Warner Bros Pictures

Unless you have been trapped aboard a space station high above Earth over the past week-and-a-half, you are probably aware that the long-awaited sequel to the 1988 hit “Beetlejuice” has been making a killing at the box office. Perhaps even with the success of “Beetlejuice Beetlejuice” you are still on the fence about taking the time to see it. So, yours truly is here to give you a nudge in the direction of your nearest movie theater.

There is nothing deeply intellectual or anything that will enlighten the soul in director Tim Burton’s sequel. It is pure popcorn entertainment and nothing else as it never takes itself seriously. What’s even better is there way more screen time for the movie’s namesake.

In a nutshell, Lydia Deetz (Winona Ryder) is now a supernatural talk show host under the close eye of her producer/boyfriend, Rory (Justin Theroux). Soon after being freaked out by seeing Beetlejuice in the audience, she learns from Delia (Catherine O’Hara) that her father has died. After picking up her estranged daughter, Astrid (Jenna Ortega), who doesn’t believe in ghosts, from a boarding school, Lydia returns to the house in Winter River where she grew up. In short order, Beetlejuice begins to make his presence known as he still desires to marry Lydia, which would also save him from the vengeful wrath of his ex-wife (Monica Bellucci).

“Beetlejuice Beetlejuice” can be characterized as cheesy, silly comedy with a sprinkle of dark humor tossed in. It maintains the same tone as the original just without all the explanation it took to get things going when it was Alec Baldwin and Geena Davis’s turn as the doomed married couple of Winter River. (Neither of course are in this sequel but the story does allude to why they are gone.) Keaton is on his A-game with some great comedy and terrific lines that will be quoted 30 years from now. Burton did the right thing by exploring the relationship dynamic between all three generations of women. However, it never gets too serious.

Overall, if you are looking for some good laughs in a short amount of time, then this sequel is a great escape from reality.

“Beetlejuice Beetlejuice” receives ★★★1/2 out of five.

Starring: Jessica Belkin, Taylor Kowalski and Jeremy Sisto
Directed by: Alan Scott Neal
Rated: NR
Running Time: 81 minutes
Shout! Studios

Our Score: 3 out of 5 Stars

For horror fans, siege horror is nothing new. From “Assault on Precinct 13” to “The Mist,” humans have been trapped inside buildings by other humans, monsters, demons, etc. for decades. So, on paper, “Last Straw” doesn’t seem that unique, a woman terrorized in a diner alone overnight, but it’s how the story unfolds that I realize it’s more than just the protagonist at wit’s end.

When we first meet Nancy (Jessica Belkin) she’s metaphorically trapped. She’s dealing with an unwanted pregnancy, frustrated over doing nothing since high school, and having to waitress and manage a diner owned by her dad, earning the scorn of her co-workers. While she deals with a myriad of awful customers, some masked hoodlums manage to rattle her. She fires an employee, in an attempt to maintain some form of control over life, and takes on the late shift. We all know where this lonely late shift is going, especially after we witness one of the masked hoodlums from earlier threatening retaliation.

Nancy’s an interesting protagonist because she’s young and clearly taking out frustrations on everyone around her. Even a responding police officer isn’t immune from her ire. While that would make it hard for us to root for her, we find ourselves with a story that’s flipped on its head when the chaos unfolds. While we may not like Nancy for certain actions, the results of her actions, a lot of violence, are warranted. But does the violence beget violence? Without revealing too much, “Last Straw” manages flips everything you learn on its head in an entertaining second half.

If I had a major complaint, it’s that first time director Alan Scott Neal takes a lot of notes and ideas from past siege films and implements them haphazardly throughout. Sometimes they click right into place, and other times they feel shoehorned in. However, the real key to “Last Straw” is its messaging. While not handled as best as it could, it tells a very contemporary story in the vein of people not understanding the people around us, sometimes trapped in our own bubble of misery without realizing the harm we inflict on others.

“Last Straw” reminds me a bit of last year’s “Night of the Hunted.” There’s a rich theme, but “Last Straw” doesn’t quite hit all the right notes or go as deep on the subject as it could go. That being said, it conveys the point enough to where we find ourselves in murky moral waters at the end. If you’re simply looking for something fun and slightly clever, “Last Straw” will scratch that itch.

Starring: Jordan Myers, Maya Jeyam and Tony White
Directed by: Quinn Armstrong
Rated: NR
Running Time: 80 minutes
Cranked Up

Our Score: 3 out of 5 Stars

When we first meet Mandy (Jordan Myers), she’s waking up, getting showered, listening to catchy pop music and preparing for a great spring break day at a cabin. “Dead Teenagers” quickly dives into tropes, showing all of Mandy’s cliche friends and basically implying that Mandy will most likely be our final girl. Once the chess pieces have been set up, it’s only a matter of time before a psychotic masked man arrives to begin the slicing and dicing. However, our serial killer accidentally dies without a single horny teenager harmed in the process. That’s when the teens find a screenplay, called “Dead Teenagers.”

The first thing that really came to mind about “Dead Teenagers” (the movie, not the script) is “Cabin in the Woods.” It’s kind of hard to escape the shadow of the perfect trope send-up. That initial thought slowly dissolved over time though. While not as clever as the aforementioned film, “Dead Teenagers” shows what happens to all the horror film cliche characters as they grasp that their reality is now confined to a cabin and have their hands on the script. Each character in their own way, becomes the villain in an attempt to survive.

While I won’t say how the insanity unfolds, contorts and eventually concludes, I will state that the film feels more complete if you’ve watched the prior two films, “The Exorcism of Saint Patrick” and “Wolves Against the World,” that Quinn Armstrong has written and directed for his so-called “Fresh Hell” anthology trilogy. A lot of that has to do with the fact that the films have, at points, used similar actors, crew, settings and ideas.

The obvious conceit in all these films, other than being different horror genres, is dealing with emotional truths in an isolated setting. Even then, it’s nothing original, which kind of hampers the whole “fresh hell” idea. What’s kind of interesting about it though, is that “Dead Teenagers” feels like it’s being obvious. The title, the characters, the set-up, everything. What inevitably ends up making it unique is how self-reflective it is on the creative writing process.

Without rehashing the prior two films, and instead focusing on “Dead Teenagers,” what have we learned from the slasher genre? It’s stranger danger, the reflection of serial killers, the punishing of promiscuous teens, the inability to trust men, gender role reversals, racism, gentrification, trauma, unreliable narrators, etc. Mandy could be viewed as the writer, struggling to reinvent the wheel. Since “Wes Craven’s Final Nightmare” and “Scream,” you could make the argument that the slasher genre can only subvert expectations at this point without simply starting the whole process over.

Diving back into the two prior films, we see that attempt being made and getting a mixed bag. Sometimes the reinvention process falls flat or finds a sweet soft spot not yet found, but Armstrong can’t quite do that here. Instead he finds that, just like in this year’s “In a Violent Nature,” the reinvention is finding new and cruel ways to punish the on-screen teens. That all being said, “Dead Teenagers” is better after watching Armstrong’s prior films. Without them, “Dead Teenagers” barely hits the mark.

Starring; Michael Kunicki, Quinn Armstrong and Jordan Mullins
Directed by: Quinn Armstrong
Rated: NR
Running Time: 88 minutes
Cranked Up

Our Score: 2 out of 5 Stars

I kept wondering during “Wolves Against the World,” are these werewolves or wolves? What would the difference be? Being a werewolf is viewed as a curse whereas being a wolf wouldn’t necessarily be viewed as that because you’d be one of a pack. The werewolf/wolf line is a bit blurry in the film, but thankfully as the movie progressed, I settled on wolves. And for that reason, along with a few others, I couldn’t quite get into this movie.

“Wolves Against the World” is the second film in writer/director Quinn Armstrong’s “Fresh Hell Trilogy” anthology. It began with “The Exorcism of Saint Patrick,” an emotionally raw film about the hellish nightmare that conversion therapy and masculinity is. “Wolves Against the World” could be viewed in the same vein, as it’s an emotionally raw film about the hellish nightmare friendship and masculinity can be.

Louis (Michael Kunicki) is a reformed neo-Nazi, with a giant swastika tattoo that he can’t afford to remove. His neo-Nazi ideology was birthed while performing in a terrible black metal band with his best friend, Anders (Quinn Armstrong), along with the steady influence of Helvete (Jordan Mullins). Years later, after the suicide of a bandmate, Louis has left it all behind, but still has that horrific swastika tattoo. In an attempt to get a little cash to pay for its removal, he agrees to reconnect with Anders, who still owes him some doubt from his time in the band, and before you know it, you quickly deduce where this is going.

Basically, Louis used to be a part of a pack, albeit a super racist one. He didn’t necessarily become a lone wolf when breaking off from the pack, but he technically never left. He was friends with Anders before neo-Nazism encompassed the group and became a permanent bedfellow. So in a way, the film is about wolves fighting for dominance within their own pack, conflicting with their love for one another. Which is in line with the emotional commentary of how male friends can become toxic outlets for bigotry, hatred and violent anger. The inability to discuss emotions is also integral to the plot. We saw this in “Lord of Chaos” and I appreciate seeing this more and more in horror. That being said, you kind of piece this all together very early on, which makes you wonder for the rest of the film, why couldn’t they be werewolves?

You have the ingredients for a fantastic werewolf movie with a terrible black metal, a bunch of guys in the woods being douche canoes, and the potential for an unseen power turning men into flesh ravenous predators. But once you understand their wolves, with a few werewolf tropes, it doesn’t have the same bite. None of the characters are that nuanced and they’re bogged down by a non-linear storytelling device that adds nothing to the plot. While I enjoyed the practical effects, gooey blood and emotional story it told, “Wolves Against the World” seems to be against its own tone and story.

• BEETLEJUICE BEETLEJUICE
• Starring:  Michael Keaton, Winona Ryder and Catherine O’Hara
• Directed by:  Tim Burton
• Rated:  PG 13
• Running time:  1 hr 44 mins
• Warner Bros

The Juice is loose.  And back.  And we are all better off because of it.

Michael Keaton is having a resurgence like no other actor since John Travolta.  He has done some solid work the past decade, beginning with his Oscar nominated turn in “Birdman” all the way up to last year’s triumphant return as Batman in “The Flash.”  This week, Keaton returns to the other 80s-era character he is best known for, the ghoulish Beetlejuice.  And he hasn’t skipped a beat.

Lydia Deetz (Ryder) is an adult now and currently hosts a paranormal television show called “Ghost House.”  While filming her current episode, Lydia believes she sees a familiar face in the audience.  But it can’t be.  He’s been “dead” for decades.  Upset by her vision she and her boyfriend (and show runner) Rory (Justin Theroux) travel to the old house where Lydia grew up.  Upon arrival she learns that her bird-loving father has passed away and that her stepmother, Delia (O’Hara) has planned a funeral ceremony on the grounds.  Joined by Lydia’s daughter, Astrid (Jenna Ortega), things begin to get weird (or, considering the house, more weird) as the funeral approaches.

What a fun film this is!  A lot of familiar faces, and some new ones, at the top of their comedic game.  While I always felt Beetlejuice was almost a secondary character in the first film, here he is front and center and Keaton just lights up the screen in every scene with his cosmic energy.  He is joined by some new “dead” characters including Monica Bellucci as the title character’s former wife (beware a woman scorned – she’s a soul sucker, literally), Willem Defoe as an actor who excelled in playing cops on screen and now does his best to patrol the underworld and, a favorite from the first film, Bob – he of the shrunken head.

The script is hilarious, but not afraid to throw in a couple of thrills and Burton’s pacing is pitch perfect.  This is Burton’s best work since 2007’s “Sweeney Todd” and ranks up there with “Batman’ and “Ed Wood” as among his best films ever.

The visual effects are outstanding and it’s so nice to see Burton continue to use stop-motion animation as opposed to CGI.

On a scale of zero to five I give “Beetlejuice Beetlejuice” ★★★★★  

Version 1.0.0

• DEADPOOL & WOLVERINE
• Starring:  Ryan Reynolds and Hugh Jackman
• Directed by:  Shawn Levy
• Rated:  R
• Running time: 2 hrs 8 mins
• Disney

I apologize for the lateness of this review but, after writing 15 years of MCU film reviews right before they open, I always have to preface them with NO SPOILERS!  So I waited until I’m pretty sure everyone that wanted to see the film (and with a BILLION DOLLARS at the box office, that’s pretty much everyone) had so I could have some fun and talk about some of the things I really loved about the film.

We meet our “hero,” Wade Wilson (Reynolds) in mid-narration, explaining that he is on a mission to find, and work with, Wolverine (Jackman), assuming that he really did not die in the film “Logan.”  Bad luck, buddy.  All that remains is an adamantium skeleton, which he puts to good use.  Dejected he returns home only to be summoned by a mysterious agency who offers him the chance to save his world.  Cue the music.

Hilariously funny, and exceedingly violent, “D&W” is, literally, the film that Marvel fans have clamored for over the years.  And the wait was well worth it.

IF YOU HAVEN’T SEEN THE FILM, SCROLL DOWN TO THE WRAP UP

 Traveling to different worlds (the MCU has actively embraced the Multiverse), Deadpool encounters several Wolverines – big ones, small ones, one who looks a lot like Henry Cavill!  Finally finding the one he wants, he does his best to convince him to come with him on his mission.  Along the way they run into a lot of MCU characters, both past and present, including Johnny Storm (Chris Evans), Electra (Jennifer Garner), Blade (Wesley Snipes) and, in what I hope is a teaser for a stand alone film, Gambit (Channing Tatum).  They decide to team up to defeat the villainous Cassandra Nova (Emma Corrin), who seems to really delight in her own evilness.  As the group embark on their journey, they also come across various incantations of Deadpool, including Nicepool, Lady Deadpool, Cowboy Deadpool and, the scene stealing Dogpool.

The script is equally full of hilarious moments and high drama.  Kudos to the people at Disney who allowed the cast to make some funny, but mean, commentary, with shots fired directly at the studio while showing a lot of love for the lamented 20^th Century Fox.  And the “I Can Take a Joke” award goes to Jackman, who endures barbs about everything from “The Music Man” to his recent divorce.

 Yes, it’s raunchy.  Yes, it’s bloody.  But it also one of the best films of the year.

On a scale of zero to five I give “Deadpool & Wolverine” ★★★★★

• SLINGSHOT
• Starring:  Casey Affleck, Tomer Capone and Laurence Fishburne
• Directed by:  Mikael Håfström
• Rated:  R
• Running time:  1 hr 49 mins
• Bleecker Street

Space.  Cold and quiet.  On board the spaceship Odyssey 1, John (Affleck) opens his eyes.  He is greeted by a soothing voice telling him that he has been asleep for nine months and a day.  He is also told that the drug given to induce his deep sleep has some possible side effects.  Boy, do they!

A beautifully shot film with a top-notch cast, “Slingshot” tells the story of the first manned mission to Titan, one of the moons of Saturn.  The objective is to gather an ample supply of the hydrogen that makes Titan the only place in the universe (that we know of) besides Earth that has clouds, rain and rivers.  It is hoped the mission will gather the hydrogen to bring back to Earth to help with the planet’s climate issues.

As the lengthy journey progresses (it’s an almost three year mission, which isn’t bad when you learn in would take almost thirty-one thousand years to walk it) John periodically goes back into his sleep chamber.  He constantly dreams of his past before the mission – a past of overachieving at every chance to be picked for the Oddysey 1 mission, as well as of his girlfriend, Zoe (Emily Beecham), who was also a psrt of the project.  John is accompanied by another crewman, Nash (Capone) and their mission leader, Captain Franks (Fishburne).  However, as the mission stretches out over the months, things go from good to bad, then from bad to worse, as the mental strain of the journey begin to affect the mission.

The film, whose title derives from the maneuver that is needed to make the trip a success (the idea is to use the gravity of Jupiter to “slingshot” around the planet and make it to Titan), is very similar to both 1972’s “Solaris” and 2013’s “Gravity.”  Like those films, the performances are outstanding.  Affleck has a knack of letting the audience see the emotions he is feeling effortlessly.  Capone, whose Nash wants nothing better then to abort the mission and go home, also has some fine moments.  And Mr. Fishburne is…well, he’s Laurence Fishburne!  ‘Nuff said.

As the story progresses the audience is almost as confused as those on board the Odyssey 1, not knowing what is real and what isn’t.  The film is well paced and the visual effects both well done and effective.

On a scale of zero to five I give “Slingshot” ★★★★  

Starring: Steve Pinder, Michael J. Cline and Maya Jeyam
Directed by: Quinn Armstrong
Rated: NR
Running Time: 90 minutes
Cranked Up Films

Our Score: 3 out of 5 Stars

Horror is truly different for everyone. For me, it’s spiders. Most bugs I’ll get up and close with kleenex to dispose of, but if I spot a spider, I’m grabbing the nearest blunt object and potentially putting a hole in the wall. For others, it could be a variety of things, blood and guts, unnatural fears, possession, clowns, etc. For some, a film like “The Exorcism of Saint Patrick” is an all too real microscope on their own trauma that they’ve dealt with.

The film is primarily between Pastor Pat (Steven Pinder) and Patrick (Michael J. Cline). The two are at a lonesome cabin near the woods because Patrick’s parents want Pastor Pat to convert him. Not to Christianity, but to heterosexuality. The shy, bullied teenager is bullied even further by Pastor Pat. Pastor Pat only refers to him as Trick, basically implying that once he renounces his homosexuality, he’ll actually be identified as a person. Pastor Pat forces him to do repetitive demeaning tasks, belittles him, hits him, and a variety of other cruel “treatments.” Patrick is unwilling, afraid and alone, emphasized by how much his parents hope Pastor Pat’s “treatment” works. The film quickly addresses and touches on topics of LGBTQ+ oppression, suicide, assault, depression and it’s only a matter of time before past, deceased patients of Pastor Pat decide his reign of terror needs to end.

The first half of “The Exorcism of Saint Patrick” can easily be a real life horror of its own, before it takes a supernatural turn. The film is way more layered than what I’ve laid out, showing hints of Pastor Pat’s own personal sexual repression, as well as how he channels that into his profession and tactics. The dialogue between the two, at times, feels thoughtfully introspective. That being said, it doesn’t necessarily make Pastor Pat sympathetic because he has clearly channeled his own problems into undeniable cruelty.

As for whether or not the supernatural elements equal horror, I’m a little inclined to say it doesn’t necessarily coalesce in the end. The film does seem to drag a bit as it reaches the finish line. The film makes great use of practical gore, blood and other bodily fluid practical effects throughout, but it felt more like a drama than a horror. That being said, “The Exorcism of Saint Patrick” is terrifying for a certain segment who’ve had their sexuality questioned to the point of harm. The other aspect of this film is that it’s the first of a trilogy of anthology films, referred to as “Fresh Hell,” by writer-director Quinn Armstrong. Depending on how the following films shape-up, Armstrong is either exploring the individual horrors we all deal with or showing the wide-ranging ability of horror to be fun, scary and serious.

Starring: Olivier Rabourdin, Kate Moran and Marc Barbe
Directed by: Claude Schmitz
Rated: R
Running Time: 117 minutes
Yellow Veil Pictures

Our Score: 2 out of 5 Stars

I feel like I’m flipping a coin anytime I see a horror or thriller film that had its premiere at Cannes Film Festival. For every time I get a film I enjoy, like “Parasite,” “The Innocents” or “Neon Demon,” I make the mistake of sitting through “The Killing of Sacred Deer” or “Titane.” In comes “The Other Laurens,” a film that checks the right boxes for me. Lynchian? Check. Neo-noir? Check. Dark comedy? Check. This should be good, but it isn’t.

Gabriel (Olivier Rabourdin) is a miserable private investigator in Brussels, who sticks out like a frog on a log, although most people would see him and immediately forget him. Compounding his misery is Jade (Louise Leroy), his identical twin brother’s daughter, notifying him that his brother Gabriel has died in a car crash, although the events surrounding it don’t add up. Having been estranged from his brother for quite some time, Gabriel not only finds that his brother’s life is a mess, but there could be something sinister pulling the strings he’s attempting to untangle.

About an hour into “The Other Laurens,” I began to wonder, not only where the time went, but if the plot had even furthered itself. While we get to understand more about Gabriel, Jade seems to just be viewer eye candy. Anytime we get to potentially learn more about it, the film seems certain that we need more reassurance that Gabriel is as frumpy as he looks. It’s nothing against the acting, at all, it’s just that Gabriel isn’t a compelling lead even if he is a flawed hero. I understand his purpose to the plot, and the theme of personal evolution and escaping the shadow of your much better sibling, but it never coalesces, even by the time the film warps up. At times it feels like it’s about to pull a fast one on you and make you re-evaluate it, but it doesn’t

“The Other Laurens” is well-acted, well-shot, and at times has a perfect atmospheric homage to 80s aesthetic, but it’s also exhaustingly written to a fault. It’s easy to fault a movie’s runtime when things begin to dry up, but it’s not just that. Even when the film is engaging you, it seems uninterested in Gabriel and even if you’re still interested. There are several scenes and moments of dialogue that really suck you in, but then it’s overshadowed by another moment that appears to serve no purpose other than to further the point that Gabriels’ life has been relatively meaningless and meandering up until this point. He’s potentially handling the most personal, and diabolical case of his life, yet it never feels like it. Some of the promotional material before I watched this film painted it as a slow burn, but it’s more like expecting damp wood to suddenly roar to life.