My oh my, this month flew by! Here is a re-cap of films I watched during March 2024.
You'll Never Find Me (2023) -
In You'll Never Find Me, I found myself immersed in a story that begins with a girl seeking refuge from a storm at the door of an apparently harmless man. As the narrative unfolds, it becomes clear that she might exist solely within his troubled mind, serving as a haunting manifestation of his dark past filled with the lives of murdered girls. Despite his facade of kindness, the truth reveals his descent into madness, either due to illness or the burden of his guilt.
The movie's conclusion, marked by the sound of sirens outside, suggests that his crimes might finally catch up to him. The journey from the slow start to the shocking revelation kept me intrigued, but I couldn't help but feel that the initial pacing resembled more of a lullaby, struggling to keep me awake against the sleep-inducing rhythm. This juxtaposition with the twisted ending highlights the film's struggle to balance suspense-building without risking audience disengagement.
As someone who appreciates slow-burn horror (my favorite being Rosemary's Baby), I expected a nuanced exploration of dread and suspense. However, this film left me conflicted. While I'm still deciphering the full meaning of the conclusion, one thing is clear: the movie's attempt to maintain a slow burn while avoiding monotony was a challenging feat. Unfortunately, You'll Never Find Me bored me, leaving me with a sense of guilt for dedicating my limited TV time to it. This experience reflects a growing weariness with arthouse horror that leans too heavily into dreariness without delivering sufficient engagement or payoff.
Late Night with the Devil (2023) -
Late Night with the Devil truly lives up to the hype among critics; it's a refreshingly original film that leaves a lasting impression in its genre. The performances, especially during the possession scenes, are remarkable and convincing. While the plot starts at a leisurely pace, it steadily builds tension, ensuring viewers remain engaged throughout.
I'd easily give this movie a perfect five out of five stars, if not for a couple of instances of subpar CGI. However, these brief interruptions shouldn't overshadow the outstanding story, especially considering the film's small budget. The majority of the film relies on practical effects, which excel in creating believable horror moments. Despite the minor CGI hiccups, like the projectile vomiting scenes, the overall quality of practical effects and makeup exceeded my expectations.
Late Night with the Devil draws inspiration from classics like The Exorcist, seamlessly weaving in flashes of terrifying imagery that linger long after the credits roll. The choice of setting in a TV studio adds a unique layer to the story, with the protagonist's occasional flashbacks adding depth and intrigue.
One of the film's standout aspects is Lilly's character, who exudes an unsettling presence from the moment she appears on screen. Every character is captivating, and the subtle nods to classic horror films add to the movie's charm without feeling forced. A few instances of AI are used, but those two or three instances do not undermine the creativity and overall excellence this small budget film accomplishes.
I highly recommend watching Late Night with the Devil, especially in theaters, for the full cinematic experience. I'm already planning to revisit it on Halloween, perfectly timed with the night the film unfolds.
Immaculate (2024) -
I had really high hopes for this movie, and I have to say, it didn't disappoint at all. I used to be critical of Sydney Sweeney's acting in horror films, but this time, she completely blew me away. Among her peers, her performance was not just intriguing and convincing but downright entertaining. I won't spoil anything, but let's just say it's a religious horror flick that keeps you on the edge.
While it didn't delve deep into every character's background, the snippets we got were enough to keep the plot rolling smoothly. What's impressive is that the film's beauty isn't CGI; they used real locations, adding a whole new layer to the cinematography.
The protagonist's journey was outstanding, starting from timid to a resilient final girl facing something truly blasphemous. And that ending? It took a page from Rosemary's Baby (yes, I know you are sick of hearing about this movie, but really, it is the standard of devil baby movies) by leaving the monstrous reveal to your imagination, yet you could feel the thing's unearthly presence. Did she use that rock and smash the abomination? Will there be a follow-up movie? It doesn't need it, but I would watch!
I'm now eagerly looking forward to more horror films from this director and considering Sydney Sweeney as a newly crowned scream queen. Watch this film!
Prey (2024) -
Prey is a wilderness film that aims for more than it achieves. It has its strengths, such as the use of real lions without CGI, which I appreciate. However, a major drawback is that we never actually see a lion consuming anyone; all lion-related kills happen off-screen, which was disappointing.
On the positive side, the plane crash scene is well-executed; I felt like I was on the plane! The movie struggles between being a decent creature feature and a messy storyline. We didn't need the God complex, we didn't need the internal struggle that Emile's character was going through (whatever he was going through, it was never really revealed).
Two words sum up this film's downfall: LIGHTENING STRIKE! If you watch the film, you'll understand why. While the actors are talented, including Emile Hirsch, Ryan Phillippe, and Mena Suvari, this isn't their best work. I don't plan on rewatching this film, but I didn't entirely regret the time spent watching it. For a better lion-themed movie, I recommend Prey from 2007 directed by Darrell Roodt or Idris Elba's Beast from 2022, both of which offer a more satisfying experience.
Alone (2020)
Alone takes viewers on an anxiety-inducing journey that keeps you on the edge of your seat. The story begins with a road rage incident that escalates into a terrifying ordeal for a young woman, who is stalked and captured by a deranged man. Held hostage in a remote cabin in the wilderness, our kick-ass protagonist refuses to be a victim and fights back with every ounce of strength.
When you think the story might conclude, the plot twists, and the chase intensifies. Despite escaping into the wilderness, our protagonist remains trapped by her relentless pursuer, whose eerie resemblance to Jeffrey Dahmer adds a layer of chilling suspense.
The climax and resolution of Alone deliver a highly satisfying experience reminiscent of classic final girl narratives. It's a thrilling ride from start to finish, offering an exhilarating and ultimately satisfying conclusion. If you're looking for a film with heart-pounding excitement and a resolution that hits the mark, Alone is a must-watch; how did I miss this in 2020? Something crazy must have been going on.
Poor Things (2023) -
OMG this movie! Emma Stone's performance is nothing short of transformative. As Bella Baxter, she "shocks" life into a character caught between classic gothic horror and modern-day defiance. The movie itself is a genre-bending experience, blending dark comedy, drama, and a touch of outrageous sensuality.
The director brings a fresh perspective to the screen with innovative cinematography that adds depth and layers to the narrative. The film's runtime of over two hours flies by, leaving audiences craving more of Bella Baxter's captivating journey.
This film pays homage to gothic horror masterpieces like Frankenstein, weaving nostalgia into its modern storyline. Bella Baxter's struggle against societal expectations resonates with both classic themes and contemporary issues, making her a relatable and compelling protagonist.
In summary, Poor Things earns three unnatural Frankenstein thumbs up for its creativity, boldness, and Emma Stone's stellar performance. It's a must-watch for fans of unconventional storytelling and genre-blurring cinema.
Now, what have you been watching?