IT: You’ll Float Too

As of this writing, I’ve read 38 of Stephen King’s books, and IT is by far my favorite. The story of a shape-shifting, ancient evil being dwelling in the sewers beneath the streets of Derry, Maine has been terrifying readers since It was first published in 1986, and with the release of the new movie, It is set to traumatize a whole new generation. Before we get started, let me say that I will do my best to avoid spoilers for the new film, but there will be spoilers for the book. So yeah, spoiler alert for a book that was published thirty years ago. Also, for anyone who has a phobia of evil clowns, be aware that I will not be including any images that directly show the evil clown. It’s okay, you’re safe.

But you know who isn’t safe? The main characters of IT. The most obvious challenge of adapting King’s book for the screen is Its intimidating length. The novel is well over a thousand pages long, and every aspect of the story is richly detailed. Aside from Its length, the other challenge is the way in which King tells the story. Every time I think about the way King structured the novel, I am blown away. Basically, there are two main sections of the story. The first follows the main characters, who call themselves the Losers Club, as they face It for the first time as children, and the second follows the Losers as they confront It again as adults.

Image: Warner Bros.

You would think that the book would be divided into two sections, the first about the Losers as kids and the second about them as adults. But that’s not the way King does it. He doesn’t tell the story chronologically, instead bouncing back and forth between the two time periods. As the Losers grow into adulthood and move away from their hometown of Derry, they forget their experiences with It until the one member of their group who stayed in Derry calls them individually to tell them that It is back. As they return to Derry, parts of their pasts begin to come back to them, so the reader learns about their history along with them. That is a brilliant way of constructing the story, and it keeps the reader guessing for the entire time, which is no easy feat when you consider the length of the novel.

This too presents obvious problems for adaptation. It would be impossible to make one movie out of the novel and follow the structure King used, unless the movie was like five hours long. No one wants to sit in a theater for five consecutive hours, so clearly compromises must be made. The book was first adapted into a two-part television miniseries which aired on ABC in 1990. The miniseries famously starred the great Tim Curry as Pennywise the Dancing Clown, one of Its favorite incarnations. Watching the miniseries today, it’s not very scary. It’s campy and sometimes creepy, but by today’s standards it’s fairly tame. Curry is great as Pennywise, but since the miniseries was on ABC it had to adhere to broadcast standards, so it feels like a neutered version of King’s story, and most of the gore and hardcore terror of the novel is missing.

The new film is R-rated and does not have such restrictions. As such, it is free to revel in the gore and nightmarish imagery of King’s twisted imagination, and does so with aplomb. If you have a phobia of clowns, do not under any circumstances ever see this movie. It will scar you for life. This is the single scariest movie I have ever seen in the theater, and I audibly gasped a few times while watching It, which is something that simply never happens.

The makers of the new film have wisely decided to focus on one part of the story. The film only tells the story of the Losers Club as kids. This is only half the story, but makes sense in terms of adaptation. It does make me a little sad, since the way King structured the novel was one of my favorite things about It. But like I talked about earlier, filming the novel the same way it is written would be nearly impossible, so the filmmakers get a pass. Since the movie is currently making bank at the box office, a sequel is looking increasingly likely, and I am 100% on board with the same creative team making a sequel, because they nailed It.

Whew. That was probably the longest intro to any post I’ve ever written. So, what is It actually about? As great as Tim Curry’s portrayal of Pennywise is, it seems to have given people who haven’t read the book the impression that It is simply about an evil clown terrorizing children. While there is an evil clown and It does terrorize children, to think of It as just an evil clown story would be doing It a grave injustice.
There is a reason the book is about twelve hundred pages long, after all. It is a story about friendship, love, childhood, memory, overcoming trauma and fear, and being stronger together than you are by yourself. The book is terrifying and gruesome and disturbing, but It is also deeply moving. King has a wonderful understanding of his characters, and their interactions and relationships feel completely real, as both kids and adults.

Image: Warner Bros.

The characters are some of the best King has ever written, and all of them have qualities which make them unique. Stuttering Bill Denbrough is the de facto leader of the group, who has the most personal grudge against Pennywise. Richie Tozier is a loudmouth whose trash-talking and inability to shut up frequently lands himself and his friends in hot water. Eddie Kaspbrak is a hypochondriac who lives with his overbearing mother. Stan Uris is the son of a rabbi, and is the one who has the hardest time accepting the reality of Its existence. Mike Hanlon is the only black member of the group, and the only one to remain in Derry as an adult. And then there are my two favorites: sweet, chubby Ben Hanscom, who is the new kid in town and is frequently bullied because of his weight. Last but not least is clever, pretty Beverly Marsh, the only girl in the group, and whose father is a bit too concerned about her, if you catch my drift.

They all have their own encounters with various incarnations of It, and realize that they must band together in order to defeat It. It is not just an evil clown. It is an ancient, otherworldly being who is able to change Its form according to whatever Its victim is most afraid of. At first, the Losers are not sure if they have encountered the same thing, since they all experience different terrifying versions of It. But why does It like the damn clown so much? In the book, the implication is that the clown is the lowest common denominator, the thing that everyone is afraid of, so when It appears to the Losers as a group, It takes the shape of Pennywise, the most terrifying clown in history. Stephen King himself has said he will never write a sequel to It because Pennywise scares him too much, which is saying something coming from a guy who has been giving people nightmares since his first book was published in 1974.

Another brilliant thing about the book is the way King subverts people’s expectations of a horror story. In most cases, the reader or viewer of a scary book or movie is not overly concerned with the kids in the story, since the kids usually survive. King blows this out of the water in the book’s very first chapter, a hauntingly unforgettable scene in which It brutally murders Bill Denbrough’s six-year-old brother Georgie. And when I say brutal, I mean brutal. IT RIPS GEORGIE’S DAMN ARM OFF AND HE BLEEDS TO DEATH. The book takes no prisoners, and quickly establishes that the kids are not safe. They are in mortal peril, and the book uses this to ratchet up the tension and the horror.

I am happy to report that the film does the same. The movie closely follows the parts of the book that it covers, and while there are a few minor changes the overall adaptation is very faithful, and does an admirable job capturing the spirit of the book. The movie was originally going to be directed by Cary Fukunaga, who directed the brilliant first season of HBO’s True Detective. Fukunaga left the project due to creative differences and was replaced by Andy Muschietti, an Argentinean director whose only previous feature was a 2013 horror film called Mama. I haven’t seen the feature version of Mama, but I have seen Muschietti’s original short film upon which the feature version of Mama is based. The short film is on YouTube, and it is creepy as hell. Muschietti does an excellent job with It, and presents some of the most nightmarish and horrific images I’ve ever seen on a movie screen. Well done, sir.

Also excellent is the movie’s young cast. Making an R-rated horror movie starring a cast of mostly-unknown child actors is a risky proposition. But Muschietti’s efforts have paid off tremendously, since not only is It a hit critically and commercially, but Its young cast is also excellent. If the relationships between the Losers didn’t work, then the movie itself wouldn’t work, but all the young actors are fantastic. They have great chemistry with each other and there is a genuine sense of camaraderie and friendship between them. You have no trouble believing that they would die for each other. Kudos to the casting director for the movie, it must have been hard to find the right actors to play the Losers, but they’re all great. The movie also omits the book’s most controversial scene, and if you’ve read the book you know which scene I’m talking about. I think we can all agree that leaving out that scene was the right thing to do.

But of course we must address the elephant in the room. What about Pennywise? After all, Pennywise is the most famous character in the movie. In the new movie, Pennywise is played by Bill Skarsgard, who is the son of Stellan Skarsgard and brother of Alexander Skarsgard. Being an actor runs in the family I guess. Skarsgard’s performance as Pennywise is, in a word, TERRIFYING. Skarsgard said in interviews that he was aware of Tim Curry’s performance as Pennywise, and chose not to incorporate any of Curry’s mannerisms into his own performance. A wise decision, since the new version of Pennywise is bone-chillingly frightening, without a hint of the camp of Curry’s version. Skarsgard’s Pennywise is a soullessly evil monster without a shred of pity.

Image: Warner Bros.

The movie caught some flak online for its marketing, which some people thought showed too much of Pennywise, believing that the less he was seen beforehand, the more frightening he would be onscreen. Fair enough, but he is still terrifying, and the marketing did not show any of Its other incarnations. After all, Pennywise is but one of many. All of the movie’s versions of It are very scary, and many of them are different from Its forms in the book and miniseries. The filmmakers did this so the movie would feel fresh and would surprise viewers, and they succeeded. It is scary in whatever form It takes.

It is not a movie for everyone. It does not hesitate to depict graphic violence directed against children. This is evident from the opening scene, faithfully adapted from the novel, in which It relieves poor Georgie Denbrough of his arm. The sight of a young child screaming in pain as blood gushes from his severed arm is upsetting to say the least. But damn if it isn’t effective.

Another of my favorite aspects of the novel is King’s understanding of being a kid. The book explores how kids are better equipped to fight It, because they can accept Its existence in a way that adults can’t. When Georgie Denbrough first sees It in a storm drain in the book’s first chapter, King writes that were he ten years older, Georgie would not believe what he was seeing. But Georgie is six, not sixteen, so when he sees a clown in a storm drain, he accepts that It’s real without question. If an adult encountered a clown in a storm drain, he or she would make up any number of excuses to explain the sight, and would probably question his or her own sanity before accepting the reality of what their eyes show them. But as King points out, a kid does not have this problem. The movie, remarkably, captures this.

It is not all monsters and gore. The movie gives the kids time to just be kids, and is surprisingly funny at times. It shows them bonding and having fun, especially in a lovely sequence where they all jump in the lake and just horse around with each other. Their friendship feels genuine, and their relationships reminded me a bit of the kids in E.T., or JJ Abrams’ Super 8, although It is far more graphic than either of those two films. I’ve also heard comparisons to the kids in another film based on a King story, 1986’s Stand By Me. I haven’t seen Stand By Me, but I have no reason to doubt the comparison.

It is a tremendous film. I’m not going to see it again in the theater, since seeing It on the big screen once was enough, thanks. But I will be buying the Blu-Ray and watching all the special features. The movie only tells half the book’s story, but it does so extremely well, and feels like a complete story in and of itself. It leaves the story open for more, but still gives the viewer a sense of closure, and doesn’t end on a cheap cliffhanger. The acting is great across the board and the film looks terrific. The movie isn’t able to explore all of my favorite aspects of the book, since many of them are tied onto the book’s nonlinear structure, and the movie also doesn’t go into much detail about the origins of It, but these are inevitable consequences of adapting such a long book, and could be further explored in the sequel.

Image: Warner Bros.

It is one of the best-ever adaptations of Stephen King’s work, of which there are more than you realize. It is terrifying and disturbing, but unlike many modern horror films, the characters feel real and the viewer cares about them, deeply. King’s messed-up story is one of my favorite books of all time, and this is a worthy adaptation of what I consider to be a prolific writer’s masterpiece. Clearly I’m not alone in my reverence for the story, since the movie made a whopping $117 million over its opening weekend, far exceeding expectations and breaking several box office records.

Bring on Part 2. I can’t wait, although I might be watching from behind my hands.

Coming up next, another one of my literary heroes gets an adaptation. This time it’s American Assassin, starring Mitch Rapp, a kickass CIA agent from an excellent series of spy novels by the late, great Vince Flynn. See you next week for spies and assassins, and a whole lot of butt-kicking along the way.


Le Cinema de WTF: A Cure for Wellness

Most people probably know Gore Verbinski as the director of the first three Pirates of the Caribbean movies. As successful as those films were, it’s easy to forget just how bizarre they were, as well as being easily the darkest and most violent films Disney had ever produced. Verbinski delivered another bizarre blockbuster with The Lone Ranger in 2013, but this one wasn’t nearly as successful, instead becoming one of the most expensive flops of all time.

Verbinski’s latest effort, A Cure for Wellness, was released this last February, and is one of the weirdest films I’ve ever seen. It also underperformed at the box office, grossing $26 million against a $40 million budget. Be warned, I’m going to spoil the heck out of this movie. Also, there will be a high Ick Factor, since this movie is genuinely messed up. I’ll avoid getting too graphic, but some of the subject matter in this film is disturbing and gross. You have been warned. Here we go.

Image: 20th Century Fox

The film’s protagonist is a young man named Lockhart, played by Dane DeHaan, who looks a bit like a more pallid version of Leonardo DiCaprio. Lockhart is a real jerk. He’s obsessed with his work as a stockbroker, constantly chews nicotine gum, and is rude and abrasive to others. He is soon summoned to meet with his superiors at his office, who have him read a letter written to the board of directors by the company’s CEO, a man named Roland Pembroke.

Pembroke was at a wellness retreat in Switzerland for a few weeks and has not returned. The bizarre contents of the letter seem to indicate that Pembroke has had a nervous breakdown. His bosses tell Lockhart that they are aware of some of his (Lockhart’s) illegal activities, and that he is under investigation by the Securities and Exchange Commission. He is ordered to go to Switzerland and bring Pembroke back, since the company is on the verge of a large merger and they need Pembroke’s authorization. There is also the implication that they will use Pembroke as a scapegoat for any corporate malfeasance.

On the way to the wellness center, which sits atop a hill, Lockhart’s driver Enrico explains to him that there is bad blood between the villagers and the people on the hill. This is because 200 years ago, the baron of the castle became obsessed with keeping his bloodline pure. As a result, he married his sister. But the story goes that she had a mysterious illness, and in his search for a cure, the baron began experimenting on the villagers. After finding the mummified corpses of the baron’s test subjects, the villagers revolted, burning the baron’s castle down and killing his pregnant wife/sister, but not before removing the fetus from her womb and throwing it in the lake.

Yuck. I told you there would be gross stuff. Upon arriving at the spa, which is built atop the ruins of the baron’s burned-down castle, Lockhart’s attempts to meet with Pembroke are met with resistance from the spa’s staff. He’s eventually able to secure a meeting with Pembroke later in the day, and tells Enrico to drive him back down the hill to a hotel. On the way, a deer runs in front of the car, causing it to crash.

Lockhart wakes up at the spa, with his right leg encased in a thick plaster cast. He meets the spa’s director, Dr. Heinreich Volmer, played by Jason Isaacs. Volmer tells Lockhart that he’s been unconscious for three days, and that his office has been informed of the accident and agreed that Lockhart should stay at the spa until further notice. Volmer tells Lockhart to try out the spa’s treatments, and to drink plenty of water. Lockhart drinks a glass of the spa’s water, and discovers a tiny creature wriggling inside a drop of water clinging to the inside of the glass.

That, of course, is a big warning sign that all is not well. Verbinski does an excellent job of establishing a creepy and ominous mood, and the entire film is soaked in dread and menace. It’s also gorgeous to look at. Some of it was filmed at Hohenzollern Castle in Germany, which reminded me a lot of Hogwarts with its sharp-looking towers pointing towards the sky. An abandoned hospital in Germany was also used for the interior locations of the spa. There are some stunning shots in this film, and Verbinski has a hell of an eye for striking compositions.

Image: 20th Century Fox

The rest of the film follows Lockhart as he attempts to unravel the mysteries of the so-called wellness center. Along the way, he meets a young woman named Hannah, played by an actress appropriately named Mia Goth who is 23 but looks about 13. It’s unclear if Hannah is a patient, but she tells Lockhart that Dr. Volmer considers her to be a “special case.” It is also unclear how old she is, she appears to be in her early-to-mid-teens but has a quality of childlike innocence. She also drinks a strange fluid from a small blue bottle on a chain around her neck, which she says are vitamins. Lockhart has seen other people at the spa doing the same thing, including Dr. Volmer himself. She lets Lockhart try some, and he says it tastes like sweaty seafood.

Lockhart meets Pembroke and convinces him to return to New York with him. But later, Lockhart can’t find Pembroke and none of the spa’s staff will tell him where he is. He steals Pembroke’s patient files, but since they’re in German he can’t read them. He discovers x-rays of Pembroke’s mouth, which appears to show his teeth falling out. Lockhart takes the files to a veterinarian in the village, who tells him that one possible cause of Pembroke’s teeth falling out is chronic dehydration. Dehydration? Lockhart is confused by this. The people at the spa drink water all the time. How could they be dehydrated?

Lockhart undergoes some of the spa’s treatments, including being submerged inside a large water tank in what I assume to be a sensory deprivation chamber. The orderly tending to Lockhart gets distracted by a nurse, and the tank begins to fill with slithery, writhing eels. One of them disconnects Lockhart’s breathing tube and he nearly drowns until the orderly and the nurse rescue him. But when he tells them something was in the tank with him, there’s nothing there.

Other strange things start happening. The handle on the toilet in Lockhart’s room rattles periodically on its own. He catches glimpses of what look like bodies being wheeled on gurneys into the ruins of the baron’s old castle late at night. A patient he befriended tells him that the baron’s child, the one removed from his wife/sister and thrown into the lake, somehow survived. Lockhart calls his bosses in New York, only to discover that they had no idea about the accident.

That night, one of Lockhart’s front teeth comes loose and he pulls it out himself. He takes it to one of the nurses, and while she is distracted, he sneaks into some of the secure parts of the hospital and makes some horrifying discoveries. He finds a room full of what appear to be dead bodies floating in tanks of water. One of them is Pembroke. He also finds a large underground chamber next to a pool of water, into which desiccated corpses are dumped and subsequently consumed by eels. He assumes that Dr. Volmer is continuing the baron’s twisted experiments. He finds an underground lair full of jars of nasty-looking things and what look like human faces floating in containers of water. On the wall, there is a painting of a woman who strongly resembles Hannah.

Lockhart, when we first meet him, is a deeply unlikable character. He’s an arrogant jerk. But his tenacity serves him well in his pursuit of the dark secret that lies at the heart of the mysterious wellness center deep in the Swiss Alps. He’s still a jerk, but he becomes a more sympathetic jerk as the film progresses. He goes through some traumatic experiences, and it’s hard not to sympathize with someone who experiences the horrors that he does. Dane DeHaan gives a compelling performance as the lead character, and Jason Isaacs, aka Lucius Malfoy, is chilling as Dr. Volmer.

Isaacs deserves credit for his restrained performance. Volmer could easily have been a mustache-twirling villain, but Isaacs underplays him, which makes him much more frightening. The movie is tense as hell, and the consistently ominous atmosphere coupled with the film’s gorgeous scenery and quality performances makes it compelling, despite the high gross-out factor. It was also a clever move to put Lockhart in a clunky leg cast for much of the movie, so his attempts to escape are hampered by his impaired mobility.

If you thought there was gross stuff earlier, you ain’t seen nothing yet. Upon being discovered, Lockhart is subjected to a horrifying dental procedure that will give anyone with a phobia of dentists or drills nightmares. He manages to escape and flees to the police in the village. The sympathetic police chief promises to help and leaves Lockhart alone to make a phone call. Looking around the chief’s office, Lockhart notices one of the small blue bottles the people from the spa use to take their so-called “vitamins.” The police chief is one of them. There is no escape for Lockhart, or for anyone at the wellness center. He is recaptured by Volmer and subjected to more “treatments.”

Image: 20th Century Fox

He starts to give in and believe that he is not well. But he has a moment of clarity and cuts open the cast on his leg, revealing that it was never broken at all. While this is happening, Hannah is in the swimming pool and has her first period. She runs to Volmer, not knowing what is happening to her. Lockhart arrives, and attempts to convince the patients that Volmer is responsible for making them sick with the tainted spa water.

He is rendered unconscious and when he wakes up, the film’s most disturbing scene commences and we finally learn the secret of what is in the blue bottles of “vitamins.” This is seriously nasty, so prepare yourself. Lockhart awakens to find himself locked in a large metal pod, in a room full of people in similar devices. Volmer appears and tells him that the water from the local aquifer has unique qualities which are toxic to humans but allow the eels living in the water to live hundreds of years. Centuries ago, the baron devised a way to filter the water through the bodies of humans, which is what Volmer now uses the patients for. The process results in the life-prolonging liquid but turns the patients into shriveled corpses, which are then fed to the eels. In a profoundly horrifying scene that is one of the grossest and most disturbing things I’ve ever seen in a mainstream Hollywood movie, Volmer forces a tube down Lockhart’s throat and pumps him full of eel-filled water, which is then distilled and collected in the blue bottles.

Disgusting. But that’s not the end. The film has one more big twist up its sleeve. Have you guessed it yet? Here it is: Volmer is the baron and Hannah is his daughter/niece, and they are both hundreds of years old, aging incredibly slowly due to the effects of the eel-water. But here’s the worst part: Volmer has been waiting for Hannah to come of age, so he can impregnate her.

ICK!!! That’s just vile. Gore Verbinski co-wrote the story with Justin Haythe, who also co-wrote The Lone Ranger, and it is one of the most twisted movies I’ve ever seen from a major Hollywood studio (the movie was released by 20th Century Fox). It’s hard to imagine how this film got greenlit in the first place, I would love to have been a fly on the wall during that pitch meeting. If I had to describe the film to someone who had never heard of it, I would call it a cross between One Flew Over the Cuckoo’s Nest and The Shining.

In the film’s climax, Volmer takes Hannah to his underground lair, which reminds me a lot of the Phantom of the Opera’s hideout in various movies. Before he can rape Hannah, Lockhart appears and sets the place on fire. In the ensuing struggle, Volmer tears his face off to reveal his hideously burned and scarred true face. He claims that everything he’s done has been for Hannah, and is about to kill Lockhart when Hannah plants a shovel in his head. He falls into the eel-filled water, and is consumed.

Lockhart and Hannah flee the burning castle on Hannah’s bicycle and literally run smack-dab into a car carrying Lockhart’s bosses, who have gotten fed up with waiting and come to Switzerland to find out what the hell is going on. They ask him about Pembroke. Lockhart tells them Pembroke is gone. They tell him to get in the car. He refuses. They ask what’s wrong with him. “Nothing,” he tells them. “I’m feeling much better now.” He gets back on the bike and rides away with Hannah, as an unhinged grin appears on Lockhart’s face. The film then cuts to black, and that’s the end.

Whew. A Cure for Wellness is a harrowing journey. It’s a twisted carnival ride full of increasingly nightmarish imagery. It’s the kind of movie that doesn’t get made very often nowadays. It’s an R-rated extravaganza of depraved monstrosities. It’s also two and a half hours long. I’m not surprised the movie didn’t do well in theaters, it doesn’t have much mainstream appeal. Still, Fox didn’t skimp on the marketing, since the movie had an ad during the most recent Super Bowl. Someone at Fox clearly believed in Gore Verbinski and Justin Haythe’s disturbing vision.

If reading the lurid details about the film makes you want to never ever see it, I completely understand. But I still like it. It’s encouraging to see filmmakers who aren’t afraid to let their imaginations run wild, and encouraging that there are people who support them. I’m not trying to say that A Cure for Wellness is a perfect film. Its flaws are numerous. Its intimidating 146-minute running time could have been shortened by a good twenty minutes, and some scenes drag on longer than they need to. There are plot holes and unexplained images that are thrown in seemingly for the sole purpose of messing with people. The film’s content pushes the limits of good taste more than once, and sometimes it feels like Verbinski and Haythe pile on the grotesqueries and bodily fluids simply because they can, so there is that element of artistic self-indulgence.

Still, some part of me really likes this messed-up movie, and even admires it a little bit. It’s something completely original. It’s not a prequel or a sequel or a remake. It’s not an adaptation of anything. It’s well-made, well-acted, and beautifully filmed. It also just so happens to me profoundly twisted and disturbing. It’s the kind of movie where you’re not sure what is real and what is a product of the protagonist’s increasingly unstable mind. Obviously, it’s not a movie that will appeal to everyone, but if you think you can stomach it (and don’t mind the fact that I’ve thoroughly spoiled the plot) then check it out. It’s the kind of movie where you notice things about it that you didn’t catch the first time. It’s an elaborate puzzle box of a movie that I think time will be kind to.

Coming up next, we all float down here! It’s the long-awaited new version of Stephen King’s terrifying masterpiece, IT. See you next week for scary clowns and ancient evils!

Sweet dreams!

The Mummy 2017: An Egyptian Zombie in London

Like many people, I have a great deal of affection for the 1999 film The Mummy and its 2001 sequel, The Mummy Returns. I rewatched both of them recently and aside from a few instances of bad early-2000’s CGI (looking at you, Scorpion King) they hold up well and are just as much fun to watch now as they were when they were first released. I was excited at the prospect of a new Mummy movie, since I have so much fondness for those first two movies.

But like many people I was disappointed. The new Tom Cruise-starring Mummy film takes itself far too seriously and fails to capture the old-school adventure-serial vibe that made the first two so enjoyable. The new movie starts out well enough, but after the first 20 minutes or so it stops feeling like a Mummy movie. It shifts most of the action from the desert to London, and the urban setting doesn’t suit the material nearly as well as the filmmakers clearly think it does.

Image: Universal

Tom Cruise plays Nick Morton, a rather douchey treasure hunter with an irritating sidekick. As soon as the sidekick opened his mouth, I wanted him to die. Nick says they’re “liberators” of antiquities, but their form of “liberating” seems to involve a lot of machine guns and hand grenades, not to mention the occasional airstrike. And people thought Indiana Jones and Lara Croft were destructive. Nick and the irritating sidekick whose name I forget manage to drop a bomb which reveals a hidden tomb, which contains…THE MUMMY. And then they bring it to London, which is an objectively terrible idea.

Sigh. It’s just bad decision after bad decision here. This movie had a whole team of screenwriters and this nonsense was the best they could come up with. The characters are unlikable and their actions are selfish and stupid. The plot also feels rushed. In the 1999 movie, it takes about an hour into the two-hour movie for the mummy to be resurrected, so there’s a lot of buildup and tension, and you get to know and like the protagonists. The new movie is mostly tension-free and the protagonists are jerks.

Another thing that made the 1999 movie so good was that it wasn’t trying to do too much. As far as I know, when it was released there were no immediate plans for a sequel, and it wasn’t until the movie came out and became a huge hit that the sequel was announced. But these days, we are living in the age of the Marvel Cinematic Universe (abbreviated as MCU), the massive success of which has led other studios to try their hand at creating shared movie universes, with decidedly mixed results.

Image: Universal

The newest version of The Mummy is Universal Studios’ latest attempt to create a shared monster-movie universe, their so-called “Dark Universe”, which is a pretty stupid name. But it sounds like they’re not planning it out very well. The next movie in the “Dark Universe” is Bride of Frankenstein, which is set to be released in…2019. Really, Universal? You’re hyping up your whole shared universe thing when the next movie won’t be out for two more years? That seems awfully optimistic.

One of the things that has made the MCU so successful is how well Marvel planned everything out. When the first Iron Man movie came out all the way back in 2008 Marvel already had more movies planned out for years (and they still do). Iron Man was released in May of 2008, and the next MCU movie, The Incredible Hulk, came out a month later. Marvel was on top of it right from the start. Universal’s attitude seems to be, “Meh. Let’s just release this movie, say it’s part of a shared universe, and we’ll make the next one when we get to it.” That’s doesn’t sound like a recipe for success.

The result of all this sequel-mongering is that the new film has no idea what kind of story it wants to tell. At first it seems to be telling a straightforward adventure story, which is perfectly fine, but once the action moves from the desert to London the story goes off the rails. It’s too concerned with setting up future movies and not concerned enough with telling a contained story. Russell Crowe is in the movie, playing (mild spoiler alert) Dr. Henry Jekyll, who takes injections to suppress his Hyde personality. This is fine, but it feels shoehorned into a movie that’s supposed to be about the mummy.

Speaking of which, the mummy itself is one of the movie’s few bright spots. This movie has a female mummy, played by Sofia Boutella, who was great in Star Trek Beyond last year. She plays Ahmanet, a cursed Egyptian princess, and is probably the best thing about the movie. Since Cruise’s character is the person who unleashed her, she kind of imprints on him and makes him the target of her nefarious purposes. She also smacks him around a lot, and it is admittedly fun to watch Cruise’s douchey character get his ass kicked.

Image: Universal

There are some fun sequences in this movie. I liked the plane crash sequence, and there’s a fun chase scene through the woods in England. The movie as a whole looks good, and there are good zombie effects. (A mummy is an Egyptian zombie, after all. It was dead, then it came back to life. That makes it a zombie.) But a couple of fun scenes do not add up to a good movie overall, and the ending in particular is just terrible, the kind of thing where the only appropriate reaction is “Wait, what?”
This movie was a big disappointment. I love movies that are full of monsters and creatures, and while the 2017 Mummy does have good creature designs, the movie itself doesn’t add up to much, and it’s hard to see the whole “Dark Universe” thing getting very far. Skip this movie and go rewatch the Brendan Fraser ones, they’re a hell of a lot more fun.

Alien: Covenant – Slimy Aliens and Multiple Fassbenders

Alien: Covenant is a tricky film to write about. It seems like every review I read spoiled vast swathes of the film’s plot, which ticked me off to no end because the details of the film’s plot were kept mostly under wraps in the time leading up to its release, and to see reviewers casually giving away huge plot points struck me as flippant and disrespectful to people who want to go into the movie knowing as little as possible. In response to this, I am going to give away as little as possible. I will describe basic details of the film’s setup, which could be considered to have some minor spoilers, but I won’t reveal any major plot points.

Alien: Covenant is Ridley Scott’s follow-up to 2012’s Prometheus, his previous foray into the Alien franchise he started in 1979 with the original Alien film. Prometheus was a controversial movie among fans of the franchise. Some people loved it, others passionately hated it. I liked it overall, even though it was profoundly flawed in some areas. Fortunately, Scott and his screenwriters seem to have listened to people’s criticisms about Prometheus, and Covenant delivers a tighter, more contained story that answers some of the lingering questions from Prometheus while still leaving room for interpretation and further entries in the franchise.

Image: 20th Century Fox

Let me just say that this movie has a whopper of an ending, which I loved. Don’t worry, I won’t spoil it, but man, it’s a doozy. It provides closure to the film while paving the way for future sequels, which Scott says are coming. God bless the man, he’s nearly 80 years old and is still making smart, intense, gorgeous-looking sci-fi movies. Scott has said he wants to start filming the next one in 2018, so expect more slimy alien horrors in the future. Oh joy!

Covenant follows the doomed crew of the spaceship Covenant, on a colonization mission to a distant, habitable planet. En route, they pick up a transmission from a closer planet, which also appears habitable. It’s risky, but they decide to investigate. Very Bad Things happen to them. That’s all I will say about the plot.

One thing that frustrated audiences about Prometheus was that it never fully committed to being an Alien movie. Was it an Alien movie or wasn’t it? Scott and his screenwriters couldn’t seem to decide. Alien: Covenant, as befitting its title, is definitely an Alien movie. The titular aliens, the terrifying xenomorphs (although they aren’t called that in this film), are very much present, and they are terrifying.

Everything about xenomorphs scares me. Not only how they look, which is scary enough, but what they do to you is just upsetting, and sets them apart from other famous horror-movie antagonists. Sure, Freddy Krueger or Jason Voorhees or Michael Myers will kill you, but a quick knifing or decapitation-via-machete is vastly preferable to the protracted, painful, humiliating ordeal a xenomorph will put you through.

It’s a testament to how good H.R. Giger’s original design of these aliens was when you realize how little their appearance has changed over the years. The xenomorphs in this film were created with motion-capture and CGI rather than the practical effects of the earlier films, which may annoy some hardcore fans of the franchise, but when the aliens look as good as they do in this film, the CGI doesn’t bother me. The slithery, hissing monstrosities are as frightening as ever.

Image: 20th Century Fox

And they are taking no prisoners. Covenant is a far more graphic film than Prometheus, which is saying something when you consider that Prometheus is a film in which the main character had an alien slug monster surgically removed from her abdomen. This movie is so bloody that at one point people actually slip and fall in the pools of viscera on the floor. Sir Ridley’s not messing around with this one, folks.

But what of the humans who have these graphic horrors inflicted upon them? I found them to be more likable than the buffoons from Prometheus. I didn’t hate every character in that movie, but they did do some really stupid things, and Covenant has less groan-inducing characters. There are a couple of moments where you think “DON’T DO THAT YOU IDIOT” but the same could be said of any scary movie. The scene-stealer is Michael Fassbender, who, without revealing too much, plays two roles, and in some scenes acts with himself. Fassbender gives both of his characters distinctive voices and body language, so the viewer can distinguish between the two of them…most of the time.

The rest of the cast is also good. Katherine Waterston plays Daniels, the main character, and she’s very likable even if her character isn’t as fierce as Sigourney Weaver’s iconic Ellen Ripley. I admire Waterston for having the courage to take the role and make it her own while knowing that she would inevitably be compared to Ripley, one of the greatest sci-fi protagonists of all time, male or female.

Image: 20th Century Fox

Alien: Covenant is a great-looking film. I’ve already talked about how good the creatures look, but the environments are also stunning, both on the Covenant in space and on the ground on the mysterious hostile planet. Ridley Scott has been directing movies for about five decades, and he knows how to make every shot in his films feel unique and give the viewer something new to look at. The movie does have one of the same issues the Star Wars sequels had, in that the technology in the film appears much more advanced than the technology in the original films, even though the new films are prequels that take place chronologically before the originals. It’s not a huge issue, but it is noticeable in comparison to the original movies.

Alien: Covenant is not a perfect film, but I think it’s an improvement over Prometheus. Covenant suffers from a few similar issues that plagued its predecessor, but to a lesser extent. It delivers the gore and the heart-pounding intensity that fans have come to expect from the series, and it’s a worthy entry to the Alien franchise.

Event Horizon and Pandorum: Two Tales of Cosmic Terror

It’s hard to believe that Paul W.S. Anderson, the schlockmeister behind Death Race, Pompeii, and the entire Resident Evil series, also directed Event Horizon. It’s difficult because Event Horizon is so much smarter than those other movies. I’m not trying to say that Anderson is a stupid person, just that some of his movies are kind of dumb. Event Horizon, however, is not one of those movies.


The easiest way of describing Event Horizon is that it’s basically Alien meets The Shining. The film takes place in 2047 and follows the crew of the Lewis and Clark, a rescue vessel on a top-secret mission, led by Captain Miller (Laurence Fishburne). The mission is so top-secret that the crew doesn’t even know exactly what it is until they have almost reached their destination. A spoiler alert is in effect from here on.

When they have been awoken from their stasis pods, they are brought up to speed by Dr. William Weir (Sam Neill), a guest on their ship. He explains to them that they are there to investigate a distress signal sent from a ship called the Event Horizon, which disappeared several years earlier. He also tells them that the Event Horizon was built to test a new experimental gravity drive he designed. The drive generates an artificial black hole in order to bridge two points in spacetime, which vastly reduces travel time over great astronomical distances.

Things start to go wrong almost as soon as the crew of the Lewis and Clark crosses over to the Event Horizon. They find mutilated bodies and crew members start to experience vivid hallucinations connected to deeply personal events from their lives. Captain Miller is haunted by a crewman he once failed to save, Weir sees images of his dead wife with bloody eyes (she is later revealed to have committed suicide), and another crewmember is hounded by the sight of her disabled son with his legs covered with maggot-infested wounds.

The crew discovers the video log from the crew of the Event Horizon, the last entry of which shows them going completely insane and violently murdering each other in a sadomasochistic orgy. Yeesh. Some of the gore scenes in this film push the limits of good taste, not to mention strain the boundaries of an R rating. Anderson’s Resident Evil movies have their share of gore, but the violence in Event Horizon makes the Resident Evil series look like Disney flicks. The initial cut of the movie was so gruesome that the studio forced Anderson to tone it down, and the thought that there was even more horrific footage that wasn’t included in the movie is chilling.

As it turns out, something went terribly wrong (surprise!) with Dr. Weir’s experimental gravity drive, and Captain Miller and Dr. Weir theorize that the ship opened a portal into a dimension outside of the known universe, which is not stated specifically to have been hell, but it’s strongly implied. After its return from wherever it went, the Event Horizon itself became a sentient being, and now torments its occupants and tries to lure them back to hell. The ship itself is evil! And while Dr. Weir later becomes possessed by the evil that controls the ship, the ship itself is the true villain. That’s quite similar to The Shining, where the Overlook Hotel is itself evil, and possesses the weak-willed to do its terrible bidding (or at least that’s my interpretation of it).


I like this movie a lot. Its horrific violence and grotesque imagery make it a film that is not for everybody, but it’s absolutely chilling and the ideas behind it are much more interesting than anything in Anderson’s other films. It benefits from solid lead performances from Laurence Fishburne and Sam Neill, as well as strong supporting work from Jason Isaacs and Joely Richardson.

The special effects are also quite good. The movie came out in 1997 but watching it nearly 20 years later it’s easy to forget that this is a movie that is almost two decades old. The space ships in the film aren’t shiny and new-looking, like cinematic spacecraft tend to be. They look grungy and lived-in. Event Horizon is an incredibly atmospheric film, and the down-to-earth designs of the interiors of the spacecraft go a long way toward making the outlandish story believable.

Although it performed poorly at the box office and was met with generally negative reviews upon its initial release, the film has amassed a cult following. The look of the film also heavily influenced the Dead Space series of video games, in which the lived-in spaceships and overwhelming sense of cosmic doom are very much intact.


Speaking of cosmic doom, in 2009 a film called Pandorum was released. The film stars Dennis Quaid and Ben Foster and is so stylistically similar to Event Horizon that it’s fun to think of the two films as taking place in the same universe. As far as I know there is no big fan theory connecting these movies, but it isn’t difficult to imagine. As a side note, it’s worth mentioning that Paul W.S. Anderson was one of the producers of Pandorum.


Pandorum is set hundreds of years in the future, when Earth’s population has grown out of control. In order to save themselves, mankind builds a massive spaceship called Elysium and fills it with 60,000 people, then sends it into space on a 123-year mission to an Earth-like planet called Tanis. The setup is not dissimilar to Christopher Nolan’s space epic Interstellar, but Pandorum is less focused on family dynamics and more focused on white-knuckle terror.

At some point in the Elysium’s mission, crewmembers named Corporal Bower (Ben Foster) and Lieutenant Payton (Dennis Quaid) awaken from an extended period of hypersleep. Due to being improperly awakened from their hibernation, they are both suffering from amnesia and don’t know what the status is of the ship or the mission. Bower ventures out into the bowels of the ship while Payton stays behind to monitor the situation. Bower eventually finds a few survivors, as well as terrifying monsters.

There are some great plot twists in this movie. More spoilers lie ahead. It is assumed at the beginning of the film that the ship is adrift in deep space, but it turns out that the ship actually landed in the ocean of Tanis after 123 years as planned, and that the ship is in year 923 of its mission, having spent the last 800 years underwater. Trippy! There’s also a Fight Club-esque “Brad Pitt and Edward Norton are the same person” twist, as well as a very cool twist involving the film’s monsters.

The monsters in this movie scare the shit out of me. They frighten me so badly I don’t want to even look at the damn things. Pure nightmare fuel. Bower and his compatriots assume that the creatures are passengers of the ship who have mutated, but this is only partly true. They turn out to be the descendants of some of the ship’s passengers who were awakened hundreds of years ago, and have since evolved to adapt to the dark environs of the ship, becoming cannibalistic and tribal in the process. Badass!


Pandorum and Event Horizon are smart, trippy, gory sci-fi. The spaceships in both movies look grungy and worn instead of sleek and shiny, and the movies conjure some memorably horrific imagery. Both contain brutal gore, solid acting and trippy plot twists. They make for a great Halloween double feature, although you might want a shower afterwards.

Happy Halloween!

Bruce Campbell Vs. The Army of Darkness

I have a new Halloween tradition, and that tradition’s name is ARMY OF DARKNESS. It has been a long time since I enjoyed a movie as much as I enjoyed Army of Darkness, which is the third film in Sam Raimi’s Evil Dead trilogy.


The film picks up right where its predecessor EVIL DEAD II left off, with hero Ash Williams, played by Bruce Campbell, stranded in the middle ages after being sucked through a time portal.

In case you’re not familiar with the franchise, in the very first Evil Dead film, released in 1981, a group of friends goes to a cabin in the woods for a getaway. There they find the Necronomicon Ex-Mortis, the Book of the Dead. They play a recording of a researcher reading sections of the book, which unleashes unspeakable horrors.

The first Evil Dead movie is notoriously gruesome, it was originally given an X rating solely for violence and gore, which almost never happens. The X rating is now known as NC-17, and most NC-17 ratings are given to films with graphic sexual content, being rated NC-17 for violence alone is rare. And the movie earns the rating. It is incredibly gory, even by today’s standards. Director Sam Raimi and producer Rob Tapert didn’t care about censorship when they were making the movie, and therefore made it as gruesome as possible, and it shows.


The 1987 sequel, Evil Dead II: Dead by Dawn, takes a more slapstick approach to the story. It is not clear if the sequel is a remake of the original or just a straight sequel, since it summarizes the events of the previous movie but excludes some of the characters. This is because when he got around to making the sequel, Raimi did not have the rights to the original film, since the sequel was produced by a different company, so Raimi was forced to summarize.


Evil Dead II is an excellent sequel, delivering just the right mix of horror and comedy. Those are two genres that are difficult to mesh, but Raimi makes it look easy. At the end of the second movie, hero Ash manages to send the evil force back to where it came from, but in the process gets sucked through a portal and deposited in the Middle Ages, which leads to Army of Darkness.

Released in 1992, Army of Darkness is an absolutely glorious movie. I watched it a few days ago from start to finish for the very first time and adored every single moment of it. It’s the least gory and the least frightening of Raimi’s Evil Dead films, and as such may be looked down upon by hardcore horror fans. And to be honest, the film isn’t particularly scary, but it is a hell of a lot of fun and is much more accessible to casual viewers who don’t necessarily want to drown in a sea of gore.


Let me just say right now that I love Bruce Campbell. The guy is an incredibly gifted physical actor, and he’s an extremely likable protagonist. Before becoming an Evil Dead fan, I mostly knew Campbell for his role on the TV show Burn Notice and his cameos in all three of Sam Raimi’s Spider-Man movies, but The Evil Dead is where Campbell got his start. He seems like a really great guy in every interview I’ve seen with him, and I consider myself a big Bruce Campbell fan.

The guy will probably never win any Academy Awards, but when he’s as entertaining and endlessly watchable as he is in movies like Army of Darkness, who the hell cares? He has several iconic lines in these movies (“This… is my BOOMSTICK!!”) that he delivers with aplomb (“Good, bad, I’m the guy with the gun.”). I just freaking love him, seriously, and it’s impossible to imagine anyone else playing the shotgun-wielding, chainsaw-handed Ash in these movies.


Army of Darkness is as campy as it is enjoyable. Ash is promptly imprisoned by the men of Lord Arthur, who suspect him of being an associate of Duke Henry. Lord Arthur and Duke Henry are at war, and no one likes Ash when they arrive at Lord Arthur’s stronghold. Ash convinces them otherwise by destroying a deadite, one of the series’ signature baddies, and afterwards goes on a quest to find the Necronomicon, defeat the evil, and find a way back to his own time.

But Ash being Ash, he completely bungles it and ends up unleashing an Army of the Dead, led by his own evil clone. Whoops!

The special effects in this movie are absolutely fantastic. I can’t say for sure but I highly doubt that there is any CGI in the movie, which means that most if not all of the effects were done practically. The army of skeleton warriors looks great, and some of them have different clothes, weapons and voices, which gives them a lot of personality. I also love the squeaky skeleton voices, some of which were done by Sam Raimi himself.


The effects were done by Greg Nicotero and Howard Berger, who are movie veterans perhaps best known these days for creating the zombies on The Walking Dead, and they did incredible work creating the skeleton warriors in Amy of Darkness.

Army of Darkness isn’t particularly scary, it’s too campy and full of slapstick to be very frightening. But it is tremendously entertaining and a perfect Halloween movie. The special effects are kick-ass, the story is fun, and Bruce Campbell is perfect in the lead role.

Evil Dead fans are probably feeling pretty spoiled these days, since in 2013 there was a successful remake of the original Evil Dead that took the franchise back to its gore-soaked roots. I’ve only seen bits and pieces of the remake and, well, let’s just say the words “bits and pieces” were chosen intentionally. There are scenes of violence in the remake that are so stomach-churning I won’t even describe them here, but if you’re a glutton for punishment a lot of the gory highlights are included in the film’s red-band trailer. Just don’t say I didn’t warn you.


Mind you, I’m not saying the remake is bad necessarily, in terms of modern remakes of classic horror movies, most of which are a dime a dozen, the 2013 Evil Dead remake is viewed as being one of the better ones. All I’m saying is that the squeamish need not apply.

And in 2015, Starz debuted Ash Vs. Evil Dead, a TV series continuing the exploits of Ash, everyone’s favorite goofball monster hunter. I watched the first season and enjoyed it immensely. Bruce Campbell is as great as Ash as he ever was and the show finds that crucial balance between slapstick humor and brutal horror, and even manages to tell a story that keeps you guessing and delivers surprisingly solid character development. If you’re a fan of the Evil Dead franchise but haven’t watched the show yet, check it out ASAP.


So that’s my little overview of the Evil Dead series, with special emphasis on Army of Darkness. I’m a relatively new fan of the franchise, and it’s not for everyone, but if you can stomach it the series knows just how to deliver the gory goods.


Have you ever had the feeling that you’re being watched?

That somehow, somewhere, someone (or something) is watching you? And that, maybe, just maybe, they’re coming…slowly…towards you?

Well, have I got the film for you! You might have heard of a little indie horror flick called It Follows, which made quite a stir on the indie horror circuit earlier this year.

I have several things to say about this film, starting with the title. It Follows is a fantastic name for a horror movie, creepy and ominous without spoiling anything. It’s a title that conveys more dread and mystery than many entire movies. It’s such a great title that I didn’t even have to think of a title for this post, the movie did that for me.

And the film lives up to the title. The main character of It Follows is Jay (short for Jamie), who, after hooking up with her new boyfriend in the back of his car one night, finds herself being stalked by an unknown presence that only she can see.

it follows psotre

But wait, let’s back up a bit. The movie takes place in Anytown, USA, in a sleepy, nondescript neighborhood. The film opens with a young woman running out of her house. She appears to be running from something, but we don’t see what. Her dad asks her if she’s okay, and she says yes, although it’s clear that she is anything but okay. She gets into her car and drives away unsteadily. She drives to the beach and her dad calls her, and she tells him she loves him.

In the morning, she is dead.

We then meet Jay, who swims around lazily in the pool in her backyard. She is very pretty, and a couple boys next door spy on her. Jay goes on a date with her new boyfriend Hugh, who acts a little strangely when he appears to see someone Jay can’t see, but tries to pass it off as just not feeling well. Jay thinks this is odd but doesn’t think too much about it, and a few days later, the two of them hook up in the back of his car. Afterward, Hugh drugs her unconscious.

Uh-oh. But it’s not what you might think. Jay wakes up tied to a wheelchair, and Hugh tells her that something will start following her. It used to be following him, but he passed It on to her, and the only way she can get rid of It is to sleep with someone else. Even though It is not following him anymore since he passed It on to her, Hugh can still see It. It appears in the form of a naked woman walking slowly, inexorably, towards Jay. Jay freaks out and Hugh lets her see It long enough for her to believe what he’s told her, and then wheels her away and drives her home, while warning her multiple times not to let It get to her, and to pass it on to someone else as soon as she can.


Jay is clearly traumatized by the experience, but there’s not much the police can do, since she tells them it was consensual. She recovers, and a few days later at school, she looks out the window and sees an old woman coming slowly towards her. No one else seems to see the woman, and Jay leaves class in a hurry. The old woman follows her, and no one else can see her. Terrified and completely convinced of what Hugh has told her, she goes home.

From there, the movie becomes one terrifying encounter with It after another, with each encounter increasing in intensity. David Robert Mitchell, who wrote and directed the film, builds tension expertly and creates an overwhelming sense of paranoia and dread throughout the film.

This is a horror movie in which the antagonist is not a masked killer or a hulking monster, It appears only as people, walking slowly. And while people walking slowly might not sound all that scary, think about it for a second. You can’t stop It, you can’t outrun It, you can only buy yourself time, because eventually, when you let your guard down, It will catch up to you, and when it does…well, I’ll let you fill in the rest.

And think about how unsettling it would be to always have someone following you. And not even running after you, just…walking. Think of how paranoid you would get, how you would always be looking over your shoulder, never being able to relax or let your guard down. Not only would it be terrifying, it would be exhausting, both physically and mentally. And eventually, you would just get worn down, and then…It will get you.

This is such a great idea for a horror movie. I just love it. It Follows is much more low-key than most horror films these days, and in my opinion it’s a movie that is vastly more unsettling than any generic masked killer slaughtering horny teenagers in the woods.


The movie is helped by a strong central performance. Jay is played by Maika Monroe, who also starred in The Guest, another recent indie hit that I’m a big fan of (and wrote about a few months ago). She’s very good in the role of a person coming slowly unglued, and is a likable protagonist, although admittedly some of the supporting characters are a little bland. But Monroe really does a great job anchoring the movie.

Another one of the film’s strongest aspects is the music, which is kind of electronic, kind of synth-y (if that makes sense), and evokes classic 70’s and 80’s John Carpenter movies like Halloween and The Thing, and also has a retro video game kind of feel. It’s really great, atmospheric and intense, and heightens the movie’s plentiful scares while also being memorable in its own right. You can find some of it on YouTube, and if you’re a fan of old-school horror movies and video games you’ll probably get a kick out of it.

Another interesting aspect of this film is that there is never any explanation about the antagonist. There is no indication as to what It is, where It came from, or anything of that sort. It’s very tantalizing to think about where It might have come from, and adds another layer to the movie’s mythology.


If it’s not apparent by now, I really like It Follows. Fans of other modern horror movies might not like it so much since it’s slowly paced and places more emphasis on psychological scares rather than gore. But to me it’s far creepier than those kinds of movies. It gets under your skin and stays there, and might just have you looking over your shoulder when you’re walking down a darkened street or hallway.

Happy Halloween everybody!