The leaves are changing to golden hues, the brisk air smells of Pumpkin Spice Latte, and that can only mean one thing: a new Halloween sequel is on Peacock. Whether Halloween Ends, the thirteenth installment in the Halloween franchise, will truly be the series’s last is still a bit of an open question, given how lucrative these films continue to be. But at the very least, it does seem to be the definitive end for the trio of films that writer/director David Gordon Green started in 2018 with legacy sequel Halloween and its 2021 follow-up Halloween Kills. As a trilogy capper, it wraps things up about as well as it could have and the quality level is consistent with the other two recent entries. If you were a fan of those two, then Ends is unlikely to disappoint. If, like me, you’ve been underwhelmed with this slasher series, then you may do better to select from the plethora of other recent quality horror titles for spooky season this year.

Halloween Ends picks up 4 years after the events of Kills, with the town of Haddonfield still traumatized from Michael Myers’s latest slaying spree and subsequent disappearance. Laurie Strode (Jamie Lee Curtis) has since bought a house in town with her granddaughter Allyson (Andi Matichak) and is writing a memoir about her encounters with evil incarnate. Deputy Frank Hawkins (Will Patton) is doing his best to learn Japanese and got himself a new guitar to pluck around with. Everyone is just trying to move on. That includes Corey (Rohan Campbell), still tormented from a babysitting gig years ago that unexpectedly turned deadly during his watch. But as this series has proven over and over, evil never dies and Myers does eventually come out of hiding to wreak havoc on Halloween night once more and to finish his face-off with Laurie.

As much as Universal is touting Halloween Ends as a feature-length showdown between Michael and Laurie, most of the film’s narrative revolves around the relationship that develops between Corey and Allyson. Outside of their individual hangups — Corey has a dead-end job at a salvage yard, while Allyson gets overlooked for a charge nurse promotion because she won’t sleep with her boss — they both share pain related to how residents of Haddonfield see them. They’re local legends for the wrong reasons and diner-goers and bar patrons don’t miss an opportunity to remind them about every chance they get. Of course, their struggle mirrors the conflict Laurie has had with Michael all these years but Corey and Allyson being young and eager to leave town makes their cause easy to root for as well.

Thematically, Halloween Ends ponders the nature of evil, most notably in a monologue Laurie gives about external evil borne of negative circumstances and internal evil borne of one’s reaction to them. The idea that bullies, who show up in this film even more than its two direct predecessors, act negatively against others to poorly cope with their own struggles is not a new one. While the movie does shed new light on what becomes of the bullied when they decide to fight back, it doesn’t exactly tie in with how the rest of the franchise functions. In the very first Halloween, Michael Myers is a disturbed child who murders his babysitter for reasons we and he don’t fully understand. He comes back later as an adult and goes on a killing spree without an explanation of how he got that way. To quote Scream, “it’s scarier when there’s no motive.”

I have nothing against the slasher genre; I’ve enjoyed both X and Pearl from this year alone and recent reboots of Candyman and Hellraiser have worked for me, in addition to the subversive Happy Death Day entries. But I think it’s time to retire Michael Myers at this point. He’s had quite the run over the past six decades, with some great movies and not-as-great movies under his belt. Even as an embodiment of pure evil, to paraphrase series protagonist Dr. Loomis, he just isn’t much of an interesting character anymore. He’s a mute antagonist whose levels of physical strength and vulnerability have varied greatly over the years — and even sometimes within the same movie. If Halloween Ends inspires the beginning of a brand-new slasher series, or different kind of horror subgenre entirely, then this new trilogy will have served its purpose.

Score – 2.5/5

New movies coming this weekend:
Playing exclusively in theaters is Black Adam, a DCEU superhero movie starring Dwayne Johnson and Aldis Hodge chronicling a super-powered being who is hungry for justice after being awoken from his Egyptian tomb after nearly five thousand years of imprisonment.
Also coming only to theaters is Ticket to Paradise, a romantic comedy starring George Clooney and Julia Roberts about two divorced parents who travel to Bali after learning that their daughter is planning to marry a man whom she has just met.
Streaming on Apple TV+ is Raymond & Ray, a family dramedy starring Ewan McGregor and Ethan Hawke about two half-brothers who reunite at the funeral of their father, with whom both had a poor relationship.

Reprinted by permission of Whatzup

Hot off its Venice International Film Festival premiere earlier this month, Olivia Wilde’s sophomore directorial effort Don’t Worry Darling lands in theaters with a whole mess of PR in tow. Reports of casting shake-ups and alleged on-set conflicts painted the picture of a troubled production before a disjointed press circuit further exacerbated the optics surrounding the film. It’s to the movie’s credit that all of this baggage begins to evaporate quite quickly, like a dream upon waking, after the lights dim and the projector begins to flicker. Unfortunately, the end result still isn’t good enough to overcome all the expectations most audiences will have going into the theater, nor is it bad enough for the hate-watching crowds to get their kicks either.

Set in an idyllic community deeply steeped in mid-century architecture and fashion, Don’t Worry Darling is told through the eyes of Alice Chambers (Florence Pugh), a stay-at-home wife who dutifully sees her engineer husband Jack (Harry Styles) off every morning. She spends her days rigorously cleaning the house and sharing a mid-day martini with next-door neighbor Bunny (Olivia Wilde) before preparing a lavish dinner just in time for Jack’s arrival back home. Alice’s utopian life in the town of Victory starts to fall apart when her friend Margaret (KiKi Layne) begins to press Frank (Chris Pine), the founder of the all-encompassing Victory Project, for details around the enigmatic operation. After seeing a plane crash in the desert one day, Alice makes a trip to investigate the wreckage but instead finds the Victory Headquarters, causing her to ask questions similar to the ones Margaret asked before suffering an alleged “accident”.

Anyone who has seen the trailer for Don’t Worry Darling, which played ad nauseam in theaters this summer, won’t be surprised that some of the film’s stronger points are its surface-level delights. The set design, location work and production design are absolutely first-rate, meticulously evoking a 1950s postcard-prepped Palm Springs paradise that is exquisitely rendered at every turn. The masterful cinematographer Matthew Libatique, whose work on Black Swan underscores the ballet classes that Alice takes in this film, beautifully renders these picturesque settings while implying a darkness under the surface. Juxtaposing the carefree doo-wop and jazz hits on the soundtrack, John Powell’s haunting music score blends chopped-up breaths and grimy synths to perpetually chilling effect.

It’s all fantastic window-dressing but the script for Don’t Worry Darling dooms itself by putting all its eggs in the basket dedicated to the central mystery concerning what is really happening at Victory. Wilde occasionally drops paltry breadcrumbs leading to the late third-act development but spends too much time spinning her wheels with one psychological horror trope after another. Without getting into details that would constitute spoilers, the reveal feels cobbled together from other movies and TV series that have explored its implications and ramifications more thoroughly and intelligently. Wilde adds some layers of gender politics and social commentary that feel fresh and germane to the story but not enough to triumph over the nagging questions that theatergoers will have when the credits roll.

The stacked ensemble cast, which also includes Gemma Chan and Nick Kroll, does everything they can to bring this wonderland to life. Translating the terrors of her Midsommar character into a somewhat similar scenario, Pugh is reliably outstanding at bringing us into the shattered psyche of a woman at odds with the perfidious paradise around her. Pine is also excellent as a confident and charismatic authority figure who conjures platitudes about progress and positivity so seductively that they start to sound profound in no time. Styles is fine conveying what is admittedly a pretty bland character but based on the strength of his latest album, I hope he makes music a bigger priority than acting from here on. Don’t Worry Darling has plenty going for it but ultimately comes undone by a backloaded screenplay that favors surprises over subtlety.

Score – 2.5/5

New movies coming this weekend:
Opening in theaters is Bros, a romantic comedy starring Billy Eichner and Luke Macfarlane about a New York museum curator with commitment issues and insecurities about his homosexuality who attempts a relationship with a workaholic lawyer.
Streaming on Disney+ is Hocus Pocus 2, a supernatural comedy starring Bette Midler and Sarah Jessica Parker bringing back the Sanderson sisters 29 years after the events of the first film as they face off against a new trio of high school students.
Premiering on Netflix is Blonde, a historical drama starring Ana de Armas and Adrien Brody which tells a fictionalized account of Marilyn Monroe from her tragic childhood to her meteoric rise to fame and her untimely death at the age of 36.

Reprinted by permission of Whatzup

Playing at Cinema Center this weekend, Emily the Criminal is both a stunning debut for writer/director John Patton Ford and another outstanding showing for Aubrey Plaza in a more serious role. She’s still likely best known as the sardonic April Ludgate from the comedy series Parks and Recreation but with impressive dramatic turns in Ingrid Goes West and Black Bear, Plaza continues to make a name for herself as an acting force with which to be reckoned. As April, her deadpan delivery of droll downers served as a counterpoint to the altruistic nature of indefatigable series lead Leslie Knope. Here in the title role, her straightforward language is much more cutting and chilling within the context of a crime thriller.

Our introduction to Emily sets up her desperate situation, as she winces her way through a job interview where the employer ambushes her with a background check revealing DUI and assault charges from her past. She’s $70,000 in art school debt, which she’s hardly making a dent in with a food service job, so she takes a tip from her co-worker Javier (Bernardo Badillo) to join a service where one can make $200 an hour. She meets Youcef (Theo Rossi), one of the heads of the operation that uses fake credit cards given to “dummy shoppers” to make fraudulent in-store purchases. After Emily successfully rips a flatscreen TV, Youcef offers her a bigger job with a more lucrative payout but with a higher risk involved as well, forcing Emily to consider how far down the criminal rabbit hole she’s willing to go.

A subplot involving Emily’s friend Liz (Megalyn Echikunwoke) trying to secure her an interview at the ad agency where she works underscores one of Emily the Criminal‘s most potent themes about the decline of upward mobility. When Emily meets with Liz’s boss Alice (Gina Gershon) for a sit-down, she’s ambushed once again by finding out that the potential graphic design position is, in fact, an unpaid internship. Emily understandably replies that she can’t afford to work for free, causing Alice to refer to her as “spoiled” (stopping just short at “entitled”, a descriptor many a millennial abhor) for turning her nose up at the opportunity. The film doesn’t excuse a criminal lifestyle but it helps us understand why struggling individuals would turn to such measures in order to survive when more moral means don’t pay the bills.

This subtext enriches what is already a stellar crime tale and character study set up by Ford’s incisive script and instinctual direction. His insight into the mechanics of LA’s underbelly recalls the work of Michael Mann and Dan Gilroy, where situations can escalate beyond our protagonists’ expectations in no time flat. A cross-coast import from New Jersey, Emily is street smart and certainly knows how to hold her own but she still has tough lessons to learn along the way as she navigates this treacherous world. We’re proud of Emily for learning how to defend herself and not let others take advantage of her, even if the sometimes savage methods that she employs are lifted directly from dangerous people for whom we have little sympathy.

Ultimately, Emily the Criminal is not only a story of self-discovery but also how finding one’s true purpose can happen later in life than one may expect. In a scene when Emily waits for Youcef in his cramped office with flickering lights, he makes a self-deprecating comment about his surroundings and Emily non-rhetorically says “it’s only temporary, right?” The film’s title is deceptively straight-forward but a conversation between Emily and Youcef’s mother brings forth a meaning that fully reveals itself by the time the end credits roll. Yet another read on “Emily the criminal” is how interviewers and society choose to too easily write her off and compartmentalize her identity. Laced with potent social commentary that doesn’t draw too much attention to itself, Emily the Criminal is an enthralling crime drama with a live wire performance by Plaza.

Score – 4/5

More new movies coming this weekend:
Playing only in theaters is The Woman King, a historical epic starring Viola Davis and Thuso Mbedu centering around an all-female group of warriors during the 19th century in the West African kingdom of Dahomey.
Also coming to theaters is Pearl, a slasher prequel starring Mia Goth and David Corenswet that rewinds back to the first World War to fill in the origin story of the titular villain who was introduced in 2022’s X.
Streaming on Amazon Prime is Goodnight Mommy, a horror remake starring Naomi Watts and Cameron Crovetti about twin brothers who arrive at their mother’s house and begin to suspect that something isn’t right.

Reprinted by permission of Whatzup

Last September, The Eyes of Tammy Faye took the straight-laced biopic approach to telling the story of a pastor’s wife standing alongside her husband amidst a turbulent time of scandal and mistrust. Its spiritual companion, so to speak, now arrives a year later in Honk For Jesus. Save Your Soul., which works off of a similar premise but takes a markedly different approach to the story. Half of the film plays like a mockumentary version of The Righteous Gemstones, while the other half resembles Spike Lee’s Bamboozled, if its target was organized religion instead of the entertainment industry. While it has some strong laughs early on and a pair of terrific lead performances, the film is stylistically incongruous and narratively superfluous.

The movie centers around fictional Atlanta megachurch Wander To Greater Paths Baptist, led by perfervid pastor Lee-Curtis Childs (Sterling K. Brown) and congenial “first lady” Trinitie (Regina Hall). Together, the pair have cultivated a congregation of 25,000+ members but their status in the community is at risk when accusations come out against Lee-Curtis that force the Childs’ to temporarily close the church’s doors. In the interim, the nearby Heaven’s House, led by Keon and Shakura Sumpter (Conphidance and Nicole Beharie, respectively), has seen a steady uptick in congregants that the Sumpters would like to retain even after Greater Paths reopens. With their backs against the wall, the Childs’ plan a comeback of biblical proportions that will restore their reputation and return their sheep to the fold.

Opening with Trinitie fumbling over a rat-based parable to an unseen camera crew, Honk For Jesus. Save Your Soul. gets off on the right foot early with a faux-documentary style to which fans of The Office or Modern Family will feel acclimated right away. The more image-conscious the subjects are in this genre, the more fun their characters are to observe and the Childs’ fit this billing to a T. Whether they’re flaunting “divine additions” courtesy of Prada or making sure that the indoor fountain in frame behind them is spitting all sorts of unnecessary water, there’s plenty of comedy to be had with their conceited diversions. We’re also treated to domestic moments of Trinitie and Lee-Curtis trading verses on “Knuck If You Buck” and arguing about the en vogue pronunciation of “amen” that give these characters depth and personality.

But around the halfway point, Honk For Jesus. Save Your Soul. turns from a lighter comedy about commodified Christianity to a more serious and pointed satire about hypocrisy at the highest levels of power. It’s certainly a worthy subject but compared to the tone of what came before it, the more biting commentary feels deflating and out of place. Ostentatious preachers and histrionic churchgoers are low-hanging fruit but it’s when the film tries to climb up the tree that it not only loses its sense of humor but also its sense of purpose. The Childs’ start as caricatures and become more sharply defined as the story progresses but I lost what writer/director Adamma Ebo is ultimately trying to say about them as people.

Fortunately, we never want to take our eyes off of Lee-Curtis and Trinitie, due to the sheer magnetism of the performances by Sterling K. Brown and Regina Hall. The pair has an outstanding chemistry with one another and plays off each other beautifully, interplaying guile and grace all while trying to look good for the ever-present cameras. Conphidance and Nicole Beharie are quite good also but the movie seems to lose track of the Sumpters as it narrows in on the nature of Lee-Curtis’ indiscretions. If this had been a matter of the Childs’ vs. the Sumpters in a holy royal rumble for church members, it could have been played more broadly but I wouldn’t have complained as long as the jokes still landed. As is, Honk For Jesus. Save Your Soul. is a mixed bag of blessings and woes whose script could have benefited from some divine intervention.

Score – 2.5/5

New movies coming this weekend:
Playing only in theaters is Barbarian, a horror film starring Georgina Campbell and Bill Skarsgård about a woman who arrives at an Airbnb to find that it’s apparently been double-booked as a man is also staying there the same time as her.
Premiering on Disney+ is Pinocchio, a live-action remake starring Tom Hanks and Joseph Gordon-Levitt about an Italian woodcarver whose puppet is brought to life after he wishes upon a star one evening.
Streaming on Netflix is End of the Road, a thriller starring Queen Latifah and Chris “Ludacris” Bridges about a cross-country road trip through the New Mexico desert that becomes treacherous for a woman and her family when they become the targets of a mysterious killer.

Reprinted by permission of Whatzup

Bodies Bodies Bodies is a movie that tries so hard to be several different things that it doesn’t amount to much of anything in the end. It wants to be a satire of Generation Z and zoomer culture but it doesn’t push hard enough on those elements to succeed; the worst crime a satire can commit is to not be recognizable as one. Maybe it’s an in-on-the-joke slasher like Scream (2022, since designation is now necessary) but if that’s the case, why aren’t any of the characters making fun of the tropes that surround them? Murder mysteries like the superior Werewolves Inside and the Apple TV+ series The Afterparty have been popular recently but this film doesn’t exactly fit that categorization either. Though I can’t say I laughed much, perhaps it fits best as a dark comedy about interchangeable caricatures without a clue.

We open on young lovers Sophie (Amandla Stenberg) and Bee (Maria Bakalova) as they head to a “hurricane party” hosted by Sophie’s friend David (Pete Davidson) inside his dad’s mansion. Upon their arrival, they’re greeted warmly by some like Alice (Rachel Sennott) and her older boyfriend Greg (Lee Pace) but much less so by others like Jordan (Myha’la Herrold) and David’s girlfriend Emma (Chase Sui Wonders). To break the tension, Sophie suggests a game of Bodies Bodies Bodies, the rules of which are never clearly explained other than the fact that it resembles a variation of Mafia with flashlights. Once an actual dead body pops up within their game of fake murder, each of the partygoers becomes a suspect for one another as the tropical storm rages on outside.

The talented young cast does a nice job filling in the gaps of the screenplay where the development behind their characters should be, doing their level best to distinguish these otherwise indistinguishable characters from one another. In her English directorial debut, Halina Reijn often shifts the narrative focus between each of the houseguests, both keeping the audience on their toes and allowing us to spend split time with all of them. Amandla Stenberg was perhaps the only good aspect of last year’s otherwise atrocious Dear Evan Hansen and she gives another compelling performance here as an addict struggling to reconnect with her friends. Though characters pester her about not keeping up in the group chat, it’s made clear in time that this group of friends really only functions in a virtual sense as opposed to a face-to-face setting.

But Bodies Bodies Bodies doesn’t seem to have much of an attitude or perspective on the culture behind these young (except Greg) faces. A scene of confrontation later in the film is one of the only sequences that feels like it was conceived as a series of Tweets, with characters volleying jabs about “feelings are facts” platitudes and “ableist” accusations. If this film is supposed to be mocking how these characters interact, it needs to either keep up this cadence throughout or drop it entirely but as a thesis, it’s undercut by a movie that elsewhere doesn’t have enough else to say about Gen Z. I’d be happy to see a movie that either stands up for this crowd or takes them down but the film resides within a safe space where it wants to offend without offending.

Rhetoric aside, Bodies Bodies Bodies falls flat in the visual realm, which is especially troubling at a time when movie theaters finally seem to be coming back in fashion and only films “meant to be seen on the big screen” are selling tickets. The hurricane outside the mansion causes an obligatory power outage, which leads to most of the film being lit by either characters’ cell phone flashlights or glow sticks. This should be a unique challenge for any cinematographer to take on but director of photography Jasper Wolf shoots too much over-the-shoulder with very few wide shots to give us a sense of the space. Strong performances and some amusing dialogue aside, Bodies Bodies Bodies is boring, bland and basic.

Score – 2.5/5

New movies coming this weekend:
Playing only in theaters is Beast, a survival thriller starring Idris Elba and Sharlto Copley about a father and his two teenage daughters who find themselves hunted by a massive rogue lion intent on proving that the Savanna can only have one apex predator.
Streaming on Paramount+ is Orphan: First Kill, a psychological horror film starring Isabelle Fuhrman and Julia Stiles following Esther as she breaks out of an Estonian psychiatric facility and travels to America by impersonating the missing daughter of a wealthy family.
Available to rent or stream on AMC+ is Spin Me Round, a romantic comedy starring Alison Brie and Aubrey Plaza about a woman who wins an all-expenses trip to Florence through the company where she works but finds a different adventure than the one she imagined.

Reprinted by permission of Whatzup