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REVIEW: Freaky

Universal Pictures
Rated: R
Run Time: 101 minutes
Director: Christopher Landon

Alright, so Freaky! Unfortunately, this review wasn’t ready in time for Halloween (which is totally understandable considering the circumstances), and because of that, it may have gone overlooked. But here comes another surprisingly decent horror remake of a classic movie plot element. From the same director and movie studio that brought us Happy Death Day (2017), but instead of a reimagining of Groundhog Day (1993), you might have already guessed it: this is a horror revision of Freaky Friday (1976).

I think the twist on the plot by itself was enough to get me more than interested in seeing it. Instead of a mother/daughter switch for a day, it’s serial killer/victim. The concept is honestly a great idea, in my opinion. The kind of idea that you think you could’ve thought of yourself but failed to do so in time. Furthermore, the comedy that comes from a serial killer being stuck in a 17 year old girl’s body, and vice versa, really makes for some genuine laughs. 

I usually am not out-of-my-way stoked about Vince Vaughn leading a movie, but the highlight of the film ends up being the lead actors’ performances, which also includes Kathryn Newton.

Despite any potential flaws I mention, I was able to stay engaged throughout the entire duration. I did not feel obligated to finish this movie just because I had to write a review, but was really anxious to watch the whole thing. For me, that makes the movie qualify as a worthwhile watch. If any movie can generate this much interest off the bat, and then maintain that interest through the hour and a half runtime, it deserves a seat at the table. In the end, it’s definitely a 2020 horror highlight (which I guess wasn’t too hard to do since the competition was scarce). 

Now, much of the movie shouldn’t be held to a high standard of originality, but the writers often are too tempted to not play into some exhausted horror tropes to progress the plot. One of the more egregious is creating absolutely disposable characters. The kinds where a horribly violent death doesn’t faze the viewer as much, because the victims are such unrealistic scumbags. Examples include extraordinarily unashamed, non-virtual high school bullies, borderline abusive teachers, and the creepiest jocks you’ll ever see. Then again, the whole movie really is shockingly violent, so maybe this tactic works well for most people. Speaking for myself, it was a tad bit forced. 

Kathryn Newton in a scene of Freaky | Universal Pictures, 2020.

Some of the acting is a bit crummy. The delivery of lines from a lot of these side characters (who are often very young actors) gets distracting. There’s also a noticeable shortage in extras, which was maybe due to Covid. I’m not bashing on that, but it’s interesting to notice how they try to adapt from that.

I guess if I could wrap up my view on this movie’s weaknesses: It’s often formulaic, but the frustration comes when you realize that it really didn’t have to be.

Now, I do have to go off for a second. The most unfitting scene in the movie is when the love interest (who’s an underage kid) passionately kisses Vince Vaughn… I mean sure, there’s “an underage girl trapped inside the character” but oooooof, that scene was weird. It’s a very bold move by the writers. The moment could’ve just as well been prevented before lips met with an inevitable gag, but instead they use the same gag to stop the make out after it starts and before things “go for too long,” I guess. And the fact that it didn’t feel like it was supposed to be funny but rather a meaningful moment, makes it all the more uncomfortable. I hope I’m not sounding too obtuse with this critique. That scene was just totally bonkers for me.

Anyway, you can weigh the pros and cons. But I think it was worth the single view, and it definitely satisfied my excitement just with the premise alone. Being that it’s still available in theaters, and it does have some glaring flaws, I’m going to go ahead and designate this as matinee kind of movie, or wait to stream/rent/purchase digitally.

Recommendation: Maybe A Matinee

REVIEW: Jingle Jangle: A Christmas Journey

NETFLIX
Rated: PG
Run Time: 122 minutes
Director: David E. Talbert

Jingle Jangle: A Christmas Journey is a 2020 Christmas musical fantasy film written and directed by David E. Talbert. It stars Forest Whitaker, Keegan-Michael Key, Hugh Bonneville, Anika Noni Rose, Phylicia Rashad, Lisa Davina Phillip, Ricky Martin, and Madalen Mills.

This Netflix original checks off every box for a cheerful Christmas movie. There’s a character who has lost all happiness and a young cheerful kid to bring back cheer into their life right in time for the holidays. The grump is Jeronicus Jangle (Whitaker) who used to be a brilliant inventor extraordinaire and loving family man. His life changed when his wife died and his apprentice, Gustafson (Key), “borrows indefinitely,” the plans for Jangle’s most brilliant work for mass production. He sends off his only daughter, Jessica (Rose), so he can live alone in his misery. It seems all is lost until Jessica sends his granddaughter Journey (Mills) to his store to stay with him. She’s smiling all the way with a head full of dreams and a belief in the impossible that would make Disney consider replacing Mickey Mouse. The film then progresses as a normal Christmas film would. However, the difference here between other typical Christmas films is the cast. The cast is superb all round, but newcomer Madalen Mills as Journey, and Lisa Davina Phillip as Ms. Johnston steal the scene when they appear. The ENTIRE cast is truly outstanding and that makes the typical Christmas story fun and moving.

The catchy music was mostly penned by Philip Lawerence, Michael Diskint and Davy Nathan (John Legend writing one song, “Make it Work”), though inspired from prior musicals from Disney otherwise. The song writer’s embed elements of the blues, jazz, and Afrobeats into these songs that make them feel fresh. There’s even a moment where James Brown’s iconic cape routine is emulated. The music is supported by fantastic dance numbers. Each big number feels fun and will get the audience moving. The costumes are also phenomenal, putting this film in right in the middle Victorian England and gives the feeling as if the story was from a Charles Dickens novel. It’s as if one combined “A Christmas Carol,” The Wiz (1978) with a twist of Disney magic from Mary Poppins (1964) and they produced this film.

Madalen Mills as Journey appears in a scene of Jingle Jangle: A Christmas Journey | NETFLIX (2020).

The most important part of this film is it’s message. Though Journey may have some of the cliche optimistic child qualities one would find in a Christmas movie, she also has important differences. Unlike a lot of the child protagonists in these kinds of movies, she is not gullible and easily outmaneuvered by the antagonist. She is also interested in the fantasy version of science, technology, engineering, and mathematics (STEM). The film shines a light on these fields of study in hopes to encourage children in their academic pursuits. Bringing more people to the STEM field is important for our country to grow and be able to compete with other countries who prioritize these fields of study. This film shows that it’s good to be interested in these areas using real life properties but with a twist of fantasy, e.g. “Square Root of Possible.”

The only flaws are that it is a fairly predictable film, and there are a few plot holes too. Also, Christmas does not really have much of an impact in the film. It takes place around the holidays and it provides hope, but it does not really apply outside of that. While the majority of the singing is great, not everyone is on key and some seemed more talk-singing than singing. Then the ones who really could sing, they weren’t on screen. When they were there, they were phenomenal, such as Rose who voiced the Disney character, Tiana, from The Princess and the Frog (2009).

Overall, this film is one of Netflix’s best original movies. Don’t be surprised if this story finds its way onto a theatre stage once the pandemic is over. This film has the ability to become a Holiday classic, but if not, it will be memorable for the music alone. Definitely check this movie out, and be ready to dance and feel the music!

Recommendation: STREAM IT

REVIEW: Let Him Go

Focus Features
Rated: R
Run Time: 114 minutes
Director: Thomas Bezucha

There’s something about Kevin Costner and the romanticism of “The Old West”. Say what you will about the true history of western expansion, but there are few cinematic motifs burned into our American psyche as strongly as the romantic western. Costner’s been behind a lot of the good ones, and Let Him Go owes a lot to that tradition.

The film begins with George and Margaret Blackledge (Costner and Diane Lane) mourning the loss of their son. His widow then remarries for security instead of love, which places their daughter-in-law and grandson in the clutches of unscrupulous matriarch Blanche Weboy (Lesley Manville) and her family of thugs. A simple request for custody of the boy escalates into a matter of life and death.

The film’s narrative hangs on the western framework: The old gunslinger who doesn’t sling his gun anymore, the firebrand who can hold her own, a family of criminals who answer to no one, and wrongs that must be righted with blood. Let Him Go rises above that standard fare on technical merit alone. Guy Godfree blesses the screen with gorgeous shots of Montana. Even the Dakotas look beautiful in frame despite their relative barrenness. This material is elevated even further by the sensitive direction of Thomas Bazucha and the performances of Lane and Costner. The rapport they display and the tenderness they show would be strong enough for the best of dramas. The resolve (and willingness to take it “there”) they display is strong enough for any white hat who’s ever been early to the showdown. These characters don’t reach the mythic heights of more traditional films, but the DNA is recognizable.

That’s the real strength of Let Him Go–particularly in Margaret’s character. So much of the story hinges on her decisions. George is there to be the strong shoulder and the voice of reason, but what is reason to a mother who can’t escape her loss? What is reason to a man who wants to help his wife with that escape? This is the dynamic that drives the film, and they nail it pitch perfect. The title “Let Him Go” becomes both a plea and an order that references the boy and his father all the same. The couple are at odds in how to reach a resolution, yet they know they have to carry each other above all else. It’s powerful stuff.

Kevin Costner and Diane Lane appear in a scene of Let Him Go | Focus Features (2020).

Let Him Go isn’t going to be the feel-good hit of the winter lockdown. What you should expect to see is a solid, assured piece of mature film making. Balance is the name of the game here. The movie is just as tender as it is terrifying. At times it sprawls like the wide open plains and canyons. In other moments it provides warm intimacy. The intimacy and the tender moments are welcome, because a love this strong and a hurt this deep come at a price, and like all Westerns, that cost must be paid….in full.

*Disclaimer: Let Him Go was released in theaters where theaters are open. If you are near an open movie theater, it might still be available to go see. If not, the film is already available to rent or purchase through VOD services.

Recommendation: Go See It!

REVIEW: Possessor

NEON
Rated: R
Run Time: 104 minutes
Director: Brandon Cronenberg

Possessor is a good film. I just can’t think of a single good word to describe it. The strongest word that comes to mind is “violation” because this narrative is built on them. It’s a Black Mirror episode gone horribly wrong–if there could be such a thing. Let that sink in. Possessor is labeled as a sci-fi, horror, psychological thriller. It ticks all of these boxes while remaining thought provoking (hopefully the philosophical or existential kind of thoughts); though, it seems to care more about depicting an act in brutal, excruciating detail than exploring why the act occurred in the first place.

In a near future where the level of technology is just right enough to enable all the wrong things, Andrea Riseborough is cast as Tasya Vos. She’s an assassin who uses the minds and, by extension, bodies of others to perform her work. The method can be taken as a microcosm of the film itself: relatively low-tech and high-concept. The efficiency of such a clandestine operation is really not the point. I believe writer/director Brandon Cronenberg is driving home the concept of violation and boundaries they cross….over and over and over again. It’s not enough to secretly poison a target or simply shoot them. Victims are bludgeoned and maimed and butchered. Here, in Cronenberg’s future, professional assassinations look more like rage or crimes of passion. Close up shots of needle injections and knife wounds are paid as much care as close ups of the actors themselves. One could argue that Vos’ body snatching is no different than a sharp object entering a victim’s body. All are violations. The collateral damage caused by Vos’ various masquerades are emotional violations. All do irreparable damage, but which of these instances is the most morally bankrupt way to do it? Is the Possessor or the host to blame for the savagery of these acts?

Cronenberg’s themes are apparent. Technology has pervaded every nook and cranny of our lives. Our privacy is gone. Secrets are easily laid bare. Social interaction isn’t the same as it was for the previous generation. All of it can be weaponized–is weaponized. This would have been a very different film in different hands. When I say “different” I mean just that. Not “better.” The visual aesthetic is right on the money and some creative visual choices are on display. They lend themselves well to the psychological aspect of the film, because the technology is the means and not the end. The flip side of that coin is the Cronenberg family penchant for body horror. I accept its symbolism only so far because there comes a point where it’s not about “the point” anymore. It becomes about shock and violence and perhaps appeasing the conventions of genre.

Jennifer Jason Leigh and Andrea Riseborough in a scene of Possessor | NEON.

Though Possessor will hopefully elicit some existential questions, I don’t know if a deep analysis is required. That’s not slight to Cronenberg, but more a comment on how committed he is to his message. Peel back the layers and you’re left with a bloody, nihilistic dissection of human nature. I don’t think it has more to say than that. Anyone familiar with sci-fi knows the hidden dystopia that’s configured underneath the surface of society. It often operates parallel to everyday life, giving you the good things while hoping you forget the toll it can exact upon you. Possessor will be a challenging watch because I see it as the opposite. There’s great art and an interesting premise, but you will feel every bit of the transaction. Some of you will find this film right down your alley. Some of you will find it difficult. I say err on the side of the challenge.

Recommendation: STREAM IT

REVIEW: The Witches (2020)

Warner Bros. Pictures
Rated: PG
Run Time: 105 minutes
Director: Robert Zemeckis

 We’re in a really weird moment in history where film companies are in a dilemma of whether to release films, once intended for movie theaters, onto streaming platforms, or to wait it out until coronavirus restrictions are lifted and more people are willing to go back to the movies. The Witches (2020) chose to release around Halloween on HBO Max. As I was already planning to watch as many spooky films as possible during this festive month, I became interested in watching this one. Being an HBO Max subscriber helped as well.

Disclaimer:  I have not seen the original 1990 film with Anjelica Huston, and while I have read the Roald Dahl book, It was in elementary school and I don’t remember enough of it to compare it to the 2020 film. So, this will be a review of the 2020 film on its own.

What I Thought

Ok, I lied. I’m gonna bring up the 1990 film just a little bit. Before I took the time to watch the film I was surprised to see that there was a large amount of negative reviews pouring out, which had me going into the film with a preconceived bias. About a third of the way into the movie, I finally stopped trying to look for faults and just enjoyed the fun story. From what some critics were saying, the 1990 version had a darker tone, and more serious take to the story. I personally love dark and creepy children’s films, and find it so fascinating to see how they can make a movie frightening without relying on the gore and violence meant for more mature audiences. It seems like the 2020 version went for a less creepy and more family-friendly approach.

Now, just because it’s family-friendly doesn’t mean it’s not creepy at all. This is a movie about witches after all. Anne Hathaway’s performance as the Grand High Witch is truly entertaining to watch, and when she unleashes her true evil it is quite creepy. I was reminded of Bill Skarsgard’s performance as Pennywise the Dancing Clown–just with a Russian accent. When she reveals her true form, she reveals a wide smile filled with teeth just like Pennywise in IT (2017).

Jahzir Bruno, Octavia Spencer, and Stanley Tucci in a scene of The Witches | Warner Bros. Pictures.

I did have some issues with the CGI mice at the beginning part of this film, which I eventually got over. It was really fun seeing Octavia Spencer in the role of Grandma. She comes off as both hilarious, fierce, and kind. Codie-Lei Eastick was absolutely hysterical to watch as Bruno, and seeing his character’s interactions with “Hero Boy” and Daisy/Mary was just so much fun. And I think that’s the main difference between this film and the 1990 film (I assume). The 1990 film was known for its practical effects and its ability to scar children for life. The 2020 is meant to be a fun and spooky family film. And if you’re looking for that this season, then The Witches (2020) is a perfect movie for you and your kids.

I originally went into this film feeling influenced by the negative reviews, and ended up having a great time. The acting is great, the CGI (while not the best I’ve ever seen) is perfectly capable for what type of movie this is, the plot is fun, and the characters are all very likeable. If you are in the mood for a spooky, family-friendly film this fall, I’d say give The Witches (2020) a chance!

Recommendation: STREAM IT

Shower Thoughts: Does ‘Psycho’ Still Hold Up 60 Years Later?

 Ha ha. Shower thoughts! Get it? Alright, alright; I’ll lay off the puns.

First Thoughts

 If you can believe it, there was a time when I wasn’t completely obsessed with movies. Back in high school, I took a “Literature Through Film” class as an excuse to watch movies as the class of the day. It was a chance for me to relax for an hour before going off to work. I remember when it was announced that we would be watching Psycho (1960), the principle of the school came in and assured us that even though this movie was rated R, there was nothing in this movie that would violate our cultural religious beliefs. However, if anyone felt uncomfortable, the teacher would provide an alternative assignment. (I grew up in a very conservative part of Utah) No one took the alternative, and I myself was super excited to see a real life, unedited rated R movie! (Once again, I was really conservative growing up.) When the credit rolled, I found myself with a deep sense of…boredom. Despite being in a film class, I had not begun to appreciate all the nuances and technical aspects that comes with filmmaking. I had expected a lot more shocking visuals and graphic violence to accompany the movie regarded as the greatest thriller/slasher film ever made. In my youthful arrogance and ignorance, I wrote off Psycho as being overrated and was determined to leave it at that. Thankfully, I grew up.

My Redemption Arc

It was around 2014 when I discovered my love for watching and collecting movies, and around the fall of 2015 when I first began seriously studying film as a medium. I took an introduction to film class with my roommate, and I began really appreciating what goes into making a film. I began to expand my watch-list beyond the bi-annual Disney and Marvel movies, getting into more independent films and familiarizing myself with different directors. About a year later, I realized that I still had neglected a whole genre: horror. I had always been a bit apprehensive about horror film because of my conservative upbringing, but I also knew I wouldn’t be a very good film critic if I refused to watch an entire genre. So I began to ask around to see what the best horror movies were. I slowly began to really appreciate and admire horror as a genre simply by how much effort it takes to create a good horror picture. Cheap B-horror movies are a dime a dozen, and I can’t tell you how great it is to see a fantastic horror movie. Fast forward to a couple of weeks ago, when the Backseat Directors writers were having a group discussion about critically acclaimed movies that were overrated (in contrast to our “Defend Your Movies” series on the podcast). I threw out that I thought Psycho was boring, and the gasps of outrage and disbelief could be heard throughout the far reaches of space. André (the founder of Backseat Directors) brought up the suggestion that I should watch it again and see how I feel about it now. Knowing that my knowledge of movies had grown, and I’d probably have a different opinion now, I agreed. So, what’s my verdict? Psycho is a masterpiece.

Surprise vs Suspense

Vera Miles as Lila Crane in the iconic “shower scene” of Psycho (1960) | Paramount Pictures.

Many fans of Hitchcock are likely familiar with his famous advice about surprise vs suspense:

There is a distinct difference between “suspense” and “surprise,” and yet many pictures continually confuse the two. I’ll explain what I mean

We are now having a very innocent little chat. Let’s suppose that there is a bomb underneath this table between us. Nothing happens, and then all of a sudden, “Boom!” There is an explosion. The public is surprised, but prior to this surprise, it has seen an absolutely ordinary scene, of no special consequence. Now, let us take a suspense situation. The bomb is underneath the table and the public knows it, probably because they have seen the anarchist place it there. The public is aware the bomb is going to explode at one o’clock and there is a clock in the decor. The public can see that it is a quarter to one. In these conditions, the same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen: “You shouldn’t be talking about such trivial matters. There is a bomb beneath you and it is about to explode!

In the first case we have given the public fifteen seconds of surprise at the moment of the explosion. In the second we have provided them with fifteen minutes of suspense. The conclusion is that whenever possible the public must be informed. Except when the surprise is a twist, that is, when the unexpected ending is, in itself, the highlight of the story.

TV interview with Alfred Hitchcock

One thing that plagues a lot of modern horror/slasher films is the over use of jump scares, and the lack of suspense building. They tend to go for the surprise angle and not the suspense. For some movies, that’s completely fine. However, an over reliance on suspense over surprise actually cheapens the quality of the film. This is the reason the original Halloween (1978) was such a success. It wasn’t as bloody or gory as most modern movies, and even the Halloween sequels themselves. But the constant stress of waiting and not knowing what the killer was going to do next kept us on the edge of our seats. I believe this drew its inspiration from Psycho.

“Re Re Re Re”

Anthony Perkins as Norman Bates in one of the most iconic scenes in film history | Psycho (1960) | Paramount Pictures.

The music of Psycho is the heart and soul of the movie. Hitchcock even admitted that without the music, he was convinced that Psycho would be doomed to be a made-for-TV movie. However, after seeing the film with the finished score, he was confident in the film.

Going back to my comparisons with the original Halloween… in both films, the music elevated what could have been a B-movie into a masterpiece. Both had great themes and haunting melodies that accompanied the sense of being watched and stalked.

Anthony Perkins

I just want to acknowledge how outstanding Anthony Perkins’ performance is in this movie. When we first meet Norman Bates, he seems like the perfect boy next door: a shy, but good natured man. Then slowly we learn that he is a peeping tom, and covers up for what he believes is his mother’s murders. The subtle change in his face and in his eyes over the course of the film is absolutely brilliant.

Final Thoughts

Back in high school I knew almost nothing about different types of movies, nor how they were made. In the words of my old boss at the movie theater, I was a “popcorn muncher.” Now, I totally understand why this movie is referred to as a classic and a masterpiece. Those terms are rightly used. It was because of Psycho that movies like Halloween could become so beloved. I’m so glad I watched this movie again. I own it now, and so should you.

REVIEW: The Trial of the Chicago 7

NETFLIX
Rated: R
Run Time: 130 minutes
Director: Aaron Sorkin

There’s just nothing like a good court room drama. If you’ve set it up right and created colorful characters, it can be the perfect storm of emotional pay-off and problem-solving. Some manage to explain the mechanics of the law so well and so thrillingly that lay people like myself get a false feeling that we understand the law better than those who spend years studying it. The best ones have me thinking that it’s my destiny to go to law school, change the world, and look good while doing it. Such was the effect of The Trial of the Chicago 7. There’s a lot of context and a lot of set-up, but if you’ve been paying attention, the magnetism of the second half will have you glued to your screen. Aaron Sorkin both directed and wrote the film, as he did with his directorial debut Molly’s Game (2017), which was one of my favorites from that year. His fast-fire dialogue and endless exposition provide engaging entertainment through weighty subject matter, though at times it feels heavy-handed. It will definitely appeal to fans of his previous works, A Few Good Men (1992) and The Social Network (2010).

Even if you are suffering from political fatigue, you have to see this movie just to take in the characters. It’s hard for me to pick a favorite from such an extremely talented group, as even supporting characters with sparse lines are memorable and incredibly engaging. Sorkin’s talent for presenting opposing sides and yet making both sympathetic is on full display. The Chicago 7 (plus Bobby Seale, played by Yahya Abdul-Mateen II) make for a fascinating group; though under the same charges, their different backgrounds, followers, and agendas make for compelling conflict as they interact with each other. What appears one dimensional is slowly fleshed out and made into real, more rounded people, though certainly creative liberties were taken with history to produce an entertaining, inteligible tale. As long as you remember that you are watching a movie, I don’t think those stylistic changes should bother you.

From left to right: Yahya Abdul-Mateen II, Ben Shenkman, Mark Rylance, Eddie Redmayne and Alex Sharp in a scene of The Trial of the Chicago 7 | NETFLIX.

This stellar Aaron Sorkin script brought to life by an all-star cast is definitely a Hollywood home-run. I have no doubt it will be a big dog at the awards circuit, but I also believe it has the potential to be the film that brings Netflix its first Best Picture Oscar. Certainly, the timing of its release is no coincidence, as it’s evident that producers had both an election and an awards season on their minds. Viewing it in the context of our current climate is especially insightful and affecting. It’s hard to say whether it will have the staying power of 12 Angry Men (1957) and To Kill a Mockingbird (1962), but I do think it’s one of the most socially relevant viewings you’ll have this year. And even if it doesn’t convince you to go to law school, I hope that once the pixie dust wears off you’ll still want to make a difference.

Recommendation: STREAM IT

REVIEW: The Wolf of Snow Hollow

Orion Classics
Rated: R
Run Time: 83 minutes
Director: Jim Cummings

One more thing that COVID-19 has done to to the industry: The Indie movies that would’ve never been given a chance as a wide release in theaters are now camouflaging in with the blockbusters. I thought I was about to watch a straightforward, sobering, drama/thriller… Boy, was The Wolf of Snow Hollow NOT that.

Immediately following a beautiful and unsettling opening credit sequence, the off-beat, erratic editing, acting and dialogue begins and never lets up. You might be tempted to call it bad acting, or low budget, but give it a few minutes; once you get used to the rhythm of this truly odd movie, you start to enjoy the imperfections. It really doesn’t seem like a mistake, but rather intentionally other worldly. It reminds me a lot of how the same elements are handled in It Follows (2014); just a bit off and unfamiliar. But I think it works! Where as those little details gave It Follows a hipster feel, The Wolf of Snow Hollow brings more of an ironic comedy to the mix. And I wouldn’t classify this as “so bad it’s good,” it’s more grounded than that, and much more self aware. Whatever the film is, it’s good enough to get you engaged if you allow it 15 minutes of your time before giving up (the movie is only 83 minutes total). 

This story portrays a moment in the life of an unstable, small town sheriff’s deputy along with the rest of his office, and what would happen if a murderer (or something else) started going on a homicidal rampage. What ensues is a series of incompetent decisions, mental breakdowns, and desperation to stop the carnage. It’s honestly so great. 

Once you get used to the insane editing, the non linear, almost hyperactive story telling becomes one of the film’s strong suits…even if it’s just that it’s unique. It shows just how scatterbrained an amateur cop from the boonies would be dealing with something this HUGE (tease).

From left to right: Riki Lindhome, Marshall Allman, Robert Forster, Neville Archambault and Jim Cummings in a scene of The Wolf of Snow Hollow | Orion Classics.

So many moments of otherwise bizarre behavior feel so relatable, to the point where you’re surprised how much you’re laughing. Honestly, guys, from one scene in particular I ended up laughing uncontrollably for like 5 minutes.

To wrap it up, the horror factor is unnervingly mysterious and creepy by itself. Along with that, there’s a clever, whacky twist followed by a satisfyingly tranquil ending.

Side note: veteran actor Robert Forster, who co-stars in The Wolf of Snow Hollow, passed away during the filming. His character and performance end up being a coincidentally nice goodbye and a highlight of the film. Jim Cummings is the writer, director and lead actor. Being that he decidedly pulled off such an unlikely accomplishment, I’m excited to see his one other film he has to date, Thunder Road (2018), where he helms all three jobs again.

I’ll stand by The Wolf of Snow Hollow as one of the best and likely most underrated dark comedies of the year.

Recommendation: Go See It!

REVIEW: Hubie Halloween

NETFLIX
Rated: PG-13
Run Time: 102 minutes
Director: Steven Brill

Anybody else just really loving this holiday season more than usual this year? I don’t know what it is, but I’m especially open to anything Halloween related just to get the spooky feels going. Haunted houses, late night movies in bed, decorating my classroom, scary stories around the fire–I’m doing it all this time around. Maybe that’s why I was actually willing to give Hubie Halloween a shot. My take on this film will end up being pretty simple, short and not so sweet. But I don’t feel like passing judgment without first honoring merit where merit is due. So, let me talk a little bit about the producer and lead actor.

Deep down, don’t we all love Adam Sandler? From The Wedding Singer (1998) to 50 First Dates (2004), he’s made some definite classics that will be in my movie collection forever. He has a respectable resume between SNL, his large filmography, and an underrated knack for drama like in Punch Drunk Love (2002), The Meyerowitz Stories (2017) and most recently, Uncut Gems (2019). It’s not very debatable, the guy has talent.

On top of his career, he just seems like a really good dude off the screen. I love the tear-jerking, heartwarmingly personal memorial he gave Chris Farley in Adam Sandler: 100% Fresh (2018). He performed a beautiful song with Miley Cyrus respecting the victims of the Las Vegas shooting a few years back. Even that funny video of him and Justin Bieber spotting each other on the streets; just a nice, down to earth human being.

Now I’ll add to the overwhelming consensus: he’s had a lot of duds. In many cases, his later movies have been almost entirely void of the sincerity, wit and utter watchability of his past films. I don’t think I need to name them, but basically any Happy Madison produced flick in the last 10 to 15 years should give you a general idea. This doesn’t mean that these movies don’t have a place in the world. Just as the gags have delved into potty-humor and the stories and characters have turned (even more) ridiculous, they may just be more so geared for preteens. So don’t call me a hater. And for the record, I love that he uses his films as a way to kind of vacation and spend time with his buddies. I’m also sure he works really hard; they usually pump out 2 or more movies a year.

Julie Bowen and Adam Sandler appear in a scene of Hubie Halloween | NETFLIX.

So… Hubie Halloween. I’ll say a couple things I loved. There were really fun references to older, far superior Adam Sandler movies. Moments of these are what got me first engaged in the film and what often got me through it. That element and just a few other subtle bits of dialogue had me genuinely laughing. Another thing, Sandler’s character is a sweet guy, and the moral of the story centers around that. Though many might be tired of the standard Bobby Boucher/Happy Madison/Sandy Wexler voice and mannerisms (and at first his voice did make me moan in exhaustion), it works fine enough to make the character overall likable.

BUT expect the bizarre, witless potty-humor. Expect other jokes that just simply fall flat. Expect less than award-worthy acting and a script and story that don’t help much either in bolstering this flick out of the slew of subpar Netflix Originals.

For many die hard fans of his content, or if some individuals are just that easily pleased by a movie, this may be a fun new addition for you. After all it’s Halloween genre. And in my opinion, that alone makes any movie more fun.

Aside from those select few mentioned, I’d advise the general audience to skip it for now. Keep an eye out on our content that has or will be released this month for some better suggestions of Halloween movie night options!

Recommendation: SKIP IT

31 Films for 31 Nights: Your Guide to the Spookiest and Scariest Films You Can Watch this October

Good evening foolish mortals! It is I, the grandmaster of ghouls Josh here to share with you 31 films that I personally will be watching this October. One horror film for every day of the month is my tradition and we will be going through old classics and modern terrors, a mix of mainstream and indie, and none of that fun family Halloween. This is pure screams and gore. So please, sit back, relax, and don’t look behind you….you might not like what’s there.

Oct. 1 – Midsommar: You might ask yourself, “What’s so scary about a fun festival that takes place in a constant daylight setting?” Ari Aster is ready to show you. Ambitious, disturbing, and excellently made, Midsommar is modern horror that must be seen.

Midsommar is available streaming on Amazon Prime Video.

Oct. 2 – The Wicker Man (1973): Keeping our theme of terrifying cults, The Wicker Man is ultimately a story of faith in God against the sinners, though the ending is not a victory.

The Wicker Man (1973) is available streaming on The Criterion Channel.

Oct. 3 – They Live: What I love about They Live is that it challenges modern media even in today’s current times. It’s a film about breaking the status quo and not falling for media deception. Very relevant for today.

They Live is available streaming on STARZ.

Oct. 4 – Se7en: “WHAT’S IN THE BOX?!” is one of my all time favorite lines in cinema and Se7en is one of my all time favorite detective films. What makes it so terrifying is how real the whole film feels, and a serial killer who is always one step ahead.

Se7en is available streaming on HBO Max.

Oct. 5 – The Conjuring: A movie that nails the “based on true events” theme that it is based on. James Wan excellently directs a fine period piece that is heavy on the scares.

The Conjuring is available to rent or purchase on most VOD services.

Oct. 6 – The Strangers: While not the strongest movie per se, what The Strangers does right is instill the fear in you that this could really happen to someone. Reckless violence is truly terrifying.

The Strangers is available streaming on SYFY.

Oct. 7 – Raw: This movie absolutely shocked me when I first saw it; a sweet girl who is a die-hard vegetarian finds out she has a penchant for the taste of flesh, while also discovering herself in college. What could go wrong?

Raw is available to rent or purchase on most VOD services.

Oct. 8 – Re-Animator: Based on the H.P. Lovecraft story, Re-Animator is loud, gory, and insane. A fun black comedy, yet also horrifying.

Re-Animator is available streaming in fuboTV and Showtime.

Oct. 9 – 28 Days Later: An excellent reimagining of the zombie genre. This movie will punch you in the face and never let up.

28 Days Later is available streaming on SYFY and sling.

Oct. 10 – The Babadook: Using the horror genre to explore how difficult motherhood can be sounds like a daunting task, but Jennifer Kent makes it look like a cakewalk. It balances tension and scares in a masterful way.

The Babadook is available to rent or purchase on most VOD services.

Oct. 11 – Don’t Look Now: A movie that strays away from a lot of the conventions of horror, but rather focuses on very human themes such as grief and the mental anguish one suffers. This movie changed the way I see horror and should not be missed.

Don’t Look Now is available streaming on Amazon Prime Video and The Criterion Channel.

Oct. 12 – The Descent: Claustrophobia mixed with creatures is always scary. This movie is nerve-wracking and intense, a payoff from its excellent direction and performances.

The Descent is available streaming on sling and tubi.

Oct. 13 – Bram Stoker’s Dracula (1992): My personal choice for a Dracula film. This movie is pure 90s, overblown, noisy, but ultimately gorgeous. The performances are excellent and what keeps me watching it every year.

Bram Stoker’s Dracula is available streaming on YuppTV and DirecTV.

Oct. 14 – Scream: Wes Craven not only helped create the horror genre but he also re-invented it. A very meta film that breaks all the rules. Scream may seem by the books now, but at the time this was a whole new ball game.

Scream is available to rent or purchase on most VOD services.

Oct. 15 – The Witch: A film that is an exercise in showing not telling. It’ll feed you little hints and details until it is too late. Thought provoking and masterfully made.

The Witch is available streaming on fuboTV and Showtime.

Oct. 16 – Bone Tomahawk: A genre mashup of western and horror is as appetizing as peanut butter and tuna. But Bone Tomahawk relishes in its disgustingness with disturbing visuals and intense gore. Not for the faint of heart.

Bone Tomahawk is available streaming on Amazon Prime Video.

Oct. 17 – Suspiria (1977): Italian director Dario Argento’s magnum opus, this is punk rock horror. One of the last films made in Technicolor the reds of the blood are intensely crimson, and the vibrant colors terrify the eyes.

Suspiria (1977) is available streaming on tubi.

Oct. 18 – Audition: If you have never seen this movie I highly suggest going in blind. If you have seen it then you know why. A total smoke and mirrors show that is also a pressure cooker that explodes in the nastiest way, Audition will leave you in total shock.

Audition is available streaming on SHUDDER and tubi.

Oct. 19 – Friday the 13th Part 2: I actually think that Part 2 is the best entry in the series, and is actually the film where Jason Voorhees is the primary villain. Gory, choppy, and brutal, what everyone loves on good ol Halloween.

Friday the 13th Part 2 is available streaming on sling.

Oct. 20 – A Dark Song: This little indie film is the very definition of a slow burn horror. Nothing but setup for what feels like an hour and you’re ready to give up. But if you stick through it you’ll witness a film that will chill you to the bone.

A Dark Song is available streaming on sling.

Oct. 21 – Lake Mungo: A ghost story in mockumentary form, Lake Mungo feels so real that you have no choice but to sympathize with the characters on screen. The power of this film is how tragic it is; it’s a feeling that stuck with me for weeks.

Laker Mungo is available streaming on Amazon Prime Video and tubi.

Oct. 22 – Martyrs (2008): This is probably the most controversial film on my list. A French shock film that pushes the absolute limits. I wish I could stick my brain in a dishwasher to take this film out of my memory.

Martyrs is available to rent or purchase on most VOD services.

Oct. 23 – The Blair Witch Project: This is seriously a once in a lifetime kind of film. While it feels tame by today’s standards, The Blair Witch Project has actually helped shaped the current landscape of film today. An absolute must see and horror classic.

The Blair Witch Project is available streaming on DirecTV and sling.

Oct. 24 – The Shining: My all time favorite Stephen King adaptation. Kubrick gives us a masterclass in storytelling, cinematography, and direction. With so much to learn and observe this is a film that requires multiple watches.

The Shining is available streaming on DirecTV and sling.

Oct. 25 – Psycho (1960): What can I say that hasn’t already been said about this film? A contribution to horror and proof that the genre itself is an art form.

Psycho is available streaming on peacock.

Oct. 26 – Candyman (1992): Taking place in a public housing project and featuring one of the most interesting horror movie villains around, Candyman isn’t your average slasher. It digs a little deeper to show a classist message that is still relevant.

Candyman (1992) is available streaming on DirecTV, fuboTV, and sling.

Oct. 27 – The Exorcist (1973): I’ve been frequently told by people that The Exorcist, “just isn’t scary anymore,” and I couldn’t disagree more. To this day and after several watches this movie still sends a chill up my spine. Its legacy is eternal.

The Exorcist (1973) is available streaming on DirecTV and sling.

Oct. 28 – The Thing: I love everything about this film, the paranoia, the terror, and the total feeling of freezing isolation. It also boasts some of the coolest special effects made practically. Its a real sucker punch of a film.

The Thing is available streaming on DirecTV and Showtime.

Oct. 29 – Get Out: One of the most important films of the 2010s and an insightful commentary on race relations, Get Out is a thriller where you don’t know whether you should be laughing or crying in fear, that’s what makes it scary.

Get Out is available to rent or purchase on most VOD services.

Oct. 30 – Alien: The very essence of Alien isn’t sci-fi but rather gothic horror. Carefully crafted by Ridley Scott, this movie is good not because of its complexity, but its lack of it. Being trapped in a giant tin can with that Alien will always be scary to me.

Alien is available streaming on DirecTV and HBO Max.

Oct. 31 – Halloween (1978): This is the movie I watch every single Halloween. I first saw it when I was a junior in high school and it affected me so much that I continue to watch it like some sort of sick ritual. Halloween is the horror genre distilled into a perfect formula.

Halloween (1978) is available streaming on The Roku Channel and on SHUDDER.

Well, there it is folks! This isn’t a list of what I think are the best horror movies, but rather a guide of movies that I think are fun to watch to get in the spooky mood during this festive month. There is a certain beauty in the Horror genre. Beneath all the blood and guts, the dirt and the grime, there is a certain catharsis that one feels after conquering a fear. It is a genre that is always innovating and always looking to evoke emotion. After all, what’s fun without a little fear? Happy Halloween!

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The Backseat Directors team of writers is a collection of some of the most passionate movie fans ever assembled. Dedicated to bringing you the latest in movie reviews, and compelling editorials.

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