Milk_Tray_Guy Reviews

Don't Look in the Basement 2 (2015)

Some interesting ideas but they could have done more with it

[5/10 · 30 April 2024]

Belated 2015 sequel to 1973's Don't Look in the Basement. This one is directed by Tony Brownrigg (son of the late S. F. Brownrigg who directed the first). Nice to see that Brownrigg Jr managed to use the same building as the one featured in the first movie. The premise is that the one surviving patient from the first film, who has remained institutionalised elsewhere ever since, is returned to what was Stephen's Sanitarium (the reason for this is never made quite clear). However, his presence awakens the spirits of all those we saw killed at the climax of the first film, and who then start to possess the present-day staff and patients

This is obviously a labour of love for the director (it's touchingly dedicated 'for dad' at the end). The switch from the 'psycho biddy' horror of the first film to haunted house/possession is interesting. It's a shame that for the first half of the 1hr 28min runtime pretty much nothing happens. As with the first film the cast are all virtual unknowns, but they do okay (although there are two characters inserted as 'comic relief', whose presence and tone really jar with the rest of what's going on). When things finally get underway there are some nice ideas, and some cute callbacks to the original film, but it never really grabs you and the ending is a little flat. Only really worth checking out if you're a fan of the first. 5/10.

A Bay of Blood (1971)

Still a really fun watch

[7/10 · 28 April 2024]

Arguably Mario Bava's most notorious and influential film, and a massive influence on the slasher genre - especially Friday the 13th nine years later (to the point where F13's Sean Cunningham has been accused more than once of outright ripping-off ABOB, although Cunningham denies it). Interestingly, there are 13 kills in this film and the date of February 13th has significance (unfortunately Feb 13th 1971, the year this film was shot, was a Saturday - I checked!). Apparently it was done on an extremely tight schedule and low budget, but it looks great. Also, this film must be a candidate for 'most unexpected ending ever' 😂 (If you've seen it you'll know why I'm laughing!) 7/10.

The Forgotten (1973)

Really not bad

[6/10 · 27 April 2024]

Another 1970s 'lunatics are running the asylum' horror. A young nurse arrives at the very secluded Stephens Sanitarium to take up a new position. On arrival she's shocked to find Dr Stephens was recently killed by a patient. He left no paperwork regarding his decision to hire a new nurse, but his successor allows her to join the staff as previously arranged. The policy of the institute is that rather than try to combat patients' compulsions and conditions, they let them play them out freely in the hope that they'll just 'snap out of it'! On top of that, to encourage a feeling of 'family and trust', all patient bedrooms are on the same floor as those of the staff and there are no locks on anybody's doors! I mean, what could possibly go wrong? 😂 It's very low budget, but it's pretty well acted. Rosie Holotik who plays the nurse was a Playboy model just 14 months before (this is only her second acting role; she made just one film after this), and is weaker than the rest, but even she gives it a good go. Nice twist as well - one of those you know you should have seen coming but somehow didn't! 6/10.

Blood and Black Lace (1964)

Deserves its place in horror history

[6/10 · 26 April 2024]

Often cited as the movie that gave birth to the giallo film genre, Mario Bava's classic still holds up pretty well after 60 years. There's a truly international cast (headed by Hungarian-British actress Eva Bartok and American actor Cameron Mitchell), and the performances are mostly good - although the version I watched suffered from an English dub which made the dialogue sound stilted at times. The kills are pretty convincing and must have seemed extremely 'hard-hitting' at the time the film was released. It's easy to see why as well as being credited for kick-starting the giallo genre, Blood and Black Lace is also widely regarded as a 'proto-slasher' (although by slasher standards there aren't that many kills). The exposition dump towards the end is a bit heavy, but this is still entertaining - and stylish as hell. 6.5/10.

Psycho (1960)

You can like it or not - but nobody can deny its deserved iconic status

[7/10 · 24 April 2024]

Psycho really is one of those films that helped reshape cinema. There had never been a film quite like it before - although many were influenced by it, some almost to the point of 'rip-off'. The much reported hype of the of the time wasn't exaggerated. My mum saw it in the cinema with a friend when it was first released. They were just expecting an efficient Hitchcock thriller. What they got scared the living daylights out of both of them. It's very easy to look at it today and say it's 'tame', 'mild', or even 'boring'. The first two can be valid observations when made by someone who's only ever known modern-day 'slasher' films. Times were different when Psycho was made. Audiences weren't desensitised to blood and violence in the way that they are today. When assessing Psycho you have to view it in the context of 1960. As for 'boring', that's not a valid criticism no matter when you were born; Psycho is a film where watching it has to be a conscious act. You can't just have it on in the background (unless you've seen it countless times before); you need to pay attention.

The direction, lighting, camera-work, music, are all faultless. As for the featured performances, Anthony Perkins is perfect. The fact that he wasn't even nominated for an Oscar is baffling. Janet Leigh is excellent, as is Martin Balsam. However Vera Miles and John Gavin don't make as strong an impression, and for me the film flags when it's just the two of them onscreen. There's also the massive exposition dump near the end by the psychologist. To be fair Hitchcock himself hated that scene, feeling that the film stalled at that point. However, the studio insisted the whole thing be explained for any audience members having trouble grasping a subject matter that wasn't widely discussed back then; that being the case, it's difficult to see how else they could have done it. Arguments still rage as to whether Psycho is a horror movie. And if it is, is it a 'slasher'? In the end it's up to you. For me it's a psychological horror/proto-slasher, a forerunner. Compared to the 'slasher formula' it's short on body count, blood, and there's no 'final girl' (or even an analogue). It also generates more sympathy for the killer than slasher films do now; Norman Bates is a monster but it's hard not to feel sorry for what happened to make him that way. The film also has way more character development and shows more of the attempts to investigate and solve what happened (albeit not by the police) than slashers, which focus more on the relentless actions of the killer. But it was an early pioneer, one of those that helped pave the way for Halloween, Friday the 13th, etc. Without the less compelling performances (and the flagging they cause) that I mentioned, and the pacing problem resulting from the info dump towards the end, Psycho would be a solid 8/10 for me. As it is it's a 7.5, and still holds its own against newer, flashier, and bloodier rivals. Not bad for a film that's over 60 years old.

Presence of Mind (1999)

Interesting for comparison to both the original story and The Innocents (1961)

[6/10 · 20 April 2024]

Little seen 1999 Spanish-American version of Henry James' The Turn of the Screw. Stars Sadie Frost, Lauren Bacall, and Harvey Keitel (Antoni Aloy was a first time director - not sure how he managed to assemble such a cast for this very low-budget (around $3 million) production). The location is transferred to a small Spanish island estate, but the story is essentially the same. Bacall easily dominates in the acting. Keitel is good but is actually seen very little. Frost is okay; in fact I've always had a bit of a thing for her, but her attractiveness distracted me from seeing her as an uptight, repressed governess (Deborah Kerr in Jack Clayton's 1961 version The Innocents was spot-on). The child actors (Ella Jones and Nilo Mur) are good, and the ghost sightings are fairly creepy, but the sense of tension could be stronger. It's competent, but nothing outstanding. 6/10.

Freddy vs. Jason (2003)

Lives up to mediocre expectations

[7/10 · 19 April 2024]

Robert Englund's final performance as Freddy Krueger and Ken Kirzinger's only lead performance as Jason Voorhees (although he apparently doubled for Kane Hodder in Friday the 13th Part VIII: Jason Takes Manhattan). England is reliable as ever and Kirzinger is okay. With very few exceptions the other performances are pretty mediocre (it says a lot that Kelly Rowland doesn't stand out as the worst). Lochlyn Munro's always entertaining but unfortunately he's wasted in a small role. Monica Keena looks distractingly like Brittany Murphy. I'm sure that just about every young female cast member here got the same boob job. Seriously, it looks like they got a bulk-order discount. But whilst it's dumb it's entertainingly dumb. 7/10.

Mean Girls (2004)

One of THE great film comedies of ANY age!

[9/10 · 12 April 2024]

This film is hailed as a classic, but I hadn't seen it since watching it with my son and daughter when it first came out and wasn't sure how I'd find it after all this time. I needn't have worried - I found myself laughing out loud within the first 60 seconds! The whole cast are spot-on, but special mention has to be made of Lindsay Lohan, Rachel McAdams, Lacey Chabert, Amanda Seyfried, and Lizzy Caplan. They're the heart of the film, and they all had me in stitches at various times. But as good as the performances are, the film would be nothing without Tina Fey's razor-sharp script.

Now, a word of warning to some of today's delicate 'modern' audience members... The girls insult each other a whole host of names that would give the pearl-clutchers at IMDb palpitations if I typed them here. And guess what? IT'S FUNNY! Yep, there actually WAS a time when people didn't need to be told if it was okay to laugh at something! I haven't seen the 2024 MG movie but I've heard that the story has well and truly had its teeth pulled. Well, no worries. We'll always have this one. Wonderful. 9/10.

The Six Million Dollar Man: The Bionic Criminal (1975) Season 3, Episode 9

The Return of the Seven Million Dollar Man

[8/10 · 11 April 2024]

Direct sequel to the season 2 episode The Seven Million Dollar Man. Monte Markham returns as Barney Hiller (the surname changed from 'Miller' due to the launch of the Barney Miller cop sitcom between the two episodes), a racing driver given four bionic limbs following a near fatal crash on the track. After having his bionics detuned to normal human strength levels at the conclusion of his previous appearance, Barney is 'reactivated' as part of a controlled experiment. Despite still being somewhat hot-headed, he seems to have a better grip on things this time around. However, when he mistakenly believes he's killed a man, he agrees to take part in criminal acts in order to provide for the man's 'widow'. This leads to an inevitable confrontation with Steve.

There are a lot of 'filler' flashbacks to the earlier episode, and even the fresh material feels drawn out; the story contained here could have been told in about 30 minutes. There's also very little delving into the psychological problems that could accompany becoming bionic. However, the action is well-staged, it's great seeing Lee Majors and Monte Markham play off each other, and we also get the return of the beautiful Maggie Sullivan (who sadly died in 2020, at the age of just 71) as Carla Peterson.

Whilst nowhere near as deep as the previous episode, it's still well-done bionic fun. 8/10.

The Night House (2020)

Interesting idea

[5/10 · 7 April 2024]

I am a die-hard horror fan, but so called 'elevated horror' tends to leave me cold - and this did just that. The concept (once all is revealed) is surprisingly original, the performances - especially those of Rebecca Hall and Sarah Goldberg - are all very good, and it's nicely shot. For the first 45 minutes or so I was gripped; but as things started to take a different turn it lost me and that strong sense of tension started to fade. Slow-burn ghost stories are my favourite horrors, but this just didn't do it for me. My gut feeling is that fans of Hereditary may well be fans of this too. 5/10.

Disappearance (2002 TV Movie)

Massive waste of a great premise

[6/10 · 6 April 2024]

I agree with a lot of other reviewers here. The premise is a great one. The set-up really grips you. The old mining town/ghost town is a great location. The performances range from good to okay. And the whole thing has a really creepy atmosphere. But after an hour and 20 minutes of eagerly awaiting the big reveal of what's going on... nothing. It gives no answers whatsoever. As one character says, it could be ghosts, it could be aliens, it could be mutated humans from nuclear testing years ago. Okay... but it doesn't even TRY to actually give you an answer. It's as though they forgot to write an ending. Maddeningly frustrating. Also, have to say that once Hamlin & Co arrive at the ghost town they make just about every textbook dumb decision that there is in horror movies. It's laughable! Still, it was nice to see Harry Hamlin and Susan Dey reunite from L. A. Law. With a good ending this would have been an easy 8/10. As it is it gets 6/10 because what was good was SO good, but honestly the last 10 minutes barely scrape a 3.

Cold Case: Stand Up and Holler (2007) Season 4, Episode 20

Death of a Cheerleader

[10/10 · 5 April 2024]

One of the very best Cold Case episodes. Rush and the team reinvestigate the death 10 years before of high school cheerleader Rainey Karlsen, who was found dead on the school football field with drugs and alcohol in her system. What follows is a tale of peer pressure and the devastating effect it can have on even the closest of relationships. It's superbly written and directed, and the regular cast are as good as ever. Of the guest stars, Whitney Able as Rainey, Aviva Baumann as lifelong best friend Celeste Church, AnnaLynne McCord as Becca Abrams (snarky head of the cheersquad), and Jonathon Trent as Joe Vives-Alvarez (high school geek and loner, whom Rainey comes to see as more than that) all stand out. The truth when it comes and the victim's final scene are heartbreaking. 10/10.

The Great Escaper (2023)

Touching tale of old school grit

[8/10 · 25 March 2024]

Fantastic swansong for Michael Caine (who insists this is his final film) and Glenda Jackson (who died three months before the film was released). The true story of British World War II Royal Navy veteran Bernard Jordan, who in 2014 left his nursing home early one morning (without telling staff) and made his own way over to the D-Day commemorations in France.

The two leads have never been better, whilst John Standing gives excellent support as Arthur, a fellow veteran who Bernie teams up with. Although there is plenty of pathos in Bernie (Caine) and his wife Rene (Jackson) coming to terms with the approaching ends of their lives, there are some heartwarming scenes and even the occasional touch of humour. Director Oliver Parker (perhaps best known for comedy - St Trinian's, Johnny English, Dad's Army) does a fine job with this touching story. 8/10.

The Cabinet of Caligari (1962)

Not really a horror

[6/10 · 9 March 2024]

Despite it's title and loose connection with the German silent horror film The Cabinet of Dr. Caligari (1920), this is more of a psychological thriller/mystery. The lovely (and sadly recently departed) Glynis Johns plays a woman, Jane, whose car gets a flat tyre and who seeks assistance at a sinister looking mansion (will these people never learn?!). There she meets the owner, a man who goes by the name of Caligari. He offers to have his staff attend her car, fix it if possible, and if it's not possible to put her up for the night. Of course, when the staff attend they find the problem is more than just a flat tyre; there's also a problem with the steering. Initially grateful of the offer to stay the night, Jane becomes worried the next day when Caligari won't let her leave.

Glynis Johns is great as usual, making the most of that wonderfully breathy, husky voice. Co-star Dan O'Herlihy is just as good, and the supporting cast are solid. It's intriguing rather than gripping, and you might guess both twists, but it's an enjoyable ride getting there. 6.5/10.

The Six Million Dollar Man: The Seven Million Dollar Man (1974) Season 2, Episode 5

My all-time favourite episode

[9/10 · 5 March 2024]

I watched The Six Million Dollar Man first time around, and was 13 when this episode first aired. I was glued to the show every week, but this episode has stayed with me more than any other. Having just watched it for the first time in nearly fifty years, it's almost exactly as I remembered it (always loved that arm-wrestling scene). Lee Majors was the perfect choice for Steve Austin, conveying a fine balance of physicality and humility - but Monte Markham was apparently an early candidate for the role. He wouldn't have been right as Steve, but he is perfectly cast as Barney Miller, the Seven Million Dollar Man. Markham, always enjoyable to watch, is entirely convincing as a man becoming increasingly unhinged (full marks to him too for clearly doing ALL the action himself). Special mention to the stunning Maggie Sullivan as nurse Carla Peterson (sadly, she died in 2020, at the age of just 71).

Despite featuring a battle between two bionic men, this is one of those earlier episodes that delved into the psychology of someone having to come to terms with being not entirely human and possessing physical abilities beyond those of any other person on Earth. It's an absolute cracker. 9/10.

The Haunting (1963)

A perfect haunted house movie

[10/10 · 24 February 2024]

Having recently watched Mike Flanagan's Netflix mini-series The Haunting of Hill House, I decided to revisit this again. For me it is the gold standard for haunted house movies. It epitomises the 'less is more' approach that (I believe) is so important in selling a ghost story. Nothing is so frightening as our own worst imaginings. And whilst I like Flanagan's version, he has a tendency to show too much. I enjoy seeing creepy ghosts as much as anyone (I love The Ring, The Grudge, The Woman in Black, Flanagan's own The Haunting of Bly Manor), but something should be held back - at least in the early stages. Let our minds fill in the blanks. Director Robert Wise does that here - and then some. You don't see any ghosts. Not one. But you know they're there. You can feel them. The atmosphere is filled with more dread and threat than any other film I've seen (only Jaws comes close). The tension and fear are almost smothering. Direction, acting, writing, photography, lighting, set design, and - especially - sound, are all perfect. I cannot fault this film. It has never been anything other than a 10/10 for me.

Ouija: Origin of Evil (2016)

A definite improvement on the first film

[7/10 · 23 February 2024]

Mike Flanagan takes over the directing reins for this prequel to the disappointing (but profitable) 2014 movie, Ouija, and plays a little loose with the continuity - although I don't think anyone will lose much sleep over that. We're presented with Flanagan's trademark damaged family, here coming to terms with the loss of a much loved husband and father. The widow - assisted by her two young daughters - makes a small living providing fake 'psychic readings' and seances for the gullible and/or recently bereaved. However, the decision to incorporate a Ouija board into the act soon unleashes horrors which none of them could have imagined.

Flanagan always nails his casting. Leads Elizabeth Reaser (as Alice, the mum), Annalise Basso (as Lina, the elder daughter), Lulu Wilson (as Doris, the younger daughter), and Henry Thomas (as Father Hogan) are all perfect. And whilst the script takes some big leaps here and there, the story is solid. A minus is that Flanagan has a tendency to show too much of his ghosts, removing some of the creepiness (he does the same in his Netflix show The Haunting of Hill House); less is, as they say, more. The score (by regular collaborators The Newton Brothers) is effectively eerie. The third act doesn't quite live up to the first two - perhaps hampered by a need to connect to the first film - but overall it's enjoyable. 7/10.

The Haunting of Hill House (2018)

Great in parts

[8/10 · 23 February 2024]

Director Mike Flanagan presents a different take on Shirley Jackson's classic ghost story, The Haunting of Hill House. Bold, given that Robert Wise's 1963 movie adaptation is pretty much the gold standard for all haunted house movies. Flanagan removes the 'psychic researchers' plot, instead telling the story of a family who move into the rundown property with the intent to 'flip' it for profit, but who soon realise they aren't alone.

Flanagan loves his horror set against backgrounds of family angst, and he does the same here, focusing on relationships as much on the supernatural. In that respect it succeeds - so much so that some excellent writing and actors' performances make this at times a truly uncomfortable watch, almost as though we are intruding in some way. However, the supernatural elements don't always land. Flanagan's revised history for the house, its past occupants, and its ghosts is interesting, but some aspects that cry out for (and seem headed towards) expansion just get forgotten. Some time-jumps and alternate perspectives on events are distractingly confusing (even when they are ultimately cleverly resolved). Flanagan also has a tendency at times to show too much; when it comes to ghosts less is more. Showing them too clearly - however well-done the make-up and effects - removes some of the creeping fear; nothing is as terrifying as the horrors we conjure in our own minds, so leave something to the imagination. The ending is also a letdown - feeling like a bizarre slap in the face. All of these are things that Flanagan remedied in his follow-up series, The Haunting of Bly Manor. However, this does share one fault with Bly Manor; it could comfortably lose the equivalent of one episode's runtime. Nevertheless, despite the shortfalls, some inspired writing, superb photography, and faultless performances from the cast get this an 8/10.

The Haunting of Bly Manor (2020)

Flanagan does it again

[9/10 · 16 February 2024]

Acclaimed horror director Mike Flanagan sets his sights on Henry James' The Turn of the Screw as the follow-up to his 2018 adaptation of Shirley Jackson's The Haunting of Hill House. As before, this takes the classic story and runs with it. There's a lot of new material - and 99% of it lands very well, giving a solid expansion to the story. I was sceptical of Flanagan's intent to delve into the backstories of 'Peter Quint' and 'Miss Jessel', but the tale he came up with absolutely works.

Flanagan's Bly is far more haunted than James', giving us several spectres that range from sympathetic to downright fearsome. The cast (some of whom return from The Haunting of Hill House) are superb, but Oliver Jackson-Cohen, Victoria Pedretti, and child actors Amelie Bea Smith and Benjamin Evan Ainsworth all deserve special mention. There are times it drags (at nine episodes, it feels as though overall it could shed close to the equivalent of one episode's runtime), but what works succeeds SO well, both as ghost story AND tragic love story. And whilst the whole series delivers, episodes five and eight contain some of the finest television drama I've seen. A very deserving 9/10.

Justice League Dark: Apokolips War (2020 Video)

It ends where it began

[8/10 · 30 January 2024]

The 16th - and final - installment of the DC Animated Movie Universe (DCAMU). Earth's heroes prepare for what they hope will be their final battle against the New God, Darkseid. At stake, the planet Earth and all life on it. For the Justice League, the Justice League Dark, the Teen Titans, and the Suicide Squad, an uncomfortable realisation dawns; there is only one way to win this. Kill - or be killed.

Pre-empting a full-scale invasion of Earth, the Justice League launch a direct attack on Darkseid's home world of Apokolips. It ends badly. Very badly. Two years later, the few remaining heroes consider one final attempt at salvation. But they are under no illusions this time as to the costs.

This ending of the DCAMU brings things full-circle, in DC's Infinity War/Endgame; but this isn't Marvel. DC's animated movies have always leaned towards the dark side (no pun intended), but this is a whole new level. If you've ever thought 'They won't show THAT', the chances are they do. This can be a hard watch. But the symmetry it gives the DCAMU is perfect. The regular voice cast return, led by Jason O'Mara as Batman, Jerry O'Connell as Superman, Rosario Dawson as Wonder Woman, Tony Todd as Darkseid, and - stealing the show - Matt Ryan as John Constantine. The story's good, the performances are excellent, and the stakes are like nothing seen in DC animation before.

It's a fine farewell to a great saga (thank you to everyone involved across all 16 films).

8.5/10.

Mr. Brooks (2007)

Pretty good - but had the potential to be better

[6/10 · 29 January 2024]

Psychological thriller starring Kevin Costner (as mild-mannered businessman/loving husband and father by day, serial killer by night) and William Hurt (as the manifestation of Costner's dark side). Demi Moore plays the cop investigating the killings. Costner and Hurt are great, Moore is solid, and Marg Helgenberger and Danielle Panabaker (as Costner's wife and daughter) provide good support. It's an interesting idea, but one diluted by sub-plots that either don't tie in to the main storyline, or when they do, they feel like they've been forced together. It's as though this started out as two completely separate scripts that someone combined into one as an afterthought. There's a good score by Ramin Djawadi (best known for Game of Thrones).

Apparently intended as the start of a trilogy, but poor box office and mixed reviews scuppered that. 6.5/10.

Next of Kin (1982)

Looks good, well-acted, but story and scares are lacking

[6/10 · 17 January 2024]

Little known Australian horror/thriller. After her mother's death, Linda inherits her country estate, the mansion house of which houses a retirement/care home for the elderly. Soon after she moves in Linda becomes aware of mysterious sounds in the hallways at night, and catches glimpses of strange figures from the corner of her eye in the house and grounds. After one of the residents drowns in the bath Linda finds her late mother's diaries and reads that there have been several bathtub drownings over the years. Her mother was also convinced there was a 'presence' in the house. As Linda tries to investigate exactly what is going on she begins to feel she is in increasing danger.

The film was highly praised at the time for its photography, and its creative shots along the labyrinthine hallways of the mansion have been favourably compared to Kubrick's The Shining. It's very atmospheric. The performances are good (Jacki Kerin as Linda, John Jarratt (later to find fame as star of the Wolf Creek films) as Linda's boyfriend, and Alex Scott (well-known UK TV character actor) as the physician for the care home). Unfortunately the story is pretty underwhelming and doesn't really deliver on the scare-front (outside of a couple of eerie shots - including one reminiscent of Salem's Lot (1979) infamous window scene).

Worth a look, but it's not one I'll watch again. 6/10.

Shock Docs: The Curse of Robert the Doll (2022) Season 3, Episode 5

Impossible to take seriously

[5/10 · 12 January 2024]

The story of Robert the Doll is a fairly well-known one, at least to enthusiasts of the mysterious, the unexplained, and the allegedly supernatural. Dolls said to be haunted/possessed/cursed are very much en vogue (see 'Annabelle' in James Wan's big screen 'The Conjuring Universe'). This drawn out documentary (one hour 21 minutes, which could have easily been reduced to 45 minutes) succeeds so far as telling a chronological history of events is concerned; but the many reconstructions of allegedly paranormal occurrences are poor, with no real attempt at atmosphere. And the modern-day interviewees 'living in fear' because they in some way 'disrespected' Robert are cringe-inducing, as they embarrassingly read aloud their written letters of apology to 'him' (seriously). These people don't come across as gullible so much as self-deluded; they clearly *want* to believe, and enjoy the attention (I'm betting they're all very active on social media). As a non-believer I often find claims of otherworldly encounters fascinating, and love hearing theories that could account for what people think they've experienced; but this documentary really is for the 'angels and crystals' brigade, those who cast 'protection spells' before they go ghost hunting with EMF meters and night-vision cameras. 5/10.

Insidious: The Red Door (2023)

Serviceable direct sequel to 1 & 2

[6/10 · 6 January 2024]

Not a bad directorial debut for Patrick Wilson. He doesn't quite have James Wan's eye for the creepy but he gets good performances from his actors. The story is okay, although it leans a little too heavily on 'family drama' for me (I mean, this isn't The Shining or Hereditary). The pacing feels off; the first two thirds are a little slow, whilst the final third/finale feels rushed, giving an impression that stuff had to be sacrificed for the sake of runtime. The realm of 'the Further' seems to have had its budget slashed and doesn't look anywhere near as expansive as it did in the first two movies. However, the effects are well done, the family dynamic is believable, and it's nice to see so many returning faces - even if some are barely more than cameos. Insidious and Insidious Ch 2 are both 8/10 movies for me. This one doesn't come near them, but it's a reasonable conclusion(?) to the Lambert family story. I will say that Ghost's cover of Shakespear's Sister's Stay (with Patrick Wilson on guest vocals!) over the end credits rocks. Overall, 6.5/10.

An Unknown Compelling Force (2021)

Absorbing investigation into a tragic mystery

[9/10 · 2 January 2024]

Fascinating documentary film about the facts (as far as they are known) and theories surrounding the notorious Dyatlov Pass incident (the unexplained violent deaths of a nine-strong Russian hiking team - all students - in the remote Ural mountains in 1959). It includes detailed assessments by modern-day forensic and medical experts (both Russian and American) of the incident scene, the statements and case notes of the original investigators, the hikers own diaries and notebooks written during their trip, the developed film from the hikers own cameras, and the original autopsy findings/photographs. We'll probably never know the cause of their bizarre behaviour on their final night and their horrendous deaths soon afterwards - but whatever happened was clearly catastrophic. 9/10.