World’s Worst Trekkie: Plato’s Stepchildren, Wink of an Eye, and The Empath

“Plato’s Stepchildren”

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Oh shit, it’s this episode.

So, “Plato’s Stepchildren” is best known as the first time an interracial couple (or specifically, a white/Black couple) kissed on US television. Obviously, I’ve been waiting to see this episode, although it turns out I’ve been waiting to see “Plato’s Stepchildren” for different, less historic reasons, too. You see, I’ve often come across GIFs like this—

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—and of course—

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—and wondered, Okay, what the hell is happening here? When am I gonna get to this what-the-fuckery? Well, folks. We’re here, and let me tell you, “Plato’s Stepchildren” is 99.5% what-the-fuckery.

Basically, it goes like this: the holy OT3 beam down to some planet in response to a distress call. They find the Platonians, a telekinetic and functionally immortal alien species who are, uh, followers of Plato, I guess? Sure, I’ll go with it. Their leader, Parmen, has been gravely injured from a small wound, as these people have never had to deal with sepsis before. Bones cures him, so yay! Unfortunately, these people are also total assholes, and they want Bones to stay behind forever in case of any other medical emergencies. Bones refuses, and thus we get roughly 40 minutes of Parmen trying to make Bones change his mind by humiliating Kirk and Spock, psychically forcing them to do all sorts of weird shit: sing, dance, hurt themselves, put on little plays, etc. The absolute most bizarre shit is when Parmen makes Alexander (their servant, a dwarf without any telekinetic abilities) jump on Kirk’s back as he crawls around, making whinny noises. Yes. This is a thing that ACTUALLY HAPPENED.

The kiss comes about because Parmen uses his mind powers to A) beam Uhura and Nurse Chapel down to the planet, and B) force Kirk to kiss Uhura and Spock to kiss Christine. So, it’s, uh. Not at all consensual from anyone involved, which is kind of a bummer for such a historic television moment. Although it’s still pretty awesome that William Shatner and Nichelle Nichols deliberately fucked up any of the non-smooch versions, so the studio had to use the kiss take. On a character level, though, Spock kissing Nurse Chapel is much more interesting because she’s had this crush on him for so long now, and she never imagined (or wanted) their first kiss being anything like this. Poor Nurse Chapel. I wish the episode bothered to check in with her again afterwards, but unsurprisingly, they do not. (Apparently, in the original script, Spock was supposed to kiss Uhura, but then William Shatner intervened. I find the tiny glimpses of Spock/Uhura in TOS fascinating, so I find this a little disappointing, too.)

Anyway, our OT3 discovers that the Platonians get their superpowers from their food supply. Bones quickly synthesizes similar chemicals, and Kirk overpowers Parmen. And . . . yeah, that’s about the whole episode. And, like, there are a few things I enjoy besides the historical significance of that kiss. Uhura has a very pretty dress. Spock pisses off an alien by guessing her age at 35. (I definitely felt this moment, having once angered a coworker by guessing her age correctly.) I enjoy Spock suffering from emotions that are psychically inflicted upon him, mostly because I’m a monster. And I really like Michael Dunn, who plays Alexander. The character is much more nuanced than I would’ve expected from TOS, has a whole emotional arc and everything, and Dunn plays the part well. But that Kirk-as-horse scene is pretty fucking painful, and also the writers apparently couldn’t resist throwing in one “little” joke by the end at Michael Dunn’s expense, which, UGH.

Mostly, though, the episode is just . . . plotless and weird. I can kinda see how it might’ve worked on paper, like, maybe they were conceiving it as a fun, cracky episode à la “I, Mudd.” In execution, unfortunately, it’s mostly just uncomfortable and strange.

Chief Asshat: Parmen, obviously

MVP: Definitely Alexander. I’m so happy he  lived!

Grade: Rocky Road

Line of the Episode: 

“The release of emotions, Mr. Spock, is what keeps us healthy. Emotionally healthy, that is.”
“That may be, Doctor. However, I have noted that the healthy release of emotion is frequently very unhealthy for those closest to you.”

“Wink of an Eye”

The Enterprise responds to a distress call; once again, it’s a trap. I feel like that’s been happening a lot lately? Anyway, our bad guys this time are the Scalosians. Years ago, due to a series of devastating environmental catastrophes and tons of radiation, the Scalosians somehow became accelerated in time, like, they’re basically just stuck in the Speed Force nonstop. They move so fast that they’re invisible to the human eye, and the only evidence of their presence is an occasional high-pitched, insect-like noise. The Scalosians (presumably, just the men) also became sterile, so now they abduct people into the Speed Force and use their captives as breeding stock to propagate their species. Only human bodies aren’t meant to live at accelerated speeds, so even the smallest bit of cellular damage will eventually rapidly age and kill those captives. This happens to the Red Shirt that helps sabotage the Enterprise.

Deela (Kathie Browne) is the Queen of the Scalosians, and she is easily the best part of this episode. She wants Kirk to be her baby daddy, so she doses his coffee with Speed Force accelerants—I was wondering why we had a yeoman for the first time in ages—and then proceeds to spend half the episode sexy flirting with him. And while I find Kirk a boring choice for this storyline, I will say that “Wink of an Eye” is one of the rare episodes where his flirting doesn’t creep me out, probably because both characters are clearly using one another to get what they want. While Deela genuinely likes Kirk (because he’s stubborn and feisty and “pretty”), she also never falls head over heels for him, either, as is typical on TOS.  She never stops seeing Kirk as a means to an end, and I enjoy that. Deela is a calm and confident villain: cool, amused, and utterly unapologetic for what she considers necessary to save her people. It’s refreshing to see, honestly. Also, I think she’s got some serious Natalie Dormer vibes. Obviously a plus.

On the downside: Deela’s Jealous Scalosian Dude is very dull, I sorta wish Kirk had fallen under Deela’s spell (they imply it’s an inevitable side effect, hence Red Shirt’s brief betrayal), some of the timing seems a bit off (Scotty gets stuck in the same spot for like 80 years?), and the ending is . . . not great? See, Bones figures out how to accelerate Spock’s speed so he can go rescue Kirk. Spock also has the cure (admittedly, experimental) to get everyone back to normal speed. He has every opportunity to tell the Scalosians this, too; instead, Spock says nothing as they beam our bad guys back to their planet where they’ll inevitably go extinct. Only then do Spock and Kirk take the cure, and like, yeah, these people are the villains, and Red Shirt deserves justice and all that, but . . . wow, our heroes don’t even try to help. Spock and Kirk are just like, “Well, too bad these people are doomed to isolated annihilation, I guess,” and fuck off to the nearest star system with their miracle cure in hand. It’s fucking weird.

Chief Asshat: I mean, I’m giving it to Kirk and Spock because of that ending. But admittedly, Rael the Jealous Lover is a bit of a pill, too.

MVP: Obviously Deela

Grade: Vanilla

Line of the Episode: Hm, difficult. Kirk has a pretty great line when he says, “I can think of nothing I’d rather do than stay with you . . . except stay alive,” which is an excellent example of correct priorities. Deela, too, has a number of quotes I enjoy, from introducing herself as “Deela, the enemy” to coolly telling Rael, “Allow me the dignity of liking the man I select.” Still, this one might be my actual favorite:

“Why?”
“Because I like you. Didn’t you guess? Or are you so accustomed to being kissed by invisible women?”

“The Empath”

On today’s adventure, our Holy OT3 beams down to some science colony that’s been observing a sun about to go supernova. The scientists are missing, though; all our heroes find is a truly comical level of dust before they quickly get abducted themselves, taken somewhere deep underground where they find a mysterious mute woman who they decide to name Gem. Gem is our titular empath, and she’s . . . not great. She makes a lot of weepy faces and melodramatic body gestures and is pretty much impossible to take seriously. It’s also hard to know how much Gem actually understands. She doesn’t make much effort to communicate, and it’s insinuated at one point that she might not understand human speech at all, but if she doesn’t even know why she’s here . . . well, we’ll get there.

Soon, a couple of alien doctors appear. They’re doing a series of experiments, most of which involve torturing our heroes. Kirk, who gets tortured first, is told he can decide who will go next: Bones or Spock. Bones takes the choice out of his hands when he sneak-sedates Kirk, then quickly does the same thing to Spock and volunteers himself for almost guaranteed death. And indeed, Bones is in rough shape after his torture. His only chance of survival is Gem, who, as an empath, can also heal people, I guess? It does hurt her, though, and it’s unclear if such a serious healing could potentially kill her. But it turns out that’s the whole point of this experiment: to see if Gem will willingly risk her own life to save another.

See, the doctors have the power to save only one planet in this dying solar system. They’re considering saving Gem’s world, but only if she proves that her people are worthy of being rescued. Gem heals Bones, a little, but is too frightened to finish the job. She does go back, though, only this time Bones stops her, not willing to be saved if it means she might die. Spock argues that her offer should be enough to call the experiment a success, and Kirk accuses the doctors of being all intellect, no heart. (UGH). Eventually, the doctors agree—or at least, they agree to heal Bones. Gem and her planet’s fate are left a bit more ambiguous. One of the doctors scoops up the unconscious woman in his arms, and they all disappear.

And like, okay. Number one: can you imagine our entire planet depending on one asshole proving he’s a selfless person? What if the aliens abducted Elon Musk? Donald Trump? Your shitty coworker who clearly learned nothing at sexual harassment training? How are we possibly judging an entire species on a sample size of one? And for that matter, what happens if Gem does fail her worthiness test? Are we giving similar tests to other people in this system?  Remember, we’ve been presumably testing Gem for at least 3 months, considering that’s when the first scientists were taken. Could we maybe use this time more productively, like, IDK, figuring out a way to save more people? (Not to mention, the aliens insist that the scientists only died because of their own fears and imperfections, which, uh. Is that supposed to imply that these dudes weren’t as noble and self-sacrificing as our heroes, and thus Gem couldn’t learn from them? Cause one way or another, I’m pretty sure the scientists actually died from, you know. Torture.)

ALSO. Does Gem even understand that her people are depending on her willingness to become a martyr? Because we’ve been pretty unclear about how much language she comprehends in this episode. And whether or not she does understand, are we really condemning Gem as a shitty person just because she’s afraid to sacrifice her life to save three dudes she’s known for approximately 15 minutes? PLUS, are we really supposed to be okay with the fact that Gem’s been abducted and emotionally tortured for months just because these docs have ultimately good intentions? She doesn’t even go free at the end of the episode, at least not that we can verify! EVERYTHING ABOUT THIS WHOLE EXPERIMENT VEXES ME SO MUCH.

On the plus side, “The Empath” is basically someone’s H/C fanfic becoming canon, which I personally think is pretty great. Also, Bones gets to say, “I’m a doctor, not a coal miner,” and at one point, William Shatner has to move like he’s in slow motion, and that shit is hysterical. It so, so bad. So. Not a total loss, I guess?

Chief Asshat: Obviously, the alien doctors. They SUCK.

MVP: Bones. He’s a sneaky, heroic motherfucker.

Grade: Rocky Road

Line of the Episode: 

“Why did you let him do it?”
“I was convinced in the same way you were, Captain: by the good doctor’s hypo.”

Triple Scoop Review: Seo Bok, Scream, and Along With the Gods: The Two Worlds

So, I’ve basically been ignoring movies in favor of marathoning television for the past three months, but hey! Here are a few films I’ve watched recently!

Seo Bok

Year: 2021
Director: Lee Yong Joo
First Watch or Rewatch: First Watch
Amazon, Netflix, Hulu, or Other: Other – Viki
Spoilers: Not directly, I don’t think, but inferences can probably be made
Grade: Rocky Road

Whew. That was . . . yeah, a bit darker than I was expecting from a “jaded ex-agent has to protect the first human clone” movie. Although sometimes, that can be kind of a fun thing about watching foreign films: genre expectations are not necessarily universal, so sometimes, damn, you get a surprise.

Truthfully, I haven’t quite made up my mind about Seo Bok just yet. There are parts that I genuinely like. The acting, in particular: Gong Yoo and Park Bo Gum are  strong leads—I mean, obviously, they’re like 95% of the reason I watched this movie in the first place. I especially enjoyed Park Bo Gum, who was giving me some serious Hello, Monster nostalgia, but I was also happy to also see Jo Woo Jin (who I really enjoyed in Happiness) and Jang Young Nam (who I quite liked in It’s Okay to Not Be Okay). The action is fun. Some of the shots were rather lovely. Some of the thematic material works well for me.

However, not all of it does, and I’m still trying to pinpoint why that is, exactly. Admittedly, the basic thesis of this movie—we’re not meant to be immortal—has never been one of my favorite morals in the world. Still, I think my bigger problem isn’t so much the message but its execution. Seo Bok feels murky, convoluted. Too much going on and not nearly enough time to explore it. I often felt that characters—particularly the antagonists—were making decisions that felt nonsensical and inauthentic. Our heroes are essentially caught between dueling villains here, and I quite like the idea of that; however, that structure can go somewhat awry when you have villains with nebulous motivations making pretty dubious choices.

 Seo Bok is certainly not meant to be an upper; in fact, to me, it sorta feels like the nihilist answer to Space Sweepers. Still by the end, I feel like I was perhaps left with an even stronger sense of futility than the film actually intended. I don’t regret watching it at all, but I also feel like there’s a stronger story here, waiting to be whittled free.

Scream

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Year: 2022
Director: Matt Bettinelli-Olpin & Tyler Gillett
First Watch or Rewatch: First Watch
Amazon, Netflix, Hulu, or Other: Other – Paramount Plus
Spoilers: ABSOLUTELY
Grade: Chocolate

I admit, I was pretty excited when news of the latest Scream movie was announced, considering it’s probably my favorite horror franchise of all time, and I figured the guys who did Ready or Not might be a good fit for it. But I was also a bit nervous because, you know. It’s probably my favorite horror franchise of all time, and there comes a point when you just really don’t want to see certain characters die. For me, that specifically meant Sidney. I am emotionally invested in Sidney Prescott’s survival. Fortunately, I have good news: she makes it!

Overall, I enjoyed Scream. TBH, I enjoy all the movies in this franchise. Even Scream 3, which is probably the worst of the bunch, surprisingly has more to recommend than I’d initially remembered. Which isn’t to say I don’t have criticisms because, well. Me. My biggest problem here is that Melissa Barrera does very little for me as Sam. I wish I liked her more, I really do. I adored Jenna Ortega as Tara and spent the majority of the film wishing she was the primary Final Girl. Actually, I really like most of the cast. Jack Quaid being a villain isn’t exactly, er. Surprising? But I don’t even care because he’s hilarious, and I’ve really liked this actor in everything I’ve seen him in thus far. Also shoutouts to David Arquette, Jasmin Savoy Brown, Mason Gooding, Dylan Minnette, Neve Campbell, Courtney Cox, and Skeet Ulrich—but NOT to Skeet Ulrich’s CGI because good Christ, stop. Just stop.

And I really do love the idea of our Final Girl being cheered on by hallucinations of Evil Daddy Billy Loomis. The scene where Sam stabs the shit out of Richie is easily her best in the whole film. Still, I would’ve loved it so much more if I ever bought Sam or had any investment in her character. I also think Scream might have some second act problems, but I’m not quite sure yet where I think it missteps. I do feel like Tara’s friends get dropped too long, which makes the Amber reveal a little underwhelming. Wes and Judy’s death scenes are good, but feel a bit disconnected from the rest of the film. (I still can’t bring myself to give a shit about Judy, but I do feel sorry for Wes.)  And I’m still trying to decide how I feel about Dewey’s death. I don’t mind that it happened, exactly, just . . . it’s so obvious that he’s gonna die when he goes back that it ends up feeling like a stupid move to me. IDK. I’m still thinking on it.

(Also, FFS. Is the hospital a 9-5 gig? Where are ANY of the employees here? Or for that matter, other patients? Hollywood continues to drive me crazy with this nonsense.)

Overall, though, I was pretty entertained. I had fun guessing suspects and motives and how many killers there would be this time around. Toxic Fandom is the Real Killer here feels pretty apropos for this franchise, and almost all of the dialogue and in-jokes worked well for me. (Poor Courtney Cox is never gonna live those terrible bangs down.) I also enjoyed the step up in gore, and while I may find Sam very dull, I’m always happy to see sisters survive. (See also, Sidney and Gale—I know, not actually sisters—who I really liked in this movie.) I do wish Kirby had come back, but it’s nice that we got confirmation she’s alive! (Though I admit, I absolutely missed said confirmation when it happened.) This movie isn’t perfect, no, but compared to some other horror franchises and their dismal ass sequels? Yeah. The Scream movies still got it.

Along With the Gods: The Two Worlds

Year: 2017
Director: Kim Yong Hwa
First Watch or Rewatch: First Watch
Amazon, Netflix, Hulu, or Other: Other – Viki
Spoilers: Nah
Grade: Vanilla

So, this is a Korean fantasy-action film about a firefighter who dies and is escorted through the afterlife, facing seven trials in seven hells to see if he can be reborn. It’s a fun premise and an overall great cast with several actors I’ve enjoyed in other shows. Joo Ji Hoon from Kingdom. Kim Hyang Gi, who was (briefly) in Space Sweepers. I’m currently watching Kim Dong Wook in The Guest, and—like presumably many Americans—first saw Lee Jung Jae in Squid Game. Also D.O. (Hello Monster—yes, I know he’s also in EXO, but I know him from Hello Monster), Kim Soo An (Train to Busan), Ye Soo Jung (also Train to Busan), and a half a dozen other people I’ve seen pop up here and there. This is actually the first thing I’ve seen Ha Jung Woo in, but I enjoy him here, too.

My main problem with this film is easily Kim Ja Hong (Cha Tae Hyun), our firefighter, who is just . . . boring. He’s so boring, just zero personality whatsoever, and it feels like half his dialogue is incessantly calling after his mom. Literally everyone around him is much more interesting. My personal favorites are Joo Ji Hoon, who gives a very funny performance that’s wildly different from his work in Kingdom, Kim Soo Ann, because the God of Deceit is just the Best, and Kim Dong Wook, whose performance here alongside Ye Soo Jung provides the movie its heart. I’m probably supposed to feel moved by Ja Hong, too, but unfortunately . . . yeah, no. That’s partially because the character is so boring, but also because we learn some things about this guy that, well. I don’t want to get too deeply into spoilers, but let’s just say that the movie really wants me get into this heartwarming redemption, and I just couldn’t quite get there.

I do think the script could be tighter, and I wish the visual effects did justice to the premise (cause the CGI here is, uh, hilarious), but I also probably enjoyed the film enough to check out the sequel, especially since my least favorite character isn’t in it. Man. I wish that happened in more films. Like, give me Scream 6 without Sam. Or Guardians of the Galaxy 3 without Peter Quill, or Jurassic Whatever without Owen Grady, or . . . yeah, feel free to just pass up Chris Pratt at any opportunity in favor of Chris Pine, Chris Evans, or Chris Hemsworth, please and thank you.

Triple Scoop Reviews: Pipeline, Shang-Chi and The Legend of the Ten Rings, and Dune

Pipeline

Year: 2021
Director: Yoo Ha
First Watch or Rewatch: First Watch
Amazon, Netflix, Hulu, or Other: Other – Viki
Spoilers: Nope
Grade: Rocky Road

I’m a sucker for a fun heist story, and I have a soft spot for Lee Soo-Hyuk, so Mek and I decided to check out Pipeline. The movie is . . . fine, but also kind of oddly charmless, and a bit on the slow side for me. Oh, that sounds mean, doesn’t it? I didn’t hate this movie. The acting itself is fine (though I’m starting to wonder if Seo In-Guk has ever been in anything where he didn’t play the Arrogant Male Lead), and there were a few moments that did make me laugh; unfortunately, they weren’t very memorable because I can’t think of a single one now. I just never got very invested in the story, and that’s probably because I never grew to care about anyone on the team.

Heist stories usually go one of two ways: A) they’re grim little affairs, full of twists, betrayal, and murder, or B) they’re much wittier and light-hearted, often centering on the Team as Family trope. Pipeline is very much the latter (which is personally great for me), but none of the characters are very dynamic or interesting, and they just don’t have the platonic chemistry that really makes these kinds of stories sing. Honestly, we never learn much about any of them, not even our main lead. I kinda vaguely liked Counter (Bae Da-Bin), I guess, but that’s about it. Frankly, I found myself half-voting for the rich scumbag villain, because I didn’t really care about our heroes, and because Lee Soo-Hyuk wears the hell out of a nice suit. Like. I’m not always shallow, but yeah. I’m a little shallow.

Shang-Chi and The Legend of the Ten Rings

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Year: 2021
Director: Destin Daniel Cretton
First Watch or Rewatch: First Watch
Amazon, Netflix, Hulu, or Other: Other – Disney Plus
Spoilers: Yup
Grade: Vanilla

This was fun. I don’t quite love it, for a variety of reasons that we’ll get into shortly, but it was definitely an easy watch. The Final Battle is weirdly murky, but all the other fight scenes are great; I particularly like the chaotic Muni fight, and also when Ying Li kicks Wenwu’s ass at the beginning. (Not to mention, Ying Li’s whole look is fucking fabulous. Christ, I hope to see this cosplay the next time I actually go to a con.) I like how this isn’t quite your typical origin story; it’s a delight when we realize that Shang-Chi already knows how to fight. The music is fun. I am all about that dragon. (Also, the qilin, the huli jing, and all the other mythological creatures that I’m less familiar with.) And I enjoy pretty much the whole cast. I was especially delighted to see Michelle Yeoh and Tsai Chin, even if the latter was only there for a few moments.

Still, I don’t love this one quite as much as other folks, and I think that’s partially because the whole story is just built from one of my least favorite tropes of all time. Like, introducing this awesome, badass, immortal lady who just gives up all her powers because she falls in love (for God knows what reason) with this evil warlord who totally doesn’t deserve her? Yeah, pass. I found myself checking out a bit even before we got to associating tropes like Evil Man Changes His Ways Because of Romantic Love and Evil Man Goes Back To His Evil Ways Because His Love Died. Mind you, this has nothing to do with the acting; Tony Leung is perfectly good in the role; unfortunately, none of this interests me.

Also, for a movie with this many flashbacks, I think it’s completely bizarre to exclude the one where Young Shang-Chi actually decides to run away. It’s a Big Moment for his character, particularly considering the emotional conflict between him and his sister, and the only reason I can think not to include it is if we’re postponing it for a Big Reveal, namely, if it turns out that the man Young Shang-Chi assassinated is also Katy’s dead grandfather. I am desperately hoping this isn’t the case because, ugh, talk about tropes I’m not into. (I think it’d also be kinda cool if Katy and Shang-Chi did remain platonic, but that seems pretty unlikely, and I don’t hate them as a romantic ship. TBH, I kinda like their low-key, just wanna dance vibe. They could totally date and do late night karaoke and save the world without being all tortured and shit–that is, unless Shang-Chi’s lying to Katy about vengance-murdering her grandpa.)

Finally, I appear to be in the minority here, but Ben Kingsley in the role of Comic Relief didn’t do much for me. Like, I loved it when they brought up his character at dinner, absolutely, but the second we actually get him on screen for Kooky Fun Times? Nah. OTOH, seeing Benedict Wong join in on the karaoke? Excellent.

Dune: Part One

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Year: 2021
Director: Denis Villeneuve
First Watch or Rewatch: First Watch
Amazon, Netflix, Hulu, or Other: Other – HBO Max
Spoilers: Yup
Grade: Rocky Road

So, I finally watched this movie, 20% because I was curious, 80% because Mekaela bribed me with a bottle of Moscato that we somehow ended up with. The wine was tasty. The movie was . . . okay? I’ve never read the book, and I have very mixed feelings on the David Lynch adaptation, so I doubt I was anyone’s target audience here. But sure, there are things I like about this. Exposition and worldbuilding are handled much better here than in the 1984 version. Rebecca Ferguson makes Lady Jessica a million times more interesting than I remember that character being. (Also, her costumes are just cool.) And some of Paul’s visions are intriguing, particularly the ones with Jamis, considering he’s set up to be this someday friend/mentor figure, but instead, Paul kills him. (Other visions are less interesting because, much as I like Zendaya, there’s a limit to how many times I need a quick flash of her looking all romantic/enigmatic. I’m definitely looking forward to her having more actual dialogue in the sequel.)

Still, Paul himself? Meh. I genuinely like that he’s a child of two wildly different lineages, but kid’s got all the personality of a celery stick, and I don’t care even a little about his whole Chosen One narrative. (Frankly, I kinda wish Lady Jessica was the Chosen One.) I continue to hate Baron Harkonnen, too, and I’m still royally pissed about the decision to put Stellan Skarsgård in a fat suit, especially while reading bullshit about how careful they all were to avoid using the fat suit for comedic effect in the film; meanwhile, in the very same article: “Stellan  just loved being naked as the Baron. We all used to kill ourselves laughing when Stellan would ask for more nude scenes. He felt, quite correctly, that the Baron appeared more frightening and dangerous unclothed than cloaked in robes or armor.” Cool. That’s way less shitty!

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The only positive thing I will say about the Baron is that at least Villeneuve cut the Depraved Homosexual shit because FFS.

Also, for a 2 1/2 hour film, I do think Dune, Part One has a couple of pacing problems. Like, I kinda feel there should be a little more time between “fuck, we’ve been set up to fail” and “Massacre Night.” And there’s been, what, five minutes between Paul whining that Lady Jessica made him a freak (dude, you’ve got bigger problems right now) and Paul deciding, “Well, okay, I guess I’ll just be Emperor, then!” The second half of the film feels especially off to me. I also kinda just miss how bizarrely weird the 1984 version looks in comparison, although obviously that’s a very subjective criticism. This movie is pretty; it’s just not very fun. Like, it’s been a while since I’ve watched a movie that takes itself SO seriously. Plus–and I know this is the most minor of complaints–I feel like the desaturated colors of this film are a bit at odds with this oppressive desert heat everyone keeps talking about. I never even once bought that heat.

So, will I watch Part Two? IDK, probably, though I suspect bribery will be involved again, and I don’t think I liked this one enough to see the sequel in theater, no matter how much Villeneuve abhors the idea of people watching his art on the small screen. (Yes, I’m petty. This shit pissed me off.) TBH, I’m a little surprised about how many people were apparently worried there wouldn’t be a sequel, like, I know every iteration of Dune ends up being divisive as shit, but also, this was a wildly anticipated film with a huge cast and well-respected white director, like, the kind of director who actually gets Oscar nods for his science fiction work. I just wasn’t quite sweating the sequel getting the green-light, you know?

Triple Spooky Scoop Review: Hereditary, Till Death, and Tag

Horror Bingo continues! Once again, we have three wildly different movies to discuss today. Let’s just skip straight to the blasphemy, shall we?

Hereditary

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Year: 2018
Director: Ari Aster
First Watch or Rewatch: First Watch
Amazon, Netflix, Hulu, or Other: Amazon
Spoilers: Yes, specifically in the 3rd and 4th paragraphs
Grade: Vanilla

Hereditary is . . . okay. It’s well-acted, particularly by Toni Collette. It’s well-shot. There are definitely some nice creepy moments and a few good surprises, which I’ll detail in the Spoiler Paragraphs. I like the use of the miniatures, which are clearly eerie AF.

But on the whole, I feel removed from this story, distant. I feel vaguely bad for this family because a bunch of truly awful shit happens to them, but I also don’t know that I particularly connect to any one of them as characters. There’s never really a moment that I became fully invested in their lives or the story in general. The whole movie is kinda, hm, flatly miserable I guess? Which, yeah I get it: this is horror, and no one’s here to have a good time. But I do feel like I’ve watched other horror films about suffering and grief that I’ve enjoyed a lot more and that have meant more to me. It probably doesn’t help, either, that I just read a handful of reviews that really have that whole “yes, Hereditary is a horror film, but it’s actually about something” energy, like the entire genre was trash before Blessed A24, Lord and Savior, came to save us from ourselves. I fucking despise that shit.

As far as the actual plot goes, I initially thought that the evil cult was trying to bring Dead Grandma back to life. (The evil cult itself was pretty, obvious, right, like we all knew that Ann Dowd was definitely Evil Grandma’s Equally Evil Friend?) Once we learned about Paimon, though, I was all, Oh, got it, we’ve been trying and failing to do this for a WHILE now, first with Long Dead Grandpa and then Long Dead Uncle and now Recently Dead Charlie. I completely missed that Charlie actually was Paimon since, IDK, she was a baby, basically? Until the ending reveal, I’d just assumed she was all emotionally fucked up due to the prolonged exposure to Evil Grandma.

There are some disturbing and/or holy shit moments I liked. When Charlie died, for instance (I thought she might go out early, but didn’t expect it to happen like that) or when Gabriel Byrne went up in flames. (Damn, that was a good surprise.)  Possessed Toni Collette decapitating herself; also, when she channeled Charlie during the seance. And the ants, God, I fucking hate ants. There really is some genuinely good stuff here.

But for me, the film as a whole didn’t linger. When Hereditary was over, I was kinda like, “Well . . . that was definitely a movie I watched,” and moved about my day. I didn’t hate it, but I didn’t connect to it, either, and I don’t think I was nearly as disturbed as I was meant to be.

Till Death

Megan Fox Till Death GIF - Find & Share on GIPHY

Year: 2021
Director: S.K. Dale
First Watch or Rewatch: First Watch
Amazon, Netflix, Hulu, or Other: Netflix
Spoilers: Some, technically, but nothing that should ruin the movie for you
Grade: Strawberry

Again, this is okay. It’s a fun concept: woman who’s been handcuffed to her dead asshole of a husband has to find a way to survive, especially when a couple of dudes come to rob and kill her. You know, it’s like Gerald’s Game, but worse. (I presume. Despite having been a Stephen King fan since I was 11 or 12, I’ve still never actually read or watched Gerald’s Game.) There are some specific moments I like: golf clubs, the various troubles with staircases, a nice reversal where one of the bad guys gets handcuffed to a dead body. Dead Husband (Eoin Macken) is The Fucking Worst, and rudely, this movie makes you wait a little over 20 minutes for him to die, which is obviously criminal. But mostly, it’s an easy enough way to spend an hour and a half.

Unfortunately, Emma is played by Megan Fox, and while I genuinely like Megan Fox in some things–Jennifer’s Body, for instance–I don’t think she quite works here, which is a bummer cause the whole movie kinda rides on her performance. In the first 20 minutes, she’s going for . . . hm, meek, I suppose? Sad and subservient? But it falls a little flat for me, never quite manages to feel genuine or nuanced. Her performance is a bit stronger when Emma gets to the “fuck you, corpse-husband, I will survive no matter what” stage of the game. Still, even then I don’t buy a lot of her reactions. There’s one moment when Emma yells “Fuck you!” or something, and I flat out laughed.

Mostly, I just couldn’t stop thinking of actresses I’d rather have seen in the role. Like, we’re currently watching Season 2 of Evil, right, so immediately, I’m thinking, “Man, Katja Herbers would’ve owned this.” Other possibilities: Kate Siegel (double feature this and Hush!), Florence Pugh (double feature this and Midsommar!), Samara Weaving (this scream, it is the best, I will never shut up about it), Sandra Oh (Jesus Christ, I would cut off someone’s right arm to see Sandra Oh in a horror movie.) Till Death is decent enough, but a stronger actress could’ve made this one sing.

Tag

Year: 2015
Director: Sion Sono
First Watch or Rewatch: First Watch
Amazon, Netflix, Hulu, or Other: Amazon
Spoilers: Yes, primarily in the last two paragraphs
Grade: Chocolate

I mean, damn. Tag is WILD. I knew that going in, of course, but let’s be clear: in no way does that fucking trailer prepare you for the film you’re about to watch. Holy shit.

I’m finding this one hard to talk about. Tag is a madcap rush of action, gore, and surrealism, and for the majority of the film, I had very little idea of what was going on–though I did accidentally hit on a Big Twist, which I’ll discuss in more detail later. It helps, I think, to have a “fuck it, let’s just see what happens” mindset–which isn’t to say don’t engage with the film, just, like. It’s probably not gonna make much sense until the end. If that sounds super frustrating, this might not be the movie for you. Likewise, if you hate gore (or only like it when it’s tasteful) this is also probably not your movie. Unsurprisingly, that wasn’t a big problem for me. The opening scene alone, I mean, shit.

Tag is also a bit difficult to discuss because–as with any foreign film–I’m almost certainly missing cultural references or important context that Japanese audiences would know, not to mention this is Amazon, so how accurate are these translations, really? I can tell you that I enjoyed the score: I really like what I’ve heard from MONO so far; plus, there’s a brief instance of The Walking Dead theme music, which TWD, bah, but it’s damn good theme music. I can also tell you that I’d absolutely love to read an essay on this film from a queer feminist perspective. It’s not apparent from the outset, but by the end, there are some definite  fuck the patriarchy vibes here, which I enjoy. (Though there are also about a billion panty shots, which I guess you can argue makes sense, but I think the argument is weak.) And I can say–with only moderate spoilers– that one of the various antagonists in this movie is Evil Wind, a fear I deeply relate to, since apparently fire season has just sorta permanently traumatized me, goddamnit.

Here’s a funny thing: maybe halfway through the film, I told Mekaela that Tag would make for a decent video game, like, you could see how each reality felt like a different level, with different Bosses and different characters you could fight with, etc. Mek (who’d forgotten she’d seen this movie until it started) had zero reaction to this, which surprised me until we hit the end, and I realized Mitsuko actually has been in a video game this whole time, and Mek had been all, “Keep a straight face, keep a straight face.”

Tag is honestly a bit sad, although we do get that hint of optimism at the last moment. That old fucker doesn’t get his “prize,” at least, which is good. Mitsuko escapes, too, although she has to kill herself to do it, and it’s unclear exactly where she is now. Still. For a movie with Mass Murdering Wind, a pig-head groom, and absurdly comical levels of violence, Tag lands a bit heavier in the chest than I expected. This movie shows women the future, and it’s just Gross, Entitled Men Are Now Even More Entitled and Gross. I just feel very sorry for Mitsuko; also Aki, Sur, and all the other dead girls.

Triple Scoop Review: Fear Street Part One: 1994, Fear Street Part Two: 1978, and Fear Street Part Three: 1666

So, it’s July 3rd–or at least it is for me, right now, as I write this intro–and we’ll be doing our usual Triple Scoop Review a little differently today. Since Fear Street is a trilogy of interconnected horror films (each released a week apart on Netflix), I’m gonna first try discussing each story one by one, and then after the trilogy is concluded, look at the project as a whole. We’ll see how it goes!

Fear Street Part One: 1994

Year: 2021
Director: Leigh Janiak
First Watch or Rewatch: First Watch
Amazon, Netflix, Hulu, or Other: Netflix
Spoilers: Some, yes, but mostly just romantic relationship stuff in the 2nd paragraph
Grade: Vanilla

This is a silly, almost cute throwback to 90’s slashers, high on energy and relatively light on gore (with one very memorable exception). The PG-13 vibes make sense, considering the whole  trilogy is based on R.L. Stine’s Fear Street books. (I’ve never read them. I kinda skipped R.L. Stine as a kid.) I had fun watching the film, though how I feel about this entry  is probably gonna depend on what happens in the next two. Right now, lots of things feel unbalanced–the sheriff, the janitor, the mayor, Shadyside vs. Sunnyside (LOL), the ominous nose bleeds, etc.–but I expect that will change as I learn more in the upcoming installments.

What isn’t quite working for me right now is Deena. Not the actress–Kiana Madeira does fine work–but the character herself, or at least her relationship with her ex, Sam (Olivia Scott Welch). Man, I want to root for these two. Are you kidding me? Two queer romantic leads in a slasher film? And a queer Final Girl who’s also a person of color? I desperately wanna be onboard, but frankly, Deena’s kind of an asshole to Sam. And like, emotions are messy, I get it. No one’s gonna act 100% perfect all the time, and that’s fine. But without getting into too much detail (NGL: there’s a bit of detail), Deena blames Sam for shit that’s mostly outside her control, acts all possessive and jealous despite being the one who called it quits, and then endangers Sam’s life, actually getting her hospitalized–and never really apologizes for any of it. Mind you, Sam (emotionally) hurt Deena in the past, too, but A) any pain you cause by not being ready to come out isn’t nearly as cut and dry as this movie wants it to be (especially in 1994, FFS), and B) if Sam did act like an asshole before, okay, but we never actually see that on screen. All we get is Sam apologizing to Deena, like it’s Sam’s fault that Deena’s being a dick. That’s all a BIG problem for me if I’m supposed to ship these two.

Beyond that . . . well, 1994 is, indeed, set in the 90’s, which the soundtrack is definitely not gonna let you forget. It’s a little too in your face for me, TBH, but I also knew and liked literally every single song except one, so. I got over it. (Though for those of you who care: a couple of songs did come out after 1994.) Being a 90’s child, I also enjoyed the homages to 90’s slashers, particularly Scream. I’m not so sure how I feel about Nurse Beddy, though, and upon reflection, there are two deaths that don’t make much sense, so either I’m missing something, or they’re kinda lousy, needless deaths.

Special shoutout to Julia Rehwald, who plays Kate and tends to steal every scene she’s in (despite an unnecessary romantic storyline that I definitely didn’t care about). But the whole cast is pretty enjoyable, and I’m curious to see how the next installment compares. We’ll see next week!

Fear Street Part Two: 1978

Year: 2021
Director: Leigh Janiak
First Watch or Rewatch: First Watch
Amazon, Netflix, Hulu, or Other: Netflix
Spoilers: Nah
Grade: Chocolate

1978 is, more or less, one very long flashback, as told by C. Berman (Gillian Jacobs), the sole survivor of the Camp Nightwing massacre–although we are seriously stretching the term “soul survivor” here, like, lots of other people escape this camp alive. It’s an exciting narrative structure, actually, a horror film that functions as both a prequel and a sequel in this ongoing storyline, and I enjoyed watching it–although it does get off to a slow start, and there are a few logic hiccups that may or may not trip you, depending how nerdy you get about narrative. (I am, of course, absolutely That Nerd.) Like how our Final Girl isn’t in every scene, for example, which means she’s relating a lot of stuff that she has little way of knowing. Also, one character kinda gets dropped entirely, which seems like a misstep. And this trilogy’s mythology is interesting, but IDK, messy? We do get answers to some questions (like what’s up with the mysterious nosebleeds), and that’s cool, but some stuff feels all over the place, and there’s a moment where a character comes to a conclusion that makes little sense unless she, too, has watched Fear Street 1994.

OTOH, 1978 is definitely more violent than 1994, which is obviously a plus for me, and I felt more invested in the overall story, probably because I care more about Cindy and Ziggy’s strained sibling relationship (as well as Cindy and Alice’s strained.once-friendship) than I ever did about Deena/Sam. There are similar thematic elements and parallels between the two films (betrayals and confessions, trying to remake your identity and carve yourself a future, etc.), but they work better for me in 1978, probably cause we don’t see Alice respond to Cindy’s snitching and stupid polo shirts by nearly committing involuntary manslaughter. (I’m sorry. Clearly, I’m still bitter about Deena.) I enjoy a lot of the cast, too: it’s especially nice to see Sadie Sink again, who I love in Stranger Things, although I think Emily Rudd also does a good job here.

The end comes with a bit of a twist that, while conceptually interesting, is pretty predictable from the get-go. But I do like getting to see all the little tie-ins from 1994 and 1978, and I’m looking forward to seeing how the trilogy concludes. (Personally, I’m hoping for a secret epilogue that takes place in 2021.)

Fear Street Part Three: 1666

Y

Year: 2021
Director: Leigh Janiak
First Watch or Rewatch: First Watch
Amazon, Netflix, Hulu, or Other: Netflix
Spoilers: Yes, avoid the third and fourth paragraphs
Grade: Strawberry

Without a doubt, 1666 is the hardest to evaluate as its own thing. It’s certainly the film I’d be the least likely to rewatch on its own, but it also does a pretty good job of tying all the loose threads together and concluding the overall 1994/1978/1666 story.

Hm, what can I say about this one? Well, it’s fun to watch the cast from the first two movies play entirely different roles, although I wish we could spend a little more time with the supporting players. (Though the story doesn’t necessarily require it. I just think it’d be neat.) Also, the accents . . . oh, those accents wander badly. It’s not damning, but it is distracting, which is mostly unfortunate because 1666 seems to be going for a darker, slightly more adult tone than, say, 1994’s PG-13 pop slasher fun or 1978’s violent summer camp horror. It’s a bit hard to sink into the grim witch hunt when half the line reads make me snicker. OTOH, when it comes to actual horror, big thumbs up for the church scene, which I thought was perfectly creepy.

Still, the best thing about 1666, for me, is the twist that Sarah Fier was framed for being a witch, and that Solomon Goode and his descendants were the real villains all along. It works on a lot of levels, like, obviously we all knew that there was more to the story, that Sarah had probably been betrayed by the town, that Sunnyside was fucking over Shadyside in some supernatural way, etc. etc. But I must admit, I did assume Sarah was at least somewhat responsible for the curse. And while the Sheriff absolutely seems, heh, shady for most of 19941978 successfully misdirected me into thinking he was On the Side of Good, which is neat. Also, this twist explains a lot of the seemingly sloppy and convoluted mythology, which is great. (Maybe not everything, though. I’m still not 100% on a few things, like those minor character deaths from 1994. Also, seriously. What is the deal with Adult Ziggy’s clocks?)

1666 wraps up more quickly than I expected, giving way to Fear Street – 1994: Part 2, and our happy ending. I like that everybody survives here, even if (sadly) I didn’t get my 2021 epilogue. (Although a mid-credits scene does technically leave the door open for a sequel.) I also like that we get to see Adult Ziggy’s reaction to the sad truth about her one and only friend, and also the Carrie blood bucket callback. Otherwise, though, not much stands out, like the last showdown is . . . okay, I guess? It’s aiming for light and fun, but doesn’t totally hit the mark, at least not for me. Still, the answers we get here wrap up the trilogy much more successfully than I’d been anticipating, which is fantastic.

FINAL THOUGHTS

Like I said, it’s really hard to grade these on an individual basis because while Fear Street is kind of billed as three separate movies, it plays more like a horror miniseries, with episodes that are dependent upon one another to work, especially 1666. Mind you, that’s not a complaint! I do feel like each individual story could be stronger, and there are clearly some significant changes I’d make if I was in charge of, you know, anything.

But I also feel like the trilogy itself is creative and playful and interesting, like, it’s this whole YA horror experience. As a 35-year-old, I enjoyed watching these movies over the course of three weeks. As a 13-year-old just getting into horror, I suspect I would’ve gone feral over them. And I’d love to see more projects like this in the future: horror featuring queer leads and happy endings, horror that deliberately plays with sub-genre and tone, interconnected slashers that play out over the course of several days or weeks. It really gives me just All The Ideas, and you know I love anything that brings The Ideas.

Overall Grade For Whole Trilogy: B (Vanilla)

TV Superlatives: December, January, February – 2020/2021

It seems I’m capable of watching either a lot of TV shows or a lot of movies, but not both. Fall 2020 was Movie Time, specifically, Horror Movie Time, and TV definitely fell by the wayside. Winter, however, was rather the other way around.

Here is the list of TV shows I’ve been watching over the past three months:

Tale of the Nine-Tailed (Episodes 10-16)
Running Man (Random Episodes)
The Uncanny Counter
Alice in Borderland
The Expanse (Season 5)
Sweet Home
The Sleuth of the Ming Dynasty
WandaVision
Nancy Drew (Season 2, Episodes 1-6)
Busted (Season 3)
Infinity Train (Season 2)
L.U.C.A.: The Beginning (Episodes 1-5)
Last Week Tonight
Star Trek: Lower Decks

A quick reminder for how these work: I will bestow whatever TV shows I’ve been currently watching with my usual nonsense awards, whether they’re currently airing or not. As always, I will do my best to clearly mark these awards with spoiler warnings.

With that said, let’s begin!

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Triple Spooky Scoop Review: Sinister, Ready or Not, and Happy Death Day

My friends! Finally, we are at the end! Of course, Marisa is the real winner of Horror Bingo, but the St. George household required its own champion before the game could be properly concluded. There could be only One–

–and it was ME! Two years running, I AM THE WINNER.

We’ll get to the official Horror Bingo 2020 Wrap-Up at the very end, but first, our last three movies.

Sinister

Year: 2012
Director: Scott Derrickson
First Watch or Rewatch: First Watch
Amazon, Netflix, Hulu, or Other: Other – Amazon
Spoilers: YEP
Grade: Strawberry

You know when something is relatively well-crafted but just isn’t your thing? Yeah, that’s Sinister, for me.

Some stuff is genuinely creepy. Like, a few of those snuff films are pretty disturbing, and I fucking adore all the Netherworld Children and their perfect little outfits and their dead little faces. Is it wrong that I kinda want kids just so I can dress them up like this for Halloween? Probably. Anyway, the all-around acting is fine, although my favorite is James Ransone as Deputy So-and-So. (I love that this is his official name in the sequel, even when he’s apparently the main character.) That bit where So-and-So’s like “You kidding me, I believe in all that stuff. I wouldn’t spend one night in this place, are you nuts?” HA. I also like the ending quite a bit–except the last minute jump scare, which is cheap and worthless. Admittedly, it is pretty obvious what fate awaits Ethan Hawke and his fam, like, once you discover that the Hanged Family moved from one murder house to the next, it’s not exactly a big leap to realize that all the families did the same. Still, I enjoy a story where leaving the cursed house is actually what kills you.

The thing is, though . . . I’m just not very invested in anyone’s survival. Ellison is kind of a schmuck, and schmuck protagonists, by and large, just aren’t my thing. I really feel sorry for his wife because moving into the Murder House without telling her? I mean, wow. Wow. That being said, I don’t actually like this woman. It’s a lot of little things, like how she keeps referring to their kids as his kids whenever they do something wrong, which yeah, I do that with my cats all the time, but I don’t actually mean it, and also they’re cats and don’t give a shit? But Tracy, she seems to mean it. She feels like that Stereotypical Uptight Wife that you kinda know a dude wrote: even when we’re meant to sympathize with her, she still manages to come off as slightly nagging? It’s not so much acting as script; in fact, I quite like Juliet Rylance’s performance when Tracy finally discovers Ellison’s lie. But Tracy still has virtually nothing in the way of interiority or plot-relevance, and she and her son feel less like full characters than thinly drawn victims waiting around to die. None of it’s terrible; it’s just that this is exactly the kind of family dynamic I’m not interested in seeing, especially in horror.

Ready or Not

Year: 2019
Director: Matt Bettinelli-Olpin and Tyler Gillett
First Watch or Rewatch: Rewatch
Amazon, Netflix, Hulu, or Other: Other – HBO
Spoilers: Yup
Grade: Chocolate

Yep, I still love this movie. I really enjoyed Ready or Not when it first came out last year, and I love it even more now. The concept is just fun: Murder Hide-N-Seek, plus Homicidal In-Laws, Eat The Motherfucking Rich, etc. The script is witty and entertaining, and the whole cast is phenomenal, like, I adore so, so many of them. Henry Czerny and Andie MacDowell. Melanie Scrofano and Kristian Bruun. Nicky Guadagni, thank you; thank you for giving me so much joy with this perfect face. Obviously, obviously, Adam Brody. He really is such a perfect fit as Daniel. And then, of course, Samara Weaving, who is the true star of the show; she goddamn shines in this film: the big laughs, the small emotional beats, the badass action scenes–she owns them all. Plus, she just has some of the best reactions. I could watch this scene all day.

Honestly, I don’t have a lot of quibbles here; I vaguely remember having a few, the first time around, but they seem to have faded on a second watch. (Wishing that Daniel would live just because I like him so much is less of a quibble and more of a “thank God for fanfic” moment.) Thus, I’ll just give you a short list of some of my favorite things: the glorious cosplay potential, pretty much all of Daniel’s lines, Emilie’s continuous fuckups, Fitch trying to learn crossbow via Youtube, Grace punching one of the kids in the face, OnStar Employee Justin, Tony’s exquisite meltdowns, the Good Brother/Evil Brother reversal, this song, and of course, the literally explosive climax. It is the best.

The only thing I really wish we got from this movie? A montage of deleted scenes where we saw the people who married into the family playing, like, Midnight Checkers and Old Maid and shit. That would be the absolute best.

Technically, I won Horror Bingo when I drew Ready or Not, but we decided to watch one last horror movie, anyway, mostly because of my frankly ridiculous reviewing system. Which brings us to . . .

Happy Death Day

Year: 2017
Director: Christopher Landon
First Watch or Rewatch: First Watch
Amazon, Netflix, Hulu, or Other: Amazon
Spoilers: Mildly? Nothing that should ruin the movie for anyone.
Grade: Vanilla

It’s ridiculous I waited so long to see this movie. I’m obsessed with both slashers and time loop stories, and I’d planned to see this one in theater, you know, back when going to the movies was a thing you could do. Maybe I was worried I’d be letdown and thus sought to avoid the inevitable disappointment? If so, my procrastination was unnecessary, because I thought Happy Death Day was cute and probably one of the more successful PG-13 horror films, in that I didn’t find myself constantly thinking about how hard they were working to avoid that R rating.

I will say the movie isn’t . . . hm, I’m not sure how to say this without sounding like a total snot. Happy Death Day has an incredibly fun concept, but it doesn’t really do anything terribly ambitious with it. It doesn’t need to, necessarily; I meant it when I said I enjoyed the movie. I liked searching for all the clues and little details. There are tons of suspects because everyone hates our protagonist, and this is one of the rare films where a thoroughly unlikable MC (at least, initially) actually works for me. It’s also just funny. I laughed several times, and I’m sure I’ll watch the sequel at some point.

But when I talk about ambition . . . look, the time loop is a time-honored trope in SF/F TV, and I’ve seen shows do some really exciting things with it in terms of meaningful plot development, character development, etc. The Librarians, Agents of SHIELD, Person of Interest, Dark Matter, Supernatural, Legends of Tomorrow, the entire series of Russian Doll, etc. These shows have both delighted and surprised me with how they’ve played with time loops; Happy Death Day is absolutely enjoyable, but I don’t know if it did anything to surprise me, that’s all. The most original element, I think, is that Tree can’t continue endlessly through these loops without suffering eventual physical consequences, which is genuinely interesting; unfortunately, that’s mostly dropped in the final loop or two, and as such, doesn’t do a particularly good job adding a plot clock or raising the stakes. It’s not a huge problem, though.

I’ll tell you what is a huge problem: my brain, all twitching around inside my skull, trying to force me into beginning a new story when I have 87 other projects to finish. There’s just so many ways you can go, exploring time loops in horror. Ugh. STOP IT, BRAIN.

THE GREAT HORROR BINGO 2020 WRAP UP

Of the films I’d never seen before, my favorites were probably Hausu, Becky, Deep Red, Midsommar, and Tragedy Girls.

My least favorites, on the other hand, were easily Mandy and Dream Home.

Movies I’m most disappointed we didn’t get to: One Cut of the Dead, A Bay of Blood (Twitch of the Death Nerve), and Lake Mungo.

Movies I’m most likely to add to next year’s Horror Bingo list, assuming I don’t watch them before then: Mayhem, Anna and the Apocalypse, Hereditary, and maybe a rewatch of Cube. (It’s been a long, long time.)

Triple Spooky Scoop Review: A Tale of Two Sisters, Black Christmas, and Black Christmas

A Tale of Two Sisters

Year: 2003
Director: Kim Ji Woon
First Watch or Rewatch: First Watch
Amazon, Netflix, Hulu, or Other: Other – Shudder
Spoilers: Very much so
Grade: Vanilla

I know. I’m probably the last horror fan alive who hasn’t seen A Tale of Two Sisters–but no longer! I wasn’t entirely sure what to expect here (I’m only vaguely familiar with the folktale that inspired it), but I enjoyed this one–though do I suspect I might like it better on a second viewing, to better appreciate all the clues carefully being laid out. Still, I caught enough this time around to figure out the major plot twists. How Soo-yeon isn’t real, considering that her father never looks at her. How Eun-joo also isn’t real, considering she can see Soo-yeon. Not to mention, Moo-hyeon is weirdly cold and awkward with his supposed wife; also, it’s just incredibly rare for two characters to simultaneously suffer from “am I going mad” unreliable narrator syndrome, so the whole split personality angle was really the only explanation that made sense.

I definitely didn’t guess the truth about that wardrobe, though. Obviously, something terrible had happened, but I had no clue on the actual details. Poor Soo-yeon! Poor Soo-mi! The real Eun-joo is obviously The Worst, but also Moo-hyeon? Holy shit, what an asshole. For one, like, he kept the wardrobe; he even tells Soo-mi not to talk about it, all, “Yes, I decided to keep this giant piece of furniture which housed your mother’s dead body and also crushed your sister to death, but stop bringing it up, like, don’t be weird about it.” Also, once it’s clear that your daughter is still very unwell and needs inpatient psychiatric care, you absolutely cannot keep leaving her alone like this, WTF. And just this dude’s whole attitude, too, like, I’m sure he’s exhausted and grieving and all that, but Moo-hyeon talks to Soo-mi like she’s just having tantrums; he might as well say, “Stop being crazy; I’m tired of your dissociative identity disorder.” Like–

I do think that while A Tale of Two Sisters is well constructed, I might’ve found it more mind-blowing if I’d watched the film back when it premiered in 2003. That was almost 20 years ago (she says, sobbing), and I’ve seen variations on this twist a lot now. Still, nothing really comes off as cheat to me. The only thing that does feel off is the dinner scene where Eun-joo’s sister-in-law has a coughing fit that abruptly becomes a very violent seizure. I know why it happens, like, for Writer Reasons, but I wasn’t totally clear about the in-story reasons. Does she have a medical condition? Is this some kind of emotional trauma response? Did the ghosts poison her soup? It doesn’t seem like she sees the ghost until she’s already seizing, but I will fully admit to ignorance here.

After watching A Tale of Two Sisters, our next film was John Carpenter’s The Thing, which I’m not going to review because I’ve already done so twice now. (Most recently here.) I’m mostly mentioning it because with The Thing, we have a winner for Horror Bingo, and it’s not Mekaela or me, but my good buddy, Marisa! Congrats, Marisa!!!

Mekaela and I have a gentlewomen’s agreement to keep playing until one of us gets a Bingo, though. And thus, we continue with . . .

Black Christmas

Year: 2019
Director: Sophia Takal
First Watch or Rewatch: First Watch
Amazon, Netflix, Hulu, or Other: Other – HBO
Spoilers: Yes, but mostly just in the third paragraph
Grade: Strawberry

This is . . . okay. It’s certainly better than the 2006 remake, anyway, although the bar on that is so low it’s near sunk into the ground. The thing about this Black Christmas is that it very much wants to be a Feminist Movie, and while I think it does have successful moments, the overall story is kinda sloppy and relies so heavily on a superficial idea of Girl Power™ that it often comes across as pandering rather than empowering.

Things I do enjoy: most of the characters, especially some of the minor roles. I was particularly fond of Fran, Jesse, and Kris. (Though awesome as Kris is, she does have a few moments where I’m like, ah, no–and the film doesn’t address it as fully as I’d like.) Some of the humor is great. I bust up at this line: “If you make me late for the train, I swear I’m never feeding you again. Ask my childhood hamster. He’s super dead.” Also, I really enjoyed the whole sexy Christmas number; it’s a hilarious “fuck you” song, yes, but also A) a great moment for Riley’s character arc, and B) just an awesome scene where the girls stick up for each other. There are some nice nods and reversals to the original film, too. And hey, there’s a DivaCup in this movie! Always nice when menstruation is something that’s actually acknowledged in Hollywood.

Still, a lot of the dialogue feels obvious and cheesy. It’s a problem throughout the film, but gets especially painful in the third act. I just . . . I don’t buy it, is the thing. (And the part where the white girl has to explain to her Black friend why the police aren’t trustworthy, like, yikes? Maybe not?) The script reads like someone had a long list of feminist catchphrases to get through in a very short amount of time. The plot, too, doesn’t quite work for me, partially because Riley jumps to “we’re obviously dealing with evil frat boy magic” way too fast for my liking, but also because for a story that heavily criticizes misogyny, it kinda lets men off the hook. Brainwashing pledges into mindless killers is a lot less horrific than young men actively choosing to kill outspoken women. Landon, too, mostly feels like he’s here to prove Not All Men, though I like Caleb Eberhardt’s performance; the character himself just feels distracting. Credit where credit’s due, though: I very much enjoyed Cary Elwes, as he always seems to be having so much fun, whether he’s playing a Ridiculously Smarmy Jackass (this, Stranger Things, etc.) or a Ridiculously Suave Motherfucker (The Princess Bride, Psych, etc.)

This Black Christmas works best, I think, as something meant to  introduce young girls to horror, like, part of a 101 starter pack: something that’s modern and broadly relatable and none  too gory or frightening; the PG-13 rating helps with that, though IMO, the downside to obscured shots and fade-to-black kills is that it doesn’t allow the Girls Who Won’t Survive any time to fight back, which I think is unfortunate. Still, if the target demographic is, IDK, 11-15-year-olds interested in giving slashers a go? I honestly think that would raise my estimation of the movie as a whole. (Though I’d still do at least one more editing pass. Probably two. This could’ve been better, damn it.)

Black Christmas

Year: 1974
Director: Bob Clark
First Watch or Rewatch: Rewatch
Amazon, Netflix, Hulu, or Other: Other – Personal Collection DVD
Spoilers: Yep
Grade: Chocolate

So, yeah. This is one of my absolute favorite horror movies, one I’ve already analyzed in considerable detail in this Genderbent Wednesday essay. I don’t know that I have many new thoughts on it now: I still think Jess is a very important and relevant Final Girl, though I’ll admit I don’t always buy Olivia Hussey’s line deliveries. Still, I love that she’s a goal-oriented protagonist who’s made a decision to have an abortion, never seems particularly upset about it, and refuses to change her plans to appease her worthless ass of a boyfriend. It’s also worth noting that the women are largely supportive of each other in this film, too, and there’s nary an exploitative tit shot in sight. Barb has a few lines I’d definitely like to cut, but overall? I’ll go to my grave arguing that Black Christmas is a feminist horror film, especially for 1970-fucking-4.

It’s also easily creepier than either of its remakes, like, Black Christmas has atmosphere, damn it. Those phone calls are deeply concerning, and Dead Claire in her rocking chair is iconic as hell. There are things I’d like to change, of course: at one point, the girls mention they haven’t locked the doors or windows, and I’m like WHAT? No, nope, that is absolutely ridiculous this late into the movie. Also, while I love so much about the film’s ending (Jess killing Peter, never learning the real killer’s identity, the last phone call ringing us into the credits, etc.), it remains completely unacceptable to me that the cops leave an unconscious Jess alone in a House of Dead Bodies with only one officer to guard her, like, I get it, she’s sedated and they think the threat is over. I do not care; this is nonsense. I need much better justifications than the ones the script provides.

Still, this is always gonna be a favorite. Peter is the absolute worst, and I enjoy rooting for his impending demise. Phyl is cool, and I mourn her offscreen death. Barb is interesting, and I could probably write a whole essay on her character alone. (Did you know that Barb is A) not a nerd, and B) asthmatic? Did you even realize that was something that could happen in Hollywood?) I enjoy John Saxon as Lt. Ken Fuller and Marian Waldman as Mrs. Mac. Laughing Detective is one of my favorite bit parts of all time. I love that there’s such a strong case against Peter, that it 100% makes sense for both Fuller and Jess to assume he’s the murderer. Black Christmas is just an incredibly well-constructed horror film that is disturbing, entertaining, and still surprisingly relevant almost 50 years after its release. Bob Clark might be best known for his other holiday movie, A Christmas Story, but Black Christmas remains my favorite of his work.

Triple Scoop Review: Doctor Sleep, Underwater, and Tigers Are Not Afraid

Doctor Sleep

Year: 2019
Director: Mike Flanagan
First Watch or Rewatch: First Watch
Amazon, Netflix, Hulu, or Other: Amazon
Spoilers: Some
Grade: Vanilla

Let’s get this out of the way for anyone who doesn’t already know: I’m not a huge fan of The Shining. (Honestly, I’m not a huge fan of Kubrick’s work in general: I tend to like the cinematography and not much else.) Many adaptational changes annoyed me, especially as I saw the film soon after reading the novel. Admittedly, that was all roughly 15-20 years ago now, so I might feel differently if I were to ever try it again. Point is, unlike many horror fans, I didn’t come into this weird hybrid of a sequel with much in the way of expectations, high or low. It was pretty easy to judge Doctor Sleep as its own thing. And fortunately for me, I enjoyed the hell out of it.

Unlike The Shining, which is straight-up horror, Doctor Sleep has more of a dark fantasy vibe. Like, there are creepy moments, absolutely (I fucking loved it when Abra turned the tables on Rose), but the overall flavor of scare is different, kinda like the transition between the quiet, claustrophobic horror of Alien to the action-fueled horror of Aliens. It seems like a natural progression, but I can also see how fans of the original might have been disappointed. What’s really impressive, though, is how much I enjoyed this film, despite its two-and-a-half-hour runtime. Horror movies, especially, have to work hard to earn that length without losing tension or momentum, and Doctor Sleep does a pretty good job with that: there are problems in the third act–which we’ll get to shortly–but overall, the slow, steady pace of the film works well for me.

The cast is great, especially Kyliegh Curran (who’s absolutely fantastic as Abra) and Rebecca Ferguson (who makes for a pretty iconic villain, one who I’d like to cosplay immediately.) Ewan McGregor does solid work as grown-up/fucked up Danny Torrance, and I like pretty much the entire supporting cast: Carl Lumbly is a stellar choice as Dick Hallorann, Cliff Curtis is instantly likable as Billy, and Zahn McClarnon is an excellent right-hand man/second banana bad guy. All of McClarnon and Ferguson’s interactions are pretty great; in fact, the whole villainous family dynamic is awesome and makes these guys much more compelling as antagonists.

Unfortunately, that third act is where things start to falter, which is frustrating because most of the problems here could easily be solved by just not returning to the Overlook. Physically, that is; half the Final Battle takes place in Danny’s head, anyway, so why not just make the entire thing one big mental showdown? We could still get all those iconic references and flashbacks without Danny and Abra literally driving to Colorado for no goddamn reason. (There is a reason: Danny is convinced that they can’t beat Rose on their own, but that’s sorta nonsense because at this point, their batting average against her is pretty goddamn phenomenal.) This would also eliminate the awkward sense of Abra just chilling alone in the car for ten minutes, while Danny has an emotional catharsis inside the hotel with his dad. Like, I genuinely enjoy that scene, but also . . . maybe don’t leave the kid alone outside when a monster is literally hunting you down?

Random Notes:

1. Actually, maybe we could scale back just a bit on those iconic references? Cause I do want them, but also, it feels like Mike Flanagan is vomiting The Shining at you for the last 20 minutes? Like, hey, here are the twins, here is the blood, here is the bartender, the axe, the door, the boiler room, etc., etc., etc. Give me these moments, but not one for every goddam minute, please. Space them out or whittle them down.

2. Snakebite Andi might be the most Stephen King name I’ve ever heard in my whole fucking life. I really liked Emily Alyn Lind in the role, though, since I forgot to mention her before. Also, MR. HOMN!

3. I wish Rose the Hat’s hat was, like, more important? Especially after the grocery store scene, I kind of expected something else. Still, I’m never gonna complain too hard about fashionable millinery. I will complain about Danny hitting rock bottom, however, because I definitely interpreted that scene as “baby starved to death after Danny left him alone with his dead mom,” which . . . yeah, didn’t sit well with me. Apparently, though, there are multiple different interpretations of what actually happened to Mom and Baby? Still. If you’re trying for a redemptive story, IDK, I think everyone should be real clear on exactly what your MC is being redeemed for. Especially if it’s dark ass shit like that.

4. Now that I’ve read the differences between book and movie, holy shit, I’m kinda glad I never read this. The 9/11 subplot? The “we’re related” nonsense? What the actual fuck?

5. I’m just gonna say it: “steam” is a little hard to take seriously.

6. Finally, there is a RWBY poster in Abra’s room. I haven’t watched that show in years, but still, I found this small detail surprising and delightful.

Underwater

Year: 2020
Director: William Eubank
First Watch or Rewatch: First Watch
Amazon, Netflix, Hulu, or Other: Amazon
Spoilers: VERY MUCH SO
Grade: Strawberry

This was fun enough, but it also could’ve been better. Some scenes are successfully creepy and tense: whenever our characters are crawling through Way Too Tiny Shit, for example, or when poor Mamoudou Athie fucking implodes. (I was disappointed by this; I really thought he was going to last longer.) Most of the cast is pretty great, although I’d probably recast and rewrite Paul (TJ Miller). Still, I’m here for Kristen Stewart’s whole aesthetic, am happy that Smith survived, was amused by last minute Cthulhu, and really enjoyed that Jessica Henwick was our surprise Final Girl. Holy shit, that’s two Western horror movies now with Eastern-Asian women who live. 2020, this is actually something I like about you.

So, that’s the good. As far as the bad, well. The voiceover shit completely fails, like, I honestly have no idea what it’s even doing in this movie? The beginning is especially weird because the first few minutes have this strange, in medias res quality to them that makes the whole scene kinda feel like a dream. It doesn’t fit at all; in fact, I seriously wondered if they were trying to set up some kind of unreliable narrator here. But the rest of the movie is a pretty straightforward action-horror movie (with just a bit of a Lovecraftian twist).

Not all the action scenes work for me, either, because some of them are so muddy it’s impossible to tell what’s happening to whom. Like, I get it: Underwater is underwater. Chaos, poor visibility, all that. Still, when a monster drags two characters away, I wanna be able to tell who they are. I might’ve been more inclined to forgive this if these scenes were strictly from Norah’s POV, as she sadly loses her glasses early in the film and presumably can’t see for shit; unfortunately, that’s not really how they play. Which is a bummer, actually: if I ever lost my glasses in any kind of horror movie scenario, like, it would very much impact my day and/or likelihood of survival. It might’ve been kind of neat, seeing Norah actually dealing with this during the film.

Also, the character work needs, well, work. Norah (Stewart) and Smith (John Gallagher Jr.) both lost someone–the same someone–prior to the events of this movie, but for some reason, they barely have any interactions throughout to build their dynamic and/or lay in the groundwork for this reveal. More space, too, could’ve been given to the Captain and Norah’s relationship, or to Smith and Emily’s. Instead, we spend too much time with TJ Miller, who’s supposed to be the funny, weird guy, and generally lands harder on the latter than the former. (Although I will admit to laughing when he fake-volunteers Emily (Henwick) to investigate something, all, “This is your moment.” That shit was funny.)

Random Notes:

1. I love that Emily saves Norah, and Norah saves Emily, and they both save Smith together. Also, kinda love that Norah punches Emily in the face. Not because she deserves it, but because it’s a good “who will sacrifice themselves for the other” moment.

2. I’m considerably less impressed by how the women have to get way more naked than the dudes. Except TJ Miller, of course, but this is purposefully meant to be comedic, rather than sexy, presumably because he’s fatter than anyone else in the cast. #RAGE

3. The hands-down funniest thing about this movie: Paul carries around this stuffed bunny, right, like, he cradles it, strokes it, makes sure it’s okay as he’s going through dangerous, water-logged parts of the station, etc. He is 100% acting like it’s a real bunny, and I was seriously wondering if we were gonna get some kinda high-pressure nervous syndrome/space dementia subplot shit going on, especially because of all the Alice in Wonderland references. But apparently, there actually was a real bunny while filming, until the director got a stuffed one instead because of safety concerns. Only for whatever reason, he never bothered telling Miller that the stuffed rabbit wasn’t a stand-in. So, dude acted like the rabbit was real because he thought it would be post-production. I can’t begin to tell you how much this all delights me.

Tigers Are Not Afraid

Year: 2017
Director: Issa López
First Watch or Rewatch: First Watch
Amazon, Netflix, Hulu, or Other: Other – Shudder
Spoilers: Mild
Grade: Chocolate

I’ve been meaning to watch this Mexican dark fantasy film for a while now, and I’m so glad I finally did, because it’s pretty fantastic. Admittedly, I probably could’ve picked a better week for it, like, if you need an escapist upper, uh, this isn’t it. (I literally held my breath when two of the kids walked up to a police car, and was utterly relieved when the cops just took off without killing them.) The violence here isn’t particularly gratuitous; in fact, it’s not a very gory film at all. But children do die, and die violently, on screen. Best to know that going in.

All of the kids are fantastic, especially Estrella (Paola Lara) and Shine (Juan Ramón López). I’m amazed that none of them had any prior acting experience because they’re all so good in this movie. One of the things that works best about Tigers Are Not Afraid: the quiet, funny moments when the kids are just hanging out: play-acting some American Idol shit in an abandoned building, telling ghost stories about this dude who eats kids with his pepperoni, etc. And while I can be hit or miss on stories that walk the line between “literal magic” and “is it, though?” I think the ambiguity serves this dark fairy tale well. Which probably isn’t so surprising, as it’s definitely a Monkey’s Paw kind of story.

I honestly don’t have many criticisms with this one. There are a few moments with this stuffed tiger that I found sorta hard to take seriously, but . . . yeah, that might kind of be it. While I’d hoped for a few specific things that didn’t end up happening, the actual ending itself fits the story well and isn’t wholly, needlessly bleak. And since I am, for once, trying not to spoil too much here, let me leave you with a vague list of some other things I really enjoyed:

The trails of blood
The goodbye scene
Morro is adorbs
The chalk
When the bodies are found

Also, the movie was both written and directed by a woman. YES!!!! I’m always excited to see more horror crafted by women!