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)

Triple Spooky Scoop Reviews: Ghost Story, The Wailing, and The Purge: Anarchy

Ghost Story

First Watch or Rewatch: First Watch
Amazon, Netflix, Hulu, or Other: Amazon
Spoilers: Absolutely
Grade: Strawberry

So, I like parts of this. I can’t really judge it as an adaptation because while I’ve technically read the novel, that was roughly 15-20 years ago, and I remember very little about it now. I knew a bunch of old dudes (AKA, the Chowder Society) liked to meet up and tell ghost stories. I knew spooky supernatural shit would happen. And I remembered that I was disappointed by the novel’s resolution, though for the life of me, I can’t recall what troubled me about it. But that’s about it.

I enjoy the movie’s setup: an elegant old school horror society, a secret coming back to haunt them, a second generation drawn into the mystery, etc. (Although I think it would’ve been way more awesome to see the wives get involved in the investigation, too.) I like the revelation that Eva was still alive when she went into the water–frankly, these geriatric assholes deserve to die–and I enjoy how the film’s conclusion cuts between Ghost Eva menacing a helpless Don and Ricky finally revealing Eva’s rotting corpse. It’s also just neat to see these cinematic legends here, like, Fred Astaire in a horror movie! How cool is that?

Still, on the whole, Ghost Story isn’t my favorite. A lot of that’s due to writing and poor adaptational choices: the idea of ghost servants, for instance, is interesting on the surface, but Gregory and Fenny Bates have little actual purpose in this story. Fenny murdering Sears is an especially big letdown, and hey, whatever happened to this feral child, anyway? There are a number of logic leaps that annoy me, too, like when Don decides his fiancee isn’t “real,” despite the fact that all evidence at this point indicates a mentally ill woman with, like, a thyroid condition to explain her occasionally low body temperature. I mean, come on, Alma had a job! Other people saw her! I get that she literally ghosted him and all, but nothing that Don’s experienced thus far should make him think “ghost” yet. I also have no idea why Eva is so desperate to marry either Don or David, like, at first I assumed she needed someone to physically take her across the Milburn threshhold, but that’s clearly not the case, so, yeah, IDK. Also, what triggers the haunt to begin now? Don gives us some offhand bullshit about how decades of the Chowder Society’s ghost stories has given Eva/Alma’s spirit power or something, but man, they don’t sell that at all.

And unfortunately, the writing isn’t my only problem here. While most of the acting is fine (Alice Krige is enjoyable as Eva, and I like all the old men, especially John Houseman as The Asshole Friend), I find Craig Wasson as Don very hard to take seriously. Some of the scares are pretty laughable, and sure, 1981, but man, David’s death scene is ridiculous. (Points, I guess, for the surprising full-frontal shot? Sadly, Alice Krige has to be naked about 78 more times, so let’s not pretend this is equal opportunity nudity here.) The pacing is off. The score doesn’t fit the film at all. It’s just kind of a hot mess.

The film did provide some generation gap amusement, though. These fancy old fuckers are whining that men will soon only wear ties to wedding and funerals; meanwhile, Mekaela and I were completely baffled by Edward’s reaction to his son’s appearance. Dude basically says, “Don, you look like a hooligan!” And we’re like ” . . . uh, he’s wearing a sweater?”

The Wailing

First Watch or Rewatch: First Watch
Amazon, Netflix, Hulu, or Other: Other – Shudder
Spoilers: YES
Grade: Chocolate

I didn’t know a lot about The Wailing before watching it. I knew it was critically beloved. I knew there was a mystery element of some kind. And I knew it was long, like, not quite It: Chapter 2 long, but pretty close. Good news, though: I really enjoyed this one! It’s lengthy, yes, but I was quickly engaged in the story, and while the pace is slow, it’s also steady, never dragging unnecessarily or crashing to a halt at the halfway point. I enjoy the blend of mystery and horror; even the comedy works for me, which I find interesting because similar comedy didn’t work for me at all in The Host. The acting here is great, too; Kwak Do-Won gives a strong, multi-layered performance as our protagonist, and I really enjoy Kim Hwan-Hee as his possessed daughter: she has some amazing facial expressions.

Until that final act, where both Old Japanese Dude and Mysterious Woman seem shady AF, I was pretty confident that Old Japanese Dude wasn’t the bad guy because a) I was getting shades of “mob justice dooms us all” themes almost right away, and b) I had Mysterious Woman near-immediately pegged as a ghost, and I was all, Oh, no, she’s totally leading these guys into killing the one dude trying to help. But then Mysterious Woman insists she’s been protecting them, and I’m like, Well, shit. Now I don’t know WHAT the fuck to think. This part of the film was spectacularly well done. Also, like Jon Snow, I clearly know fuck-all since I was so obviously wrong about literally everything.

I am still trying to decide how I feel about a few things. I find myself wanting to know more about how that trap works: how does Jong-Goo returning home ruin it, exactly? Is it comparable to breaking a line of salt? Much more importantly, what would’ve happened if he had waited? How would it have stopped Hyo-Jin from killing everyone? I haven’t fully decided how I feel about the shaman yet, either; his secret villainy does seem a bit convenient to me, but to be fair, dude absolutely does come off as shifty throughout; he just seems more like a potential scam artist than, IDK, Devil’s helper? Maybe that’s the problem I’m having, the fact that I don’t really know the shaman’s relationship to the demon. It makes his villainous turn feel a bit out-of-nowhere, although I’m not certain that it actually is: an exorcist getting rich while working with his supposed enemy does, of course, make a certain grim capitalist sense.

It’s difficult. Sometimes, we need more than one viewing to fully appreciate a story’s layered complexity, not to mention that as long as we tell stories, we’ll almost certainly argue about how much information needs to be revealed in order to make a story successful versus being lazy, a cheat, or weak. And, of course, we can’t overlook the cultural component, either: as an American, I’m an outsider looking in here, and that obviously influences my perception of the film. One notable example: basically every character in this movie uses a slur to refer to the Old Japanese Dude, and I wouldn’t be surprised if that was a factor into how quickly I latched onto the “mob justice” narrative. But it’s also important for me to remember that America and Japan have a very different history than Korea and Japan. Also important: my knowledge of Korean mythology and folklore is extremely limited, which means that exposition I might consider necessary (like the nature of that trap, or the upper body/lower body symbolism of stolen items) is information that Korean audiences might not require at all. It’s not that my ignorance makes me a bad person or anything, but expecting a foreign film to stop their story just to give global audiences Folklore 101 is probably an ethnocentric dick move.

I will say, however, that no matter how much I learn, I don’t think I’ll ever be satisfied by the police officer who, I guess, is too horrified to point out the pictures/stolen items he discovered while they’re at the Old Japanese Dude’s cabin. And then Jong-Goo doesn’t even come back until the next day, and he’s upset because the guy burned all the incriminating evidence? Of course he did, you worthless sonofabitch. I mean, I genuinely do feel bad for this guy, but also? Nope. All the nope.

The Purge: Anarchy

First Watch or Rewatch: First Watch
Amazon, Netflix, Hulu, or Other: Amazon
Spoilers: Yup
Grade: Vanilla

Believe it or not–and by now, you probably will–this is actually the first time I’ve seen any of the Purge films. What surprised me here is the genre itself: this has elements of horror, I suppose, but mostly, Anarchy just feels like an action movie, especially when we get to the Most Dangerous Game portion of the evening: the Sergeant kicks rich people ass, while our other survivors twiddle their thumbs for 15 minutes. I’ll admit, it’s not my favorite section of the movie: the Sergeant just isn’t interesting enough to dominate this much screen time. He’s so one-note, it’s not even funny; I genuinely don’t know why we waited the whole movie to confirm that, yep, he’s out here to murder the man who killed his son. Surely everyone understood this within the first 15 minutes? Surely?

Despite the lack of horror, I think this universe is pretty fun. Outlandish, sure, but I’ve said it before: I’ll take most wacky premises, so long as they’re given upfront. And it’s fun, contemplating what you’d do during the Purge: I can tell you what I sure as shit wouldn’t do, though, and that’s go to the grocery store the evening before, like, you assholes, you’ve had a year to plan for this. (The wife grew on me, and I liked that she stayed with the rebels. The whiny ass husband did not grow on me, and I clapped when he died.) But yeah, there’s a lot in this universe to play with, and I really find myself wanting to know more about how things specifically work. Like, I know emergency services are out for the evening, but what about long-term/gravely ill patients who can’t be discharged? Are they just left to die, or are there, like, secret underground hospitals somewhere? (I would 100% be up for a crossover between The Purge and Hotel Artemis, BTW.) Conventional horror movie wisdom insists the former, but personal experience and anecdotal evidence from real life natural disasters suggest otherwise. I kinda want to see sequels where specific communities (rather than individual families and/or random strangers) work together to survive the night. I’m also wildly interested in the story about the morning-after clean-up crew. You think I’m joking, but I’m dead serious: I would watch the shit out of that movie.

There are a shocking amount of people I recognize here, mostly in very small roles. I knew Justina Machado would be in this, and mourned her character’s death accordingly. Michael K. Williams was a delightful surprise, as was John Beasley, Edwin Hodge, and Lakeith Stanfield. (I specifically liked Stanfield because his character was just a morally bankrupt kidnapper-for-hire. Like, why aren’t there more thieves running around? Why is it only bloody murder and attempted rape here?)

A few final thoughts:

A. Carmen Ejogo and Zoë Soul were absolutely fine in this movie, but I immediately started daydreaming about a fanfic crossover where Penelope and Elena Alvarez from One Day at a Time replaced their characters. I’m now trying to come up with a semi-likable Unhappy Married Couple and a Mournful Badass who’s more interesting than Sergeant.

B. I kinda enjoy that the Sergeant’s mercy is what saves him in the end, but I hated Big Daddy’s whole “we can’t have heroes” speech, like, dudes, come on. Even for me, this is too on the nose.

C. I find it very difficult to hear “purge” as a verb and not think of vomiting, which means I had trouble taking it seriously whenever a character, ominously holding a gun, would say something like, “I’m here to purge,” or whatever.

Triple Scoop Reviews: Escape Room, The Man From U.N.C.L.E, and As Above, So Below

Escape Room

First Watch or Rewatch: First Watch
Amazon, Netflix, Hulu, or Other: Other: Personal Collection DVD
Spoilers: Not really
Grade: Chocolate

I think my love of a) actual escape rooms and b) movies where strangers are trapped together and trying to figure out what’s going on, how they’re connected, how to get out alive, etc. is well documented by this point. So it’s no surprise Mek and I were on the verge of renting Escape Room when I actually received it as a gift. (Fun fact: Amazon hid the package so well that I didn’t find it until almost a week later, and only then because the sender–Infamous Tom–mentioned it offhand.)

Much as I’m drawn to these sorts of movies, they’re usually much more miss than hit, which is why I’m pleased to say that, overall, Escape Room is a hit for me. None of the actors are phoning it in, and I was especially excited to see both Deborah Ann Woll and Tyler Labine. The movie has quite a lot of energy: it’s fun, a bit ridiculous, hits all my claustrophobia boxes, etc. I like a lot of the dialogue, too, like, even the Asshole (there’s always at least one) is pretty enjoyable. I spent the majority of the movie rooting for almost everybody to survive, which makes for a welcome change. I have said it before and will keep saying it until I die: horror and mystery are almost always more interesting when likable–or at least funnier–characters are involved. Investment is higher, so tension and stakes are higher, too.

The conclusion, unfortunately, is easily the weakest part of this movie, which doesn’t come as a surprise; these kinds of movies almost always fall down at the finish line. Escape Room does a minor variation on a very common ending, and it’s . . . fine . . . but I’d really like to see something new here. Still, I had a pretty great time watching this one, and I’d recommend it to anyone who enjoys these kinds of cheesy fun thrillers.

The Man From U.N.C.L.E.

First Watch or Rewatch: Rewatch, sorta
Amazon, Netflix, Hulu, or Other: Amazon
Spoilers: Not really
Grade: Vanilla

I had zero interest in this movie when it came out. I’d never watched the original TV show, and the only thing I’d seen Henry Cavill in was Immortals, which I was very unimpressed by. Also, the reviews I’d seen were wildly underwhelming. So, I was surprised when I caught most of this on TV and found it unexpectedly charming–though, admittedly, I’d been on working on various things at the time and was only half paying attention.

Curious to see if I’d like the movie while actually paying proper attention to it, Mek and I rented The Man From U.N.C.L.E., and for the most part, I thought it was pretty fun. The story’s sorta whatever, like, I kinda checked out on the actual mission details pretty early on. But I thought both Cavill and Armie Hammer were kinda delightful and had great chemistry with one another. Hammer is weirdly endearing as this super strong Russian spy with fashion Opinions and an extremely short fuse; meanwhile, Cavill is playing the smooth-talking, ladies man, James Bond type at, like, 140%, and it’s hilarious. The whole movie is basically a parody played straight, which I enjoy, and I can’t help but wonder if the film’s poor reception had anything to do with critics taking it more seriously than was actually intended.

I do have some disappointments with the film: one or two lines didn’t land for me, like, I could go the rest of my life without someone’s mental health being blamed even in part on a mom who slept around. Jared Harris is wasted in this movie, and for some reason, I never truly warmed up to Gaby (Alicia Vikander), like, she was fine, but I really wanted to enjoy her character as much as the boys, and I just didn’t. OTOH, Elizabeth Debicki is all villainous and fun, and Hugh Grant is enjoyably British and snarky. That lucky bastard; he’s one of the very few actors in this movie who actually got to use his natural accent–which reminds me. Do . . . do British people think Americans pronounce the word “Nazi” as “NAT-zee?” Admittedly, my homeland is made up of about 87 billion different accents, but the only time I’ve heard that particularly pronunciation was when I watched Brad Pitt in Inglourious Bastards. Both Harris and Cavill did this, though, and it was very strange.

Overall, I enjoyed The Man From U.N.C.L.E., probably enough that I would’ve watched the sequel that Ritchie set up and never got, and certainly enough that I checked out Archive to see if there were any Solo/Illya fics. (There are! A fair few of them, in fact!) It’s a decent B movie, if you enjoy spy action-comedies, stylish Guy Ritchie movies, and/or attractive, antagonistic men forced to work with one another under perilous conditions. I mean, really. Who doesn’t like that?

As Above, So Below

First Watch or Rewatch: First Watch
Amazon, Netflix, Hulu, or Other: Netflix
Spoilers: Very much so
Grade: Strawberry

So, this is basically Tomb Raider: The Horror Movie, or maybe Lara Croft: Get Me The Fuck Outta Dante’s Inferno. The first 2/3, I think, are pretty well-done: decent setup, claustrophobic as fuck–though, admittedly, I’m particularly susceptible to that kind of thing, like, no, thank you, I don’t do caves; that shit is for people who wanna die. There’s one scene in particular where Benji (Edwin Hodge) gets stuck and understandably freaks out, and man. That shit got me.

Unfortunately, I’m not quite as satisfied with the third act, and maybe that’s because I can be a literal, meat-and-potatoes kind of girl when it comes to storytelling, or maybe it’s just because, not having actually read Dante’s Inferno, I missed some of the more significant symbolism. Still, for my money, stories about atonement work a lot better when you actually spend some time on the sins your characters are atoning for. Which isn’t to say I needed the movie to stop so each person could have a five-minute monologue about their tragic backstory. It is, however, to say that when your characters start getting picked off by their own personal ghosts of Christmas past whilst traversing through literal Hell, I would like to know at least a little about those ghosts, or else what’s the point?

Like, Papillon works okay: we know he’s a kinda shady dude and he’s got the ominous burn scar on his hand, so maybe we don’t need to know the exact details of how he was involved with Dead Dude in Burning Car. But I shouldn’t have to go to IMDb trivia to get a vague theory about why Ominous Lady (with a baby, apparently, though I must have missed that) pushed Nice Enough Benji to his sudden doom. And Souxie’s death doesn’t work for me at all, considering she’s just abruptly murdered by Papillion’s dead friend. Like, wouldn’t such a death make much more sense for him? Moreover, the scene where Scarlett, George, and Zed confess their sins before taking their very literal leap of faith feels hurried and lacks emotional resonance–particularly on Zed’s part–because one, the whole third act feels a bit rushed, honestly, and two, the only confession that’s given any actual space is Scarlett’s. I feel all of this would play a lot better if each character was given an opportunity to confess their wrongdoing, and it’s only those who can’t admit it (like Papillon) who are brutally murdered as punishment.

Props to Zed for making it, though. I really didn’t think that guy had a–oh, goddamn it, yes, a literal chance in Hell. Happy for George, too, just cause I like him. (Though I still think the whole “shit, I grabbed the wrong Philosopher’s Stone” bit is more than a little silly. For me, at least, it doesn’t add much to the actual story.)