PET SEMATARY Review

As with 2017's IT, this year's adaptation of Stephen King's 1983 novel is an update of an earlier adaptation that has a loyal fan base born of the generation in which King also penned these horror stories. Is this to say those original, filmed adaptations were more in tune with King's stories than today's updates? I couldn't say specifically in regards to IT or Pet Sematary as I haven't had the nerve to open either of those books, but while 1989's Pet Sematary and 1990's IT miniseries undoubtedly share a certain kindred spirit with King’s novels these current re-imaginings operate on a grander scale of sorts-idolizing the source material in a way that translates these stories in more epic terms to the screen. King’s emotionally-driven, character-based work tends to use the horror genre more as a mask for saying what he wants to say which would seem to account for why King’s work has always operated in being more vividly unsettling than straight up scary, but the themes of Pet Sematary are really dark...even for King. Though I have no personal connection or nostalgic ties to either King’s original novel or the original 1989 movie adaptation I tend to be intrigued if not by the premises of King’s works, but for the emotional investment they are able to create through this aforementioned character work. This is why IT ultimately worked so well two years ago for despite having a terrifying clown at the center it was the group of kids and their personal stories as well as the dynamics between them that allowed the movie to work and to be about things besides Pennywise. In directing duo Kevin Kölsch and Dennis Widmyer’s new take on King’s material, there is certainly no fear of going as far as is necessary to evoke the grief that comes along with dealing in loss and more specifically-the loss of a child. Kölsch and Widmyer undoubtedly create a sense of dread from the beginning playing the titular location in a way King would be proud as this sense of dread is not only represented in the literal manifestation of this burial ground, but of the reach it has into the lives of those that both live near and/or meddle in it. An interesting concept and fitting approach, no doubt, but while the emotions are as raw as the aesthetic approach it is a lack of connection to these character’s-especially Jason Clarke’s withdrawn nature despite his character’s actions-that give Pet Sematary a strong sense of purpose if not the lasting, devastating impact it seems pre-disposed to possess.

First Trailer for Stephen King's PET SEMATARY

Spoiler alert: I've never seen the 1989 adaptation of Stephen King's 1983 novel of the same name about a cemetery behind a young family's home in Maine that holds a terrible secret concerning the power of life after death. While that all may sound rather vague, what Pet Sematary is actually about-from what I can recall of my brothers discussions concerning the '89 film-is that of a haunted cemetery that brings pets back to life. Outside of that, I don't know much about what goes down in the story, but it's not hard to see why with the success of last fall's IT re-imagining and Hulu's Castle Rock why we're getting more re-makes or re-imaginings of King's most popular works. Does this carry the same cultural significance or nostalgia as IT, no way, but Sematary always felt like something of an appreciated if not exactly well-renowned entry in King's storied career. Given Mary Lambert's original film is now available to stream on Amazon Prime I'll definitely be making time to catch up with it before the end of the month (why not? It's October!) as well as preparing myself for whatever directing duo Kevin Kölsch and Dennis Widmyer have in store for us next spring. While Kölsch and Widmyer don't exactly have anything in their filmography that stands out (a bunch of rando horror flicks that look to be on the cheap side with not exactly glowing reviews) they did direct a few episodes of MTV's underrated and underseen Scream: The TV Series that makes me a little more optimistic about what they might do with a King property. Based on the trailer alone, I'm digging the way this thing looks (it was shot by Laurie Rose who's worked on Netflix's Peaky Blinders and also did 2017's 70's-laden Free Fire) as it feels more crisp and precise than some horror flicks that delve headfirst into a more grimy aesthetic. I'm also loving that John Lithgow will be playing the weird old man next door role (originally played by the original Herman Munster, Fred Gwynne, in the '89 version) as the guy is so versatile and, if you've seen Dexter, is a guy you know can play psychotic and/or crazy to haunting effect. While the rest of the casting is more shrug-worthy given Jason Clarke seems to be taking any role these days there is definitely potential here, but I'm sure I'll either have more hope or less optimism after giving the original film a go. 2018's Pet Sematary also stars Amy Seimetz, Naomi Frenette, Jeté Laurence, Obssa Ahmed, Alyssa Brooke Levine, Hugo & Lucas Lavoie, and opens on April 5th, 2019.

ALIEN: COVENANT Review

As a human male who wasn't born until 1987, the year after James Cameron's seven-year-later sequel to Ridley Scott's 1979 masterpiece debuted, I was never overly inclined to invest much of my adolescence in Xenomophs or the lore of the talented Ms. Ripley. As someone who would unknowingly be lumped in with the millennial generation I didn't grow up with a fondness for those original films and thus they never became a critical part of the cultural landscape for me until much later in life. It might even be difficult for viewers with older tastes and dated perspectives to understand how such a film as restrained and measured as Alien might play for today's ADD audiences, but despite the fact I didn't end up seeing Scott's original film until a college scriptwriting class doesn't mean I didn't understand the how and why of its effectiveness. Still, because of the life experiences that shaped who I was up until the point when I saw Prometheus in the summer of 2012 I didn't mind that it felt completely different from what Scott had established as his Alien universe in the past. Like with music and most things in life if something works and people crave more of it the artist must find a way to strike a balance between what has come before while also reinventing themselves so as not to repeat the same old shtick over and over again. While many complained about Prometheus for being too heady and not so reliant on thrills or action Scott, along with screenwriters John Logan and Dante Harper, have seemingly course corrected for the sake of the fans with Alien: Covenant as the film more or less meshes what Prometheus started and what fans seemingly wanted in a new Alien movie. That isn't to say it all melds seamlessly or that Covenant is all the better for attempting to strike such a balance, but rather that it wants to have its cake and eat it too. As an individual who has no vested interest in continuing the Alien franchise as it once was, but who dug the hell out of Prometheus, I was slightly disappointed the more philosophical aspects of the film were traded in for more formulaic action beats and scares, but while Covenant may be a safer movie than Prometheus as well as a less effective film than Alien it is still very much an entertaining one that does enough good to earn its place among the ranks of a series that seems to be more well regarded out of nostalgia and a couple strong entries than a consistent quality in the films overall.

Full Trailer for ALIEN : COVENANT

I am among those of the mind that consider Prometheus an astonishing achievement. A careful consideration of some very big questions that is as self-serious as could be, but with valid reasoning. Also, those visuals. The look of Prometheus is one that has stayed with me and has been hard to compete with even in the five plus years since its debut. With this new, full trailer though, we finally get a much better, more immersive look at Alien: Covenant in which Scott seems to be more interested in reprogramming Alien than the continuing adventures of Noomi Rapace’s Elizabeth and Michael Fassbender’s David. Given Covenant finds Fassbender reprising his role as the android and the fact the script comes from John Logan who adapted Hugo and had a hand in writing Skyfall and The Last Samurai I am optimistic there could be enough here to sustain and interest me in this new chapter of the franchise. All of that said, I've never been into the Alien mythos enough to be truly excited for this film, but the casting is intriguing and the reveal of the premise of the mission certainly raises some questions I look forward to finding out the answers to. It definitely seems as if Scott is going more for the horror genre than that of pure science fiction, but while that may reassure most I preferred the direction Prometheus was going rather than the isolated story Alien presented. In the trailer we see the crew of the titular Covenant discover what seems to be an “uncharted paradise” whose only inhabitant is Fassbender's David. As is also made clear, it doesn't seem it takes too long after the crew encounters David that things begin to go horribly wrong and they're forced to find daring ways in which to escape. Still, those visuals. I'll give the trailer that even if I'm still not convinced this will match the hype. Alien: Covenant also stars Katherine Waterston, Billy Crudup, Demián Bichir, Carmen Ejogo, Jussie Smollet, Amy Seimetz, James Franco, Danny McBride, and opens on May 19th, 2017.

First Trailer for ALIEN: COVENANT Starring Michael Fassbender

I am among those of the mind that consider Prometheus an astonishing achievement. A careful consideration of some very big questions that is as self-serious as could be, but with valid reasoning. Also, those visuals. The look of Prometheus is one that has stayed with me and has been hard to compete with even in the four plus years since its debut. And so, while I'm somewhat disheartened by the fact director Ridley Scott decided to go more with a direct prequel to his beloved 1979 film, Alien, rather than more of a sequel to that aforementioned 2012 hit with the follow-up I assume I'll get over it. With Alien: Covenant Scott seems to be more interested in reprogramming that film that started all of this rather than the continuing adventures of Noomi Rapace’s Elizabeth and Michael Fassbender’s David, but given Covenant finds Fassbender reprising his role as the android and the script comes from John Logan who adapted Hugo and had a hand in writing Skyfall and The Last Samurai I am optimistic that there could be enough story here to sustain this new chapter in the franchise. All of that said, I can't say that I'm overly excited for what this first look trailer promises. Sure, it looks like it might be more in the horror genre than that of the pure science fiction one, but while that may reassure most I preferred the direction Prometheus was going rather than the isolated story Alien presented. As far as story is concerned though, it seems we encounter David who is now the sole inhabitant of an “uncharted paradise” which is visited by the crew of the colony ship Covenant. Of course, once the crew arrives on this supposed "uncharted paradise" I'm sure it doesn't take long before things begin to go wrong and the (remaining) crew have to find daring ways in which they might escape. I'm not saying this can't be accomplished in an exciting manner, but I am saying this trailer doesn't do much for me by way of getting me excited for the film. Alien: Covenant also stars Katherine Waterston, Billy Crudup, Demián Bichir, Carmen Ejogo, Jussie Smollet, Amy Seimetz, James Franco, Danny McBride, and opens on May 19th, 2017. 

YOU'RE NEXT Review

I've said countless times that horror is probably my least favorite genre and that I find little real pleasure in paying to see people killed or haunted and generally made uncomfortable for the sake of entertainment. I understand why people find it engaging and I have no problem watching scary movies, I just don't really look forward to it unless it's fall and the leaves and weather compliment the small towns that are often represented within the film. There is a strange, oddly comfortable layer of relatability and the fantasy of what might go down in these kinds of films is hopefully as far removed from your reality as possible. What makes this latest piece of original horror so enticing is that it could not feel more removed from the majority of its audiences likely realities, but that it is in on the joke the majority of its audiences would be making about if it were legitimately trying to stir up some scares from us. You're Next is a low budget riff on the home invasion thrillers that have been sprinkled through the genre since its inception. Director Adam Wingard and writer Simon Barrett (who have both contributed to the horror anthologies V/H/S and V/H/S/2) made this film a little over two years ago (the film premiered at the 2011 Toronto Film Festival), but have been unable to secure a distribution deal for it and so it is with somewhat of a delayed reaction that we receive the film in all its goofy glory. To say I had fun with this film is to say something that might be easily misinterpreted, but trust me when I say You're Next works just as much as a horror flick as it does a comedy. There is brutal violence, a couple of specific shots that gave me the chills, and a body count that will appease anyone in the genre faithful, but on top of that it also has plenty of bad acting from its D-list cast, a musical score for the ages and dialogue that makes it even tougher for these already unskilled actors to allow us to even try and take them seriously. No, You're Next isn't a great film, it may not even be a very good one when we get right down to it, but to say it is not entertaining or that it doesn't have a certain charisma to it that pulls you in and elates your senses would be a tough argument to make and that alone is worth the recommendation.