Change Your Image
pedroquintaoo
Ratings
Most Recently Rated
Reviews
Leatherface: Texas Chainsaw Massacre III (1990)
Underrated sequel
Leatherface: Texas Chainsaw Massacre III stands out as a sequel that, while it doesn't innovate or alter the established formula, successfully brings back the serious and dark tone many missed in the previous entry. This return to seriousness is welcome, especially at a time when horror in the late '80s was starting to adopt a more stylized, "Hollywood" formula. The film opts for a straightforward and traditional approach to horror, a refreshing contrast for those who didn't resonate with the campy black humor of the second film.
One of the highlights is the Sawyer family, whose presence preserves the visceral and disturbing essence of the series. Viggo Mortensen is memorable as Tex, a charismatic villain with a sadistic edge, while Miriam Byrd-Nethery makes her mark as Mama. Of course, Leatherface himself, portrayed by R. A. Mihailoff, is once again the brutal, relentless force that defines the film, maintaining his threatening presence throughout. The moments with the family remain intense and impactful, serving as the dark heart of the film and creating an oppressive atmosphere.
In addition to the cast, it's interesting to see how this film fits within the style of late '80s horror. Although it was produced at a time when the slasher subgenre was beginning to decline-perhaps one reason it wasn't highly acclaimed at the time-it still manages to hold its own. Compared to the original, the visual and psychological impact is more restrained, as if the film balances graphic shock with a more contained narrative.
Now, on a personal note: this is one of my favorite sequels in the series, and I think it deserves more recognition. I particularly enjoy how the film preserves the essence of survival and madness that defines the original spirit of the series, without veering into experimentalism. The return to a serious tone works effectively, and even though it lacks the original's innovation, I appreciate the balance between visceral horror and a more commercial tone.
MadS (2024)
One of the biggest surprises of this year
Mads is, without a doubt, one of the boldest films I've seen this year, standing out for its "one shot" approach, where we follow a long sequence shot, seemingly without cuts, that keeps us immersed from start to finish. It's probably the most unconventional film of the year, and this uniqueness makes it a truly one-of-a-kind experience.
The film begins shrouded in mystery, keeping us in suspense without revealing where it intends to take us. Gradually, the plot starts to unfold, showing us its intended path. This slow and calculated build-up creates a suspenseful atmosphere that holds us to the screen. To fully appreciate this film, you need to approach it with an open mind-maybe that's why I ended up liking it so much. For those used to a more traditional narrative structure, this approach might not appeal, but if you go with the flow, you'll discover one of the year's most original films.
The story itself isn't exactly revolutionary, nor does it try to add social commentary or metaphor. Without revealing spoilers, Mads takes a common horror theme and gives it an absolutely unique twist.
From a technical perspective, it's an insane work of art. The cinematography, with its noisier, less digital texture, gives it a rawer, more artistic aesthetic, setting it apart from most modern productions. The editing left me intrigued, as there are sequences that make you wonder how they managed to film certain moments in a continuous shot.
Of course, there are a few weaker points, like some unanswered questions, but even so, those 90 minutes were intense and captivating, with my attention held from start to finish. For anyone seeking an unconventional experience, Mads is an unmissable title this year.
The Texas Chainsaw Massacre 2 (1986)
Isn't disturbing as the original
The Texas Chainsaw Massacre 2 is a sequel that takes a bold, unexpected turn, which has split opinions. This time, Tobe Hooper decided to step away from the raw horror of the original, diving into a more campy territory filled with dark humor. For some, this choice may seem like a betrayal of the tone that made the first movie a horror classic, but on the other hand, it's clear that Hooper wanted to avoid limitations and explore new directions, creating something that stands out among other sequels in the genre.
The new protagonist, Stretch, is one of the film's best choices. Strong and determined, she brings the engaging energy of a "final girl," with the grit and courage that sustain many of the film's most intense scenes. I also enjoyed seeing Bill Moseley as Chop-Top, one of the most memorable villains of the franchise. However, some roles fall short of expectations. Jim Siedow, who brought an insane presence in the original, here seems more like a caricature, exaggerated and far from his disturbing former self. Similarly, Dennis Hopper tries to add intensity to his character but is limited by a somewhat shallow role, with little material to explore.
The film's editing turns out to be one of its most frustrating aspects. Some scenes drag on, losing tension and fluidity. It feels like no one knew where to cut, letting moments that could have been tense turn into overly long, almost painful sequences. Cutting 20 minutes would have made the story sharper and more impactful. Plus, the dialogue is a major issue - many lines feel forced and out of context, making even serious scenes come across as ridiculous. Instead of creating a horror atmosphere, the dialogues leave the film adrift, almost as if it's undermining itself.
Visually, it delivers plenty of blood and graphic violence, which the original avoided but is now explored without restraint. However, this approach doesn't compensate for the switch to a subterranean setting, which, unlike the rural landscape of the first film, fails to create the same sense of oppression and madness. The absence of that filthy, arid setting-so crucial to the original's grotesque and disturbing atmosphere-takes away some of the film's essence.
For those who enjoy a touch of dark humor and nonsense, The Texas Chainsaw Massacre 2 has some fun and unusual moments, almost turning it into a bizarre parody of its predecessor. With its campy atmosphere and the creative freedom Hooper gave himself, the film can be seen as a bold attempt to play with '80s horror clichés, mixing the grotesque with the absurd. It's a unique, inconsistent experience that might intrigue those who appreciate unconventional horror but will likely not become a favorite among genre purists.
Don't Move (2024)
Tests our patience more than our nerves
Don't Move promised an intense survival experience, and at first glance, the premise was indeed captivating: a woman fleeing a serial killer while being poisoned, slowly losing control of her movements. Following this woman, burdened by past trauma and a deteriorating physical state, could have made for an intriguing blend of psychological suspense and action. Unfortunately, the film fails to sustain its initial impact, and what had the potential to be a gripping thriller soon unravels into a series of predictable, uninspiring scenes.
The film's first half makes some effort to give the main character depth by exploring her past trauma, which humanizes her and creates a level of empathy with the audience. But this promising foundation is not well-utilized. Instead of delving into the protagonist's fragilities and complexities in a way that could build tension, the film quickly succumbs to a series of clichés that we've seen countless times in other survival movies. While films like The Fall and 47 Meters Down take simple premises and elevate them with well-executed tension, reshaping familiar tropes to surprise us, Don't Move does the opposite: it recycles old formulas and misses out on creating anything new.
Visually, it's also lacking. The cinematography is basic and does little to build an atmosphere of tension and fear, which is essential in a survival movie. The lighting, framing, and pacing of the chase scenes come across as too flat, almost like a 2000s direct-to-video film, without the intensity or atmospheric depth that could elevate the scenes.
The narrative also suffers from pacing issues. The first half gradually builds some empathy with the protagonist through her backstory of losing a child. However, once the killer enters the scene, the film loses its edge and lacks a clear sense of direction. Rather than keeping us on the edge of our seats, it creates a feeling of monotony, which is a serious flaw for a survival thriller where adrenaline and unpredictability should be ever-present.
In short, Don't Move is a frustrating experience for anyone expecting a solid dose of tension and narrative ingenuity. The initial good ideas quickly fade into familiar conventions and lackluster choices, turning this into a forgettable thriller. It ultimately tests our patience more than our nerves, making it hard to resist reaching for the remote and switching to another film.
The Texas Chain Saw Massacre (1974)
Very important for the horror genre
The Texas Chain Saw Massacre is a horror classic that, nearly 50 years later, still manages to create a solid atmosphere of tension and discomfort. Right from the start, despite its slow pacing, the film draws us in with its rundown settings and the intense physical and psychological characterization of the villains, holding the viewer's attention.
The cinematography has a vintage charm that only adds authenticity. Its raw, straightforward style makes it feel like we're watching something real, almost documentary-like. At the time of its release, the level of violence was unusual and genuinely shocking. Even though it may seem more standard today-like something out of a PG-13 movie-we have to appreciate Tobe Hooper and his team's boldness in bringing this kind of brutality to cinema, setting a new bar for the genre.
Leatherface, with his chainsaw and mask made of human skin, is unforgettable and established him as an iconic figure in horror. This film laid down many of the elements we now associate with the slasher subgenre, and although Halloween is often credited as the starting point, it was really The Texas Chain Saw Massacre that laid the groundwork for what came next.
However, I found the secondary characters underdeveloped and one-dimensional, making it harder to connect with them emotionally. Additionally, the low budget reveals some technical flaws and amateur elements, but, oddly enough, these add a special charm, lending a more realistic touch to the production.
Even with some parts that haven't aged well, The Texas Chain Saw Massacre remains essential for any horror fan, a memorable and impactful experience that redefined the horror genre.
Terrifier 3 (2024)
Good but could be better if had a good script
My expectations were high for Terrifier 3, especially since I really enjoyed the second film. With a bigger budget this time around, I was hoping for something more ambitious both technically and in terms of the franchise's signature violence.
When it comes to graphic violence, this film doesn't disappoint fans looking for gore: the deaths are very explicit and well-executed, with a level of brutality that goes beyond what's usual in the genre. I felt that there weren't any more parts of the human body left to reveal; the scenes are so detailed and graphic that they might truly disturb some viewers. Personally, it didn't bother me too much, mainly because the dark humor helps reduce the impact of these unsettling moments. Foreign viewers have especially mentioned the shower scene, where a couple is brutally mutilated with a chainsaw-it's one of the most violent moments in modern horror. However, I found another scene where a character is forced to swallow two rats and is then decapitated, which, while less bloody, felt even sicker.
The story picks up with Siena, the protagonist from the second movie, who's once again being hunted by Art the Clown, now during the Christmas season. As you might guess, despite Damien Leone trying to build some lore, the story itself is pretty straightforward. The problem is in the execution, though; the script has some significant flaws. It feels like Leone simply moves from one violent sequence to the next without any real narrative build-up, which sacrifices tension and suspense for shock value.
A clear example of Leone's weak writing can be seen in how Art, after being resurrected, seems to randomly find Siena in a huge city with no effort at all. It's as if he has a GPS leading him straight to the places where Siena and Jonathan are. The lack of depth is also apparent in the secondary characters, most of whom are only there to die. And when there's any attempt to develop them, it's very limited. Leone should consider delegating some tasks, especially the writing, and hire a good scriptwriter to craft a more solid, engaging story.
As I mentioned, Art's dark humor brings a unique contrast to the movie. Although subtle, it adds an unexpected lightness to the horror scenes. No matter how grotesque the violence, Art's eccentric and absurd behavior introduces an almost comedic dimension. It relieves the tension while bringing us closer to the character, humanizing him in a disturbing yet unique way, similar to how Wes Craven did with Freddy Krueger in the A Nightmare on Elm Street franchise.
On a technical level, the cinematography is a highlight, with a solid, stylized look that brings out the dark, decaying atmosphere of the story. I loved the choice of vintage lenses, which give the movie an '80s horror vibe with a modern touch. However, as I noted before, the editing is a major weakness: there are scenes that drag on unnecessarily and others that add nothing to the plot, only increasing the movie's length and making it feel overly drawn out, which takes away from its overall quality.
Overall, Terrifier 3 pushes the boundaries of graphic horror and, despite its flaws, achieves its goal of provoking strong reactions in the audience. For extreme horror fans, it's definitely worth a watch, and Art the Clown stands out as one of the most iconic villains in modern horror cinema. Art has a magnetic presence, and he seems destined to become an important name in the genre. But for that to happen, Damien Leone needs to focus on stronger scripts and better editing.
In the end, the movie is disturbing and even entertaining for genre fans, but it leaves the feeling that, with a stronger narrative structure, it could have been much more than "okay"-it had the potential to be a landmark in contemporary horror. I hope Damien Leone realizes that he can't handle every part of the production alone and trusts at least some of the writing for Terrifier 4 to other professionals.
Wake Up (2023)
Intriguing Concept, Flat Execution
Wake Up comes with an interesting and initially promising concept, offering a storyline that makes us think about extremism and its consequences, both from the activists' side and the security guards, who defend their work with questionable tactics. The film seems like it wants to explore this tension, questioning just how "right" or "moral" each side really is. But as it goes on, it quickly becomes clear that this potential for reflection is left unexplored and stays on the surface. It's a pity, as Wake Up had the chance to touch on relevant themes, but it misses the mark by not going deeper.
The plot is straightforward: a group of activists break into an IKEA-like store overnight to stage a protest. Tension rises when they realize they're being hunted by a security guard with homicidal tendencies. From here, the movie takes a classic slasher route, where the main objective is simply for the characters to survive while being hunted by a relentless killer. It's a well-worn formula we've seen many times, so from a narrative standpoint, Wake Up doesn't bring anything new to the genre.
The biggest issue is precisely that predictability. I felt like I knew exactly what was coming, with no twists or surprises to change those expectations. The film doesn't try to innovate or challenge slasher stereotypes. Instead, it sticks to them closely, making it feel predictable and, at times, a bit monotonous. It's not poorly executed-the production is solid, and the setting works-but it lacks the originality that would set it apart from so many similar films.
Even so, there is one standout moment. In one of the film's most memorable scenes, the characters are covered in glow-in-the-dark paint, making them easy targets for the killer. This scene in the dark is visually interesting and really captured my attention. It's the high point of the film, and I feel that if there were more of this kind of creativity in other scenes, the experience could have been much more engaging.
However, Wake Up doesn't go beyond a very basic horror thriller that meets the minimum requirements for entertainment but doesn't quite impress. In short, it's neither good nor bad; it entertains, but it's unlikely to leave a lasting impact.
The Wild Robot (2024)
Perfect during the 1st and 2nd act
DreamWorks managed to bring back the magic of animated cinema with The Wild Robot, a feeling we used to associate with Pixar. For years, Pixar films were all about heart and originality, but over the last 14 years, I feel most of their movies, except for Inside Out (2015), have become more generic and superficial. Thankfully, The Wild Robot, even though from a different studio, brought me that same nostalgic feeling I get from watching Pixar's older films.
The story of The Wild Robot is simple yet beautiful and moving. It explores the contrast between technology and nature in a way that's both touching and thought-provoking. From the beginning, we're drawn in by the innocence of the main robot and the curiosity of the animals around it, showing us a unique example of how the natural and artificial can coexist. This contrast is handled with great care, and for most of the movie, I felt fully immersed in the beauty of this interaction.
The characters, each with their own distinct personalities, are instantly captivating. Every scene has this nostalgic touch that takes you back to the magic of classic animated films, the kind I watched as a kid that seemed endlessly enchanting. It's a film that can truly appeal to both kids and adults.
However, while the first two acts are genuinely emotional and avoid clichés by leaving out forced villains or action scenes, the final act takes a more conventional turn, which is a bit disappointing. It seems to lose some of its original essence and the potential for a unique message, and the ending feels unnecessarily bittersweet, almost as if the producers were already considering a sequel. This final act could have been better developed or even left out entirely to preserve the story's integrity. Personally, I think it would have worked just fine without a traditional villain, focusing instead on a pure journey of discovery.
Despite this change in the ending, The Wild Robot is a fantastic title, a breath of fresh air for the genre, and so far, the best animation this year. It's a film with valuable lessons that can charm and move us, leaving a positive impact on everyone. I highly recommend it for the whole family, reminding us that animation can still touch the hearts of adults, just as it did when we were kids.
Daddy's Head (2024)
I was expecting something better
I discovered Daddy's Head through an image that, I must admit, left me feeling slightly uneasy. As a fan of horror, I couldn't resist digging deeper into the movie. Its premise seemed promising, that familiar mix of mystery and psychological horror that, when done right, can really grip the viewer. But that's where the disappointment started.
The film starts with an idea that, at first glance, seemed to have potential. It's not quite a slow burn, but it's also far from being a film made for mainstream audiences. Daddy's Head takes its time building the narrative, but not in the best way. The story drags, with a slowness that could have been used to create tension or suspense, but instead, it ends up being a collection of clichés. The horror and suspense are introduced in a forced manner, lacking the creativity and charm needed to truly captivate.
Speaking of clichés, Daddy's Head is full of recycled ideas from various horror films of the last 20 years, pushing us into a bland experience, lacking any real impact.
What intrigued me, in a way, was the dynamic between the protagonists. The characters are surprisingly well-written for a film with no real identity. I enjoyed the interaction between the stepmother and stepson, and found myself more interested in how their relationship developed than in the main plot.
I wouldn't say Daddy's Head is a terrible movie because that would be an exaggeration. It's minimally competent in what it does. The cinematography is decent, and the actors' performances, though limited by the script, are enough to keep the viewer somewhat engaged. However, the film lacks any artistic personality. It's missing that spark that sets good horror films apart from those that merely try to be. It's the kind of movie that's fine for passing the time but quickly fades from memory without leaving much of an impression. Still, give it a watch-you might enjoy it more than I did.
El hoyo 2 (2024)
Has the same mistakes of the first film
I was a bit skeptical because the original left me with mixed feelings. I loved the concept, but I started to dislike the more philosophical side in the last 20 minutes, where it left too much unexplained. In this case, the sequel repeats the same strengths and weaknesses.
In the new film, we meet a fresh set of characters and are introduced to a prison different from the one we knew in the first movie-this one is more structured, with strict rules and severe punishments for breaking them.
At first, it was quite intriguing, and I even wondered why the movie got such bad reviews. But in the last 20 minutes, I understood the negative feedback because The Platform 2 repeats the same mistakes, only worse. If the original, despite its cheap philosophy and flood of metaphors, still had a touch of realism that humanized the characters' situation, here, everything becomes nonsensical, absurd, and forced, opening up even more questions about this universe.
I didn't expect the movie to explain everything, but I also didn't expect it to make things even more unnecessarily confusing and pointless. It felt like watching a mediocre 90-minute episode of a series, and now I'll have to wait ages to find out what happens in the next episode-hoping they actually intend to lead us somewhere. That's me being optimistic and trusting that they'll make a new chapter to explain all this confusion and lack of answers so that it makes at least a little sense.
In short, The Platform 2 tries to expand the intriguing world of the original but ends up falling into the same traps, delivering a confusing and unsatisfying ending. It's a movie that starts strong and grabs your curiosity but loses its impact by going too far into the absurd, leaving a feeling of frustration instead of satisfaction.
Smile 2 (2024)
How much did Voss water pay to be the 2nd main character in the movie?
When I found out Smile was getting a sequel, I have to admit, I was excited. The original was one of the biggest surprises of 2022, capturing attention with its unique premise and constant tension. Smile 2 starts off quite strong, especially in the first act, where we get to see what happens to one of the characters from the first film. The new lead, played by Naomi Scott, is introduced really well and she quickly wins our sympathy with her great performance.
However, the second act is where the film starts to show some weaknesses. When the protagonist faces the curse that gives her just 7 days to live and starts messing with her mind, the plot begins to feel too similar to the first movie. It's still effective, but there's a clear sense of recycling, with some jump scares and moments feeling like repeats from the original, which takes away some of the impact and originality.
Luckily, the film regains some momentum in the third act. The story brings back some surprises and, at times, it dares to go a little further than what many viewers might expect. But despite that effort, the ending is pretty predictable. I guessed it from the beginning because of a line of dialogue from the protagonist's mom. It was one of those moments where I thought, "if she said that, then the ending is going to be like this," and I was right.
Now, let's talk about the jump scares. There are a lot of them. While some are well-executed, over time, they start to lose their effect. The constant repetition becomes tiring, and the tension fades as a result.
I have to mention the water brand Voss because it's impossible not to notice its presence! There's a Voss water bottle in nearly every scene, strategically placed as if it was sponsoring the whole movie. Honestly, it felt like it became a co-star at some point.
In summary, Smile 2 is a solid sequel but doesn't quite reach the impact of the original. Still, it's an entertaining film, especially for fans of the genre. However, if you're expecting to be surprised like in the first Smile, don't count on it.
The Substance (2024)
One of the best movies of this decade
The Substance gripped me from the very first moment, starting with the trailer. Its sharp editing caught my attention, not only for its frantic pace but for the promise of something out of the ordinary. I can say upfront: the movie fully lives up to the hype. I dare say it's one of the best films I've seen this decade.
The narrative is brutal, packed with powerful symbolism and metaphors. Coralie Fargeat delivers a spot-on critique of the obsession with image, a patriarchal society, unrealistic beauty standards that suffocate us all (especially women), deep insecurities, and the fear of aging. It's a film about women, but also for them, addressing themes that go beyond the screen and resonate deeply in today's world. And all this without ever resorting to showy tactics like so many big studios.
Much like her last film, Revenge (2017), Coralie Fargeat gives us a feminist piece, but without following the usual shallow paths we often see in major studio productions. The difference lies in the depth with which she tackles these issues. The goal here isn't to provoke for the sake of it but to make us reflect on the many challenges and societal pressures women face, without resorting to the typical "mainstream" narratives we've become accustomed to from multimillion-dollar studios. These studios often offer surface-level treatments of serious social issues, just to get a few mentions on Twitter or TikTok.
At no point did I feel attacked as a man while watching the film. On the contrary, it made me reflect on the challenges so many women face regarding their image in a world largely controlled by a patriarchal system that pressures them in every way.
As for the story, I loved every second. From the first minute to the last, The Substance maintains a pace that leaves no room for dull moments. The editing is absolutely superb, and despite its 2h20 runtime, the film flies by. It's rare to find a movie that takes you on such an intense, frenetic, and utterly surprising journey. For me, cinema is about emotional experiences, and this film pushed me to the edge of mine.
The cinematography and sound editing are breathtaking. Every scene is visually rich, every sound seems carefully chosen to amplify the experience. The film begs to be seen in a cinema, on the biggest screen possible, with a sound system that can capture its unique atmosphere. The sensory experience is among the best I've ever had.
I can't talk about The Substance without mentioning the incredible performances by Demi Moore and Margaret Qualley. They are the heart and soul of the film, each driving the narrative in a gripping way, turning every scene they're in into something spectacular. These performances deserve to be recognized at every awards show.
That said, it's important to note that this isn't a horror movie. If you go in expecting that, you might be disappointed. It's essentially a drama with some thriller elements and a few graphic, unsettling images that might turn the stomachs of more sensitive viewers. But it's not the conventional horror some might be expecting.
I highly recommend watching it, and I genuinely hope this film gets Oscar nominations. It would be an outrage if it didn't. For me, it's not only the best film of the year but possibly the best I've seen this decade.
Azrael (2024)
Good concept but poor execution
Azrael starts with an intriguing premise: a post-apocalyptic setting where a woman, played by the talented Samara Weaving, is hunted by a cult. It seems like a horror film with potential, especially with Weaving, who's known for her solid roles in the genre. However, despite the promising setup, the movie stumbles in several areas.
The decision to have almost no dialogue is bold, reminiscent of films like A Quiet Place or Bird Box, but unlike those, Azrael fails to use this strategy to create the same level of tension or immersion. With only three lines spoken throughout the film, the narrative struggles to find clear direction, leaving many questions unanswered.
The biggest issue is the film's indecision about its genre. It tries to be a bit of everything: supernatural, slasher, psychological horror, and even a survival thriller. This mix of genres, rather than enriching the story, ends up diluting it, resulting in a film that lacks a clear path and fails to establish its own identity.
Still, there are a few positives worth noting. The chase scenes are well done and manage to build some adrenaline, though they fall short of reaching their full potential. The religious atmosphere in certain parts is also intriguing, but unfortunately, it's not explored as deeply as it could have been.
Samara Weaving, often associated with horror, delivers a decent performance, but it's far from memorable. Compared to her role in Ready or Not, which will soon have a sequel, Weaving feels underused in Azrael, as if the film doesn't give her the space to truly shine.
Overall, Azrael has good ideas, but it lacks the cohesion and depth needed to truly stand out. It's a film that entertains but doesn't leave a lasting impression, getting lost in its attempt to be everything at once.
It's What's Inside (2024)
A great surprise
It's What's Inside initially made me hesitant, especially after seeing the trailer, which seemed overly confusing. However, I have to admit that I was completely wrong, as it turned out to be a pleasant surprise in Netflix's catalog, far more interesting and well-crafted than I expected.
The premise itself is already intriguing. It takes the classic body swap concept to a new level, mixing elements from films like Talk to Me and Bodies Bodies Bodies, while also exploring psychological and supernatural themes. At first glance, this combination might seem chaotic, but the director manages to balance the different elements well, resulting in a captivating and surprising film. One of the highlights is, without a doubt, the editing, which is exceptional for most of the film. For about 80% of the time, the pacing is dynamic, fluid, and helps keep the audience's attention. However, in two or three key moments, the editing felt too rushed, making it difficult to understand some of the characters' inner struggles. This led to slight confusion, as certain story developments didn't have the space they needed to breathe.
When it comes to the characters, this is another strong point of the film. The interactions between them are believable and engaging, and the actors did a brilliant job portraying different personalities due to the constant body swaps. I particularly want to highlight the character Shelby, who I found annoying, but every time she switched bodies, the actors managed to maintain and respect her essence, reinforcing her specific traits, even when played by others. This continuity in the performances, which could have easily failed, was one of the film's most impressive aspects, showing attention to detail and admirable consistency.
However, the biggest issue with It's What's Inside unfortunately lies in its final act. Up until then, the film had me hooked every second, but the ending felt rushed, as if the narrative decisions were made too quickly and without proper buildup. The final twist, while interesting, wasn't fully explored, and the conclusion left me with the feeling that something was missing. It's as if the production team built a solid and captivating narrative throughout most of the film, only to rush everything in the last five minutes, weakening the final impact.
Despite this flaw, I can't help but view It's What's Inside as a unique and overall positive experience. It's one of those films that surprises by combining familiar elements in an innovative way, and despite a few missteps in the final stretch, it was definitely worth watching for its originality.
Salem's Lot (2024)
More of the same
Salem's Lot promised to be a solid and intriguing adaptation of a Stephen King story, and it had all the essential ingredients to create a truly surreal and terrifying atmosphere. However, the final result ends up being a generic and forgettable experience, sinking into overly familiar and predictable tropes.
The film drags through several unnecessary scenes, which only serve to make it long and tiring, with moments we've seen countless times in other horror films. There's no effort to innovate or bring anything fresh to the table. The scenes that should have built tension and suspense are predictable and poorly executed, leading to a complete lack of atmosphere. Salem's Lot fails to create any sense of tension or psychological discomfort.
On top of that, the characters are underdeveloped. The lack of depth is clear, which makes it hard to connect emotionally to the story or care about what's happening. In this kind of narrative, the emotional and psychological impact of the characters is crucial for the story's success, and the absence of that factor makes the viewing experience feel dull.
That said, I wouldn't call Salem's Lot a total disaster. There are moments that show some potential, and the story itself tries to be at least somewhat engaging, but the execution falls short of capturing the essence of horror. The movie doesn't bring anything new, either in terms of narrative or scares, making it quite forgettable.
In short, Salem's Lot isn't a completely bad film, but it leaves a lot to be desired, especially for those expecting something more intense and frightening. With an excessive runtime that made the viewing experience tiresome, I felt a shorter and more focused version would have been much more effective.
V/H/S/Beyond (2024)
It had potential, but ended up being poor and limited
The anthology V/H/S/ Beyond tries again with the found footage format, this time with a sci-fi approach. However, what seemed like an opportunity to revitalize the genre ended up limiting the creativity of the invited directors, resulting in a series of shorts that, overall, failed to surprise or leave a lasting impression.
Here's my take on each of the short films:
Stork:
This short is quite simplistic. The plot is about 15 or 20 minutes of police officers killing strange creatures that look like zombies. There's an attempt at shock value in the end, with a bizarre moment, but honestly, it doesn't go beyond that. It felt like watching someone play a hyper-violent first-person shooter, where violence is the only focus. The final result is a short that doesn't challenge the viewer and sticks to the basics.
Dream Girl:
Among all the shorts in the anthology, this was the most eccentric. We follow two paparazzi trying to sneak into the set of an Indian artist, but, as expected, the plan goes wrong. This segment stands out for its extreme level of violence, which may shock more sensitive viewers. Although it's not an easy watch, the unpredictability of not knowing the next move and the subtle reflection on AI kept me mildly interested. However, in terms of innovation or impact, Dream Girl wasn't strong enough to leave a lasting impression.
Live and Let Dive:
This short film starts with an interesting premise: a group of friends goes skydiving but crashes into a spaceship. The possibilities for this narrative were vast, and it had the potential to be much more intriguing. Unfortunately, it ended up taking a lazy, cliché-filled path. I admit the scene where the protagonist falls through the open sky was visually interesting, but the rest of the short is let down by a weak narrative and, above all, terrible visual effects that looked like they came straight out of a PS2 game. I felt the segment didn't explore the originality of its premise, and it was a missed opportunity.
Fur Babies:
This segment left me genuinely confused about how it fits within the sci-fi theme. The plot follows a group of young people investigating a strange and eccentric dog breeder, but aside from this odd premise, the short doesn't go much further. There are bizarre moments that suggest the story could have gone deeper, but it felt like everything was only halfway developed. The potential was there, but it lacked the ambition to really explore its ideas. Despite being weird and eccentric, it wasn't memorable either.
Stowaway:
This was the short I was most looking forward to, mainly because it was directed by Kate Siegel, who I'm a fan of. The premise is interesting: a woman in the desert filming a documentary about aliens ends up entering a spaceship. The idea has a lot of potential, and you can tell the director had a vision for the project. However, the execution failed badly. The big issue is the cinematography: at a certain point, it becomes nearly impossible to understand what's happening on screen. I didn't expect it to be shot in IMAX, but the extreme commitment to realism ended up hurting the visual clarity of the narrative. In the end, it was frustrating because I felt there was a good story there, but the way it was presented made it confusing and hard to follow.
Overall, V/H/S/ Beyond fails to take full advantage of the potential that the sci-fi genre could have brought to the found footage format. Even though there are some interesting ideas and moments that grab attention, the execution of most of the shorts is too basic, predictable, or just unremarkable. This anthology could have been a great opportunity to explore new approaches within the genre, but it ultimately fell short of expectations.
Strange Darling (2023)
A twisted surprise!!
"Strange Darling" received high praise from critics and was acclaimed by audiences, who labeled it as one of the best horror films of the year. With those expectations in mind, I decided to watch it without knowing much about what would happen. I can say I was extremely surprised.
The film follows a non-linear approach, starting in the middle of the story, then jumping back and forth. It might seem confusing at first, and I was worried it would be, but I actually didn't find it confusing at all. I was able to follow the narrative easily and even appreciate this "out-of-the-box" idea.
There are several interesting twists, even though the main one felt a bit predictable-at least for me, as I'm used to watching a lot of horror and thriller films. Still, I thought it was brilliant, and I praise the creativity that will probably surprise many viewers.
Apart from that, the film is spectacular. It's incredibly well shot, using 35mm cameras, which gives it a beautiful look and a unique atmosphere. The cast is also excellent. The protagonist, Willa Fitzgerald, who I had seen in the *Scream* series playing a rather bland role, has grown a lot and delivers a memorable performance for the horror genre. The man trying to kill her, played by Kyle Gallner, is equally impressive and very menacing.
One of the things I loved most about *Strange Darling* was how it plays with some of the genre's clichés, challenging us to see a situation from different perspectives. It doesn't shy away from breaking moral norms or challenging convictions, something increasingly rare in horror films.
It's a singular film, different from the usual, with a constant, frantic pace. In my opinion, its only weakness is the last 10 minutes, which might be a bit frustrating, but it's still a very good film. Without a doubt, it's one of the best surprises I've had this year in the thriller and horror genre. It's definitely worth watching, and I recommend going in with an open mind, ready for anything, and knowing as little as possible. It's a unique experience, and I highly recommend it!
Little Bone Lodge (2023)
Predictable but not bad
I watched Little Bone Lodge without high expectations, only knowing that the film included a few plot twists. The enigmatic build-up of the main character made it clear there was something suspicious about her, and it quickly became easy to predict the central twist. Although the narrative offers a few minor twists that might keep the audience engaged, none of them were surprising enough for me.
The film follows a structure that might work well for viewers less familiar with thrillers, possibly managing to surprise them at certain points. However, for someone like me, who's seen a lot in this genre, Little Bone Lodge doesn't come across as innovative or particularly gripping. The predictability of certain events lessens the intensity of the experience, and overall, it feels like the movie never takes enough risks to truly shock or impress.
Narratively, there are some interesting choices, but none of them reach a level of depth or complexity that makes them stand out. The film tries to build a story with potential, but at no point does it deliver a twist or pivotal moment that truly elevates the narrative. That said, I did appreciate the sound design, especially in the rainy night sequences and darker moments, as they help enhance the atmosphere.
The characters, while intriguing at times, don't have the strength needed to carry the story and end up being forgettable. In the end, Little Bone Lodge didn't leave me with a lasting impression, and it's a film I'll likely forget soon after watching. Still, for those with less experience in thrillers or horror films, I would recommend it. It could serve as a good introduction to the genre, and the predictability I felt might not be an issue for other viewers. However, for those more familiar with these kinds of stories, this film doesn't bring anything new to the table.
Joker: Folie à Deux (2024)
Pointless, boring and worse than I expected
"Joker 2" is, in many ways, an unnecessary sequel that never should have existed, reflecting the greed of a Hollywood studio seeking awards and box-office profits. I entered the theater with low expectations and reluctance, despite loving the original, mainly due to the inclusion of musical numbers, which could easily fall flat as they don't fit the tone. Surprisingly, the first hour entertained me, and I thought, "Well, it's not as good as the original, but it's not as bad as I expected," even with the evident excess of songs. However, my optimism was misplaced as that initial positive impression quickly crumbled as the film dragged on without any clear direction.
The movie stretches on to the point where it feels repetitive, with most scenes taking place in the prison and courtroom, locations that quickly become tiresome and lacking in visual or narrative innovation. There was nothing impactful, no personal drama that made me want to engage with the story. "Joker 2" stalls more than a poorly rolled joint that never lights as it should.
Another major issue lies with the characters. The Joker, brilliantly portrayed by Joaquin Phoenix in the first film, appears here as a hollow version of himself. There is no emotional or psychological development that does justice to the character's complexity. While the first film showcased a downward spiral culminating in violence and chaos, here, the Joker lacks life and purpose. He moves slowly, directionless, as if lost within the plot. For such an iconic character, this is unforgivable.
Lady Gaga is an excellent actress and singer, but she didn't convince me as Harley Quinn. The problem isn't her talent, which is undeniable, but rather the writing surrounding her character, which fails to make her memorable. In my opinion, this is the worst portrayal of Harley Quinn, wasting her talent, especially considering what Lady Gaga is capable of.
Technically, there's nothing to criticize about "Joker 2." The cinematography, art direction, and sound are all impeccable, which only makes it more frustrating that the film offers nothing new narratively and, worse, leads us nowhere. Ultimately, it feels like a parade of stylized scenes and cliched lines, designed for sharing on Tumblr.
One last thing: the $200 million budget is a mystery. Where did all that money go? The film mostly takes place in the same settings, lacking significant action moments or special effects to justify such an investment. I got the impression that most of that budget went to Joaquin Phoenix and Lady Gaga's salaries because, honestly, there's not much else to justify it.
As for the musical moments I dreaded, I have to admit they turned out better than I expected, but that doesn't mean they work well. They often feel forced, as if hastily inserted to give the film a different identity, but they end up disrupting the pace and, in many cases, making the experience even more tedious.
In summary, "Joker 2" can be visually stunning and technically charming, but it's ultimately a completely unnecessary and weak sequel. It adds nothing new to the universe that the first film so effectively built and stands as another example of a terrible continuation of a great film, much like "American Psycho 2." Its existence, like the narrative it presents, simply lacks purpose.
Uglies (2024)
"Beauty is Pain, But This is Just Pain
Uglies, on Netflix, is a clear example of how the era of teen dystopian films has long passed. It feels like director McG threw Divergent, Hunger Games, Maze Runner, and even Twilight into a blender, and the result is a messy mix of clichés, bad CGI, and cringe-worthy moments, creating something even worse than expected.
From the start, my expectations were low, but Uglies managed to surpass that, turning into an even more painful experience than I anticipated. The story, set in a dystopian society where everyone undergoes a physical transformation at 16 to achieve "perfection," is nothing new, just dumber. The main issue is that this concept feels half-baked and never develops into anything coherent. Everything is shallow, with dialogues so cringey they make you roll your eyes. I'm sure even films aimed at adults have better-written lines.
Joey King tries hard to give her character some depth but fails miserably. Her attempt to be a modern-day Katniss Everdeen or Tris Prior falls flat. She seems completely disconnected from the story, with a blank expression that leaves no room for emotional connection. Her performance is a mix of apathy and lack of charisma, turning her character into dead weight for the plot.
The narrative could have been a commentary on society's obsession with beauty standards, but it sinks into a predictable and superficial story. There's no room for meaningful reflection, and what could've been a relevant message turns into an excuse for senseless action scenes and poorly executed twists.
If there's one thing that saves Uglies from being the worst movie ever, it's the fact that it's sometimes so ridiculous it becomes unintentionally funny. There are moments where it entertains simply because it's a total disaster.
Then there's the ending. A final act that's not only absurd but also completely incoherent, leaving you more frustrated than the rest of the film. It feels like the writers didn't even bother to wrap things up properly, opting for a rushed conclusion that leaves you angry for having wasted your time.
In conclusion, Uglies is one of the worst productions I've seen this year, if not in recent memory. It's a film that strives to be bad, and it excels at it. There's no meaningful message, the characters are empty, and the story is just a collection of tired ideas. My best advice? Don't waste your time on this.
Cuckoo (2024)
This cuckoo doesn't sing too loud
"Cuckoo" promised to be an intriguing and different experience within the alternative horror genre, which immediately caught my attention from the trailer. It seemed to offer a peculiar atmosphere, similar to what we've seen this year in titles like "Longlegs" or "Oddity." However, as the film progressed, I felt that it failed to deliver the emotional and narrative impact it appeared to promise.
One of the highlights was seeing Hunter Schafer dive into the horror genre. Her presence is notable, and I sincerely hope she continues exploring roles in horror films, as I believe she has the potential to really shine in this space. The cinematography is, without a doubt, one of the strongest aspects of "Cuckoo." The aesthetic is well-crafted, with shot compositions that capture the strange, unsettling universe of the movie. The sound editing also deserves a mention, creating an engaging atmosphere that pairs well with some of the more intense moments.
However, "Cuckoo" struggles to deliver a strong narrative. The film seems to aspire to follow in the footsteps of "Get Out," attempting to address deeper social themes, but it falls short of creating a coherent or impactful message. While the plot starts off intriguing, it becomes shallow and dull at certain points, and the final explanation feels rushed, leaving me with the impression that something was left unfinished. As mentioned, the pacing doesn't help either. At times, the story drags without a clear direction, making the experience less immersive than it could have been.
That said, I can't say "Cuckoo" is a bad film-it's far from it. There are elements that work, particularly for those who enjoy more alternative horror that deviates from the usual commercial horror approach. For fans of films that challenge conventions, this could be a curious and even rewarding experience. But for those who prefer more straightforward, cohesive narratives, the film might feel frustrating or even boring.
In short, Cuckoo is a film that, despite some visual and technical merits, fails to live up to its full potential. If you're looking for something different in the horror genre, it might be worth giving it a try. But if you prefer more conventional stories, it's probably best to pass on this one.
Never Let Go (2024)
Tied to a promising yet apathetic experience
Never Let Go starts with an intriguing premise: a mother in a post-apocalyptic world fights to protect her children from bloodthirsty creatures by keeping them tied to a rope. If they let go, they're attacked. However, despite this interesting concept, the movie fails to create the tense atmosphere the story demands. Instead of pulling us into a truly dangerous and desperate situation, the film loses focus and struggles to convey the real threat the characters face.
The plot twists are another weak point. Some are too predictable, and from early on, I felt like I could guess where the story was heading. Though I'm not entirely sure, because the ending is especially confusing and poorly explained, leaving us without a clear conclusion - as if the writer wasn't sure what message they wanted to convey.
Director Alexandre Aja has proven capable of crafting good films with simpler themes, like the remake of The Hills Have Eyes, High Tension, or Piranha 3D, but whenever he tackles more complex narratives, such as in Horns, he tends to fall short. In his case, "less is more" really applies.
That said, I have to admit the different approach might attract viewers looking for something unusual. However, for me, this film didn't hit the mark. There was a moment of real tension involving the fate of an animal that made me anxious, but aside from that, I felt indifferent in about 80% of the situations.
It's far from terrible due to the original concept that sets it apart from other films in this subgenre, but it lacks the essential ingredients to truly stand out or leave a lasting impression.
Werewolves Within (2021)
Werewolves and Recycled Jokes
I love whodunits, so I was quite curious about Werewolves Within. The initial premise was intriguing: a small town, strange characters, and a murder mystery. With a touch of humor and a claustrophobic setting, it seemed like the movie would bring together what I enjoy most about the genre, but with a comedic and modern twist.
Although I appreciated the light and fun tone of the film, I have to say that Werewolves Within didn't grab me as much as I expected. The narrative is a bit inconsistent, with moments that swing between hilarious and dull. The comedy doesn't always land; I felt that, at times, the humor was preventing the mystery from reaching its full potential. A whodunit relies heavily on tension, and I felt that was lacking here.
The characters are another aspect that, in my opinion, fell short. While they are somewhat quirky and funny, most of them lack the development needed for us to really care about what happens to them. Maybe because of the film's lighter nature, this wasn't a priority, but I believe a stronger connection with the characters could have elevated the mystery and made the twists more impactful.
As for the mystery itself, I must admit the final reveal wasn't as satisfying as I hoped. The movie tries to play with expectations and surprise the viewer, but the twists aren't as effective as they could have been. Part of this is due to the plot dragging at certain points and sometimes forgetting to create a sense of mystery and doubt, which weakens our engagement.
Overall, Werewolves Within offers a fun experience, but it could have been much more memorable if it had balanced its humorous tone with suspense. It's a lighter take on a genre that is usually darker, but it might still appeal to those looking for a less serious take on classic whodunits. For me, it was a bittersweet experience, but it served its purpose as light entertainment.
Sausage Party: Foodtopia (2024)
A bittersweet feast
Sausage Party: Foodtopia is the sequel to the irreverent 2016 adult animation, which introduced us to a bizarre and fun concept where food comes to life, like a twisted version of Toy Story. Now, in series format, it delivers an interesting social critique while keeping the crazy, no-limits, adult humor. However, despite being clever at times, it doesn't always hit the mark.
Most episodes end with smart narrative hooks, but even so, I never felt much excitement to immediately watch the next one. The story sometimes drags, and the jokes follow a repetitive formula, as if the creators had endlessly recycled what worked in the original film. In my opinion, the concept would have worked better as a movie, avoiding the exhaustion caused by repetition.
The social critique is definitely one of the series' strong points. The way it humorously and intelligently addresses topics like the economic system, class struggle, and politics is surprising. Even though it might not appeal to all viewers, I found this approach bold and smart, raising the level of the story.
On the other hand, the humor remains absolutely obscene, with a flood of sexual jokes, graphic violence, gross-out moments, and many other bizarre scenes. I admit I liked some parts, but others went too far and made me uncomfortable, like the scene where a human is forced to eat a dead friend's foot, which seemed sick and unnecessary.
In summary, Sausage Party: Foodtopia would have been more effective as a 90-minute movie. At times, it tries too hard to shock with absurdity, and that ends up hurting the experience. It's a case where less could have been more.
Speak No Evil (2024)
Nothing would have happened if they had chosen to dine with the Dutch
"If they had just dined with the Dutch, none of this would have happened." That's how I start my review of *Speak No Evil* (2024), one of those rare remakes that manages to surprise, even for those like me who haven't seen the original film. I went in blind, not knowing what to expect, and ended up on a roller coaster of anxiety that didn't let go until the very end. The film quickly throws us into a narrative filled with intense dialogue and tense moments that grow by the minute. It's the kind of movie where the conversations make you feel uncomfortable and on edge.
The standout, without a doubt, is James McAvoy's brilliant performance. He delivers an award-worthy portrayal in a horror film, perfectly balancing the madness of his character, which keeps us glued to the screen, anticipating his every unpredictable move. He brings a rare depth to a genre often overlooked by critics.
The narrative takes a slower pace and builds suspense differently from what we usually see in conventional horror films. There are no excessive jump scares or violent deaths every five minutes. However, this approach might be an issue for some viewers who expect a more immediate and visceral kind of horror, possibly turning away those looking for a faster and less dense experience.
For me, the downside, and what frustrated me the most, were the completely absurd decisions made by some characters. They make choices that defy all logic, which only worsen the situation instead of solving anything. This lack of awareness breaks the immersion a bit, as we constantly find ourselves questioning their actions.
Despite these flaws, *Speak No Evil* stands out among current horror releases. It's not perfect, but it's intense, well-crafted, and offers an experience that will stay with me. In my opinion, it's the best horror film released by Blumhouse since *The Invisible Man* (2020). You don't need to know the original to enjoy this remake, and it might even be better that way because the thrill of being caught off guard was truly rewarding.