J*A*S*M

Conjured by the mainstream. Exactly the same as the first one: almost flawless craftsmanship wrapped in ghost-story clichés where nothing really interesting happens. No tension, no surprising twist, not even any interesting jump-scares (there are jump-scares, and they are effective, but they are classic, nothing fun). The ghosts also look pretty weak from up close, the scariest one is the portrait of the nun. It’s more than two hours long, completely unwarranted given how simple everything is. The efforts to generate fear for the character of Ed Warren are in vain, in the previous film nothing happens to anyone in the end, and it’s clear that nothing will happen to anyone here, either. In short, a horror safe space, which is exactly what horror shouldn’t be. It can be safely recommended to the people unable to appreciate indie horror films with higher artistic values, that are also sharper and more demanding on the viewer (knock, knock). Unfortunately these days studios won’t offer anything better. The first time was a lot of fun, but, if we count the Insidious films, this is Wan’s fourth stop in the same building already, and that’s too much. For the next one, he should stay in the genre, but pick another sub-genre.

An interesting pile of misunderstandings when it comes to the reviews here so far, the less demanding IMDB is in this case more accurate, IMHO. It’s a decently made fun flick with a humour that will be completely lost on many viewers, but that I quite enjoyed. It’s self-consciously cringe, but really funny. Like, for instance, when one of the robbers asks a hostage if they are hungry… - Are you OK? You need some food? - Yes. Please! - I'm sorry. I don't have any. If you find this exchange funny, give it a go.

It is a pretty interestingly conceived revenge/kidnap/slasher movie, but I believe it’s the first time in Boglioano’s filmography that I don’t see a step forward, but actually a step backward (especially compared to his previous two films, Late Phases and Here Comes the Devil). Instead of a film by a mature and confident filmmaker, this one feels like an unclear début full of intention and good ideas that the author is still searching.

From the point of view of realisation, none of the stories is bad. But, besides the holiday theme, what they have in common is their inability to take their plots in any interesting direction. Briefly about each of the holidays: St. Valentine’s: Very annoying at first because of the characters, then a very predictable love-revenge story. St. Patrick’s: Briskly and disturbingly bizarre, with a scary little girl with a huge creepy mug, but when things are supposed to begin escalating, they crumble into nothing. Easter: The most atmospheric of the lot, with a pretty fine take on the “Easter bunny”, but again pointless. Mother’s Day: Basically, about nothing. Father’s Day: It manages to keep the attention and curiosity of the viewer, if only it didn’t end again without a proper ending. Halloween: The unnatural characters and the cheaper visuals may be a problem at first, but the main character goes through such unpleasant things (accompanied by a well chosen monotonous noise) that I think it’s one of the best stories. Christmas: An OK initial premise that ends before it gets going. New Year: I’m almost sure that I’ve already seen this exact same idea elsewhere, but I’d be damned if I can remember where.

There is some potential, but it’s squandered and never leaves the paper of the core premise. Unfortunately, at least for me, this film doesn’t do it. Flanagan misses the emotional target (with a big “help” from the actors), and horror-wise, he hits only every third shot or so. The main spook is a thoroughly laughable and unscary figure with a personal history that it’s revealed in an irritating manner, during a literal ending that’s preceded by a five-minute climax, which actually can’t be called such. After the excellent and disturbing Oculus, I didn’t expect Before I Wake to be a painfully sober and more or less safe fairy-tale with no signs of true horror and terror. It also managed to annoy me even before the story properly gets going. It really pisses me off when films about dreaming and sleep, like this one, for instance, cram completely unrelated dialogues about the topic. Here, the characters, while chatting “importantly” about dreams, for no reason whatsoever, say that they feel “awake”… because it makes the writers feel the film will be more gripping? Bollocks! It feels terribly forced and fake. It gives me the impression that the characters only repeat written phrases, causing me to distance myself. It’s impossible to either root or fear for them. Three stars, and it might be a bit too generous for this film.

As a snack made in a couple of days that Flanagan squeezed between bigger and more ambitious projects, it’s ok. But certainly nothing very memorable that should collect almost enthusiastic responses at big festivals – that’s something I really don’t understand. Hush is nothing but a home-invasion slasher flick that bases its existence on a villain without any motivations, who simply enjoys playing cat and mouse with his victims, but who’s also quite incompetent and gives the heroine several opportunities to get rid of him. About the hearing impaired heroine, we don’t get to know a lot, so there aren’t all that many reasons to root for her. It’s just a pretty girl that failed to generate any emotions in me. The sound design is good. The best thing in the film is the positively hyped-up song in the closing credits.

A style exercise rather than a film that would stand on its own legs. Mickey Keating continues his horror creator marathon, where he evidently wants to pay homage to several of his favourite films, this time with a black and white woman in a building with clear references to one well-known abuser. But he doesn’t provide any support to this banal story, it’s just a superficial imitation; an art game with nothing under its relatively effective shell. Long, thoughtful dream glances, a constant psycho-ambient score and hallucinogenic editing by themselves are not enough to build psychological depth.

Simply put, a perfect and incredibly stylish psycho-thriller that masterfully generates an unpleasant sensation of uncertainty on the viewer, and in the same manner plays with the mind of the main character, Will, who together with his new girlfriend, is invited to a party at the place of his ex-girlfriend and her new husband. The evening is also attended by other old friends, and the air smells weird from the very beginning. I can’t remember when was the last time I saw such superbly escalating paranoia. For most of the film, it isn’t clear who’s crazy – whether the hosts or the guests – or whether it isn’t just an unfortunate misunderstanding by both parts. All are realistic scenarios and all of them would be fitting to the genre category. And Karyn Kusama holds everything so firmly in her hands that the viewer can only rejoice. The climax is sharp as a barber’s blade and the last shot is the cherry on top.

The name really screwed it. Throughout the film, the experience from an excellent chamber thriller drama is disrupted by the world “Cloverfield”; you know what kind of reveal this will eventually lead to. And when it gets there, what follows is disappointment, because the connection with the original film is really only on paper. If the film was called Independence Day 2, it would’ve been the same, if not better. A weak four.

Well, I don’t know what exactly was that, but I think I liked it. A perfectly executed horror film with a character of its own and many scary, almost surreal scenes, but if I take it all around, the expectations were a tad higher due to the great trailer. In the individual scenes, Baskin is pure horror in the truest sense of the word, with a tangible terrifying atmosphere, great gore and excellent make up and visual style. But for Evrenol, the director, a simple story about police officers that come across a black mass wasn’t enough and he tried to turn the thing up a notch, with not fully convincing results. Was the ending really as banal as I think, or is there something else? I don’t know. In any case, it’s a film every fan should watch and form their own opinion. I’m not able to say who will like it or not. For me right now 7/10, but I might give it another point later.