Review 93: Friend Request (.5/5)

Image result for friend request movie

Friend Request

Directed by Simon Verhoeven

Starring Alycia Debnam-Carey, William Moseley, Conner Paolo, Brit Morgan, Brooke Markham, Sean Marquette, Liesl Ahlers

Released on September 22, 2017

Running time: 1h 32m

Rated R

Genre: Horror, Thriller

Friend Request is so out-of-touch and outdated and misguided, and has absolutely no idea what it’s trying to do. Does it want to update The Ring for the digital age or rip off Unfriended? I hope to God that it’s the former, because Unfriended is so bad that it’s first in line for the chopping block should I ever decide to re-review some of the movies I reviewed years ago. The idea that anyone would consider ripping off the horrible Unfriended is beyond me.

So let’s review this stinker.

So right as I get to the main DVD menu, my ears are assaulted by a horrible dubstep remix of the movie’s theme music.

I hit “Play”.

Awwwww, it even tries to do the whole glitching effect with the many, many, many production companies that backed this. Sorry, but that’s not funny anymore. It was absolutely hilarious when Unfriended did it, but it’s aggravating now.

At Vague College, the main characters sit down in class as the professor walks in. He delivers the news that a student, Marina Mills, has committed suicide. Marina’s death is super cereal because she apparently filmed it on her webcam and the video was posted to the university website. How she stopped the webcam recording after being dead let alone uploading the video to the university website will be explained later. The reasons how will shock you in all the wrong ways.

But this professor reacts in the absolute wrong way: he says that the suicide video was uploaded to the university website and that some students were able to grab the video before the university could take it down, and he urges them not to watch it. You know, the best way to divert people from seeing it would be to deny that there was ever a video at all, and that the video that a few students possess is a fake.

Title sequence. The words “Friend Request” briefly glitch into some unintelligible symbols that are eerily similar to Unown Pokemon before glitching back to English.

So the entire first act of this terrible movie is shown in a flashback to two weeks earlier.

I should mention that the ripping off of Unfriended goes beyond a few simplified plot points and being a horror movie trying to be hip with the youth because its horrors have access to social media. It even names a major character Laura; only this time, she’s not the eeeeeeeevil ghost haunting the main characters’ Skype – she’s the main character who’s the victim of the various supernatural happenings.

And, chronologically, the very first thing Laura Barnes – I mean, Woodson – does in this movie is watch a cat video. Scratch that – a cat video that is actually an Internet screamer! She gets JUMPSCARED in front of her roommates! And the reason she’s watching this video in the first place is because it was shared on NotFacebook!

If you’re going to make a horror movie that makes social media such a huge part of its plot, you need to use actual websites, not just create a fake one that’s just barely noticeably different from the real thing. Even Unfriended knew that. At least Friend Request does it a little better than Cyberbully, which straight-up made up a fake social media site called Clicksters. At least Friend Request got kind of close to imitating Facebook. But it’s one of the most painful clichés in pretty much any movie that uses social media or an imitation of Google. If you look closely, you can totally tell. The URL clearly doesn’t say “Facebook”, the “Messages” and “Friend Requests” buttons have switched locations, and the “Like” and “Share” options have been replaced with “Thumbs Up” and “Spread”.

And as Laura goes for a morning jog, we see a montage of various videos she’s posted on NotFacebook. See, look at how popular she is. Look at how her friends all comment on her videos, photos, and posts in SMS speak. Look, she’s texting her boyfriend. Look at how she’s pointing out that her dead dad would have been however old today. Gotta have a tragic past for the sake of a tragic past. Look, she even spends time working for a charity organization. Look at how awesome of a person Laura is. Oh, and she’s also confirming a bunch of friend requests from random people. That’s smart.

Oh, and as she runs, we see one of the most unintentionally hilarious things ever: occasionally throughout the movie, a “friend counter” will show up, showing how many friends Laura has on NotFacebook. Believe it or not, when the horrors start, this friend counter is supposed to be scary. Remember this friend counter, because it pops up multiple times, and it’s freaking funny when it does.

But then it cuts to Laura waking up in Tyler, her boyfriend’s, bed. Wait, wasn’t it morning just a while ago? And I just now realized this: her boyfriend is Peter Pevensie from the Chronicles of Narnia movies. I can see that William Moseley is making only good choices for his career.

As Laura walks to school that morning, she talks with her two friends, Olivia and Isabel. And this dialogue was clearly written by someone who has no idea how college students talk. I should probably point out that the only college students cast that even look like college students are Laura and Isabel and maybe Marina. The rest of the cast looks like they’re in their thirties.

The three girls, as well as Isabel’s boyfriend Gustavo and Laura’s suitor, Kobe, sit down to eat. Is it lunchtime already? And Kobe is suuuuuper jealous that Laura went for Tyler instead of him. You can even see that he’s a little pissed. I wonder if he’s going to become an antagonist later on. Spoilers – yes he is.

Laura looks off to the side to see the stereotypical Goth-ish loner, Marina, staring creepily at her. But Laura thinks nothing of it. I should mention that Marina always has her laptop out.

At class, the same professor from earlier gives a lecture about how people are getting addicted to the Internet and that it can cause depression, anxiety, and trauma. Yes, yes, we get it. The Internet is evil, and it’s the digital equivalent of a drug addiction. Laura responds to a text from her boyfriend and gets called out by Professor I-Hate-the-Internet as an example of Internet Addiction Disorder. Though for some reason, despite being on her laptop, Marina gets a pass. Speaking of Marina, she is still staring at Laura. But Laura still thinks nothing of it.

Back at home, because apparently Laura only has one class, she’s waist-deep in a conversation with her roommates about what filter she should use on a photo she’s about to post to NotFacebook. But then she gets a Friend Request from Marina. Laura and her roommates go to Marina’s profile to see that she has zero friends. Yeah, uh-huh. Right. I’m pretty sure you have to work to maintain zero friends on NotFacebook. They scroll through Marina’s timeline and find a bunch of dark, surreal, haunting images and animations that Marina has created. Uh, is this why Marina is so unpopular? This girl clearly has talent that could be very well utilized on places like DeviantArt or YouTube. She could post videos of her weird animations or of her drawing her pictures, and with that much talent, she could get a lot of fans, set up a Patreon, and make a living that way. At least, in the real world. But not in this movie’s world, as apparently people are scared of this stuff.

But this also begs the question: how is she able to create these surprisingly detailed animations? This type of stuff would take days or even weeks of work, but she’s able to put them out in a few hours. For example, she puts one out with the caption, “My dream last night…”

Also, I should probably mention that a lot of the stuff in these videos will be important later because worthless reincorporation. And some of the stuff that happens in them will happen later in exactly the same way.

So who actually did create these animations for this movie? These are seriously good. Of course, anyone who’s ever visited DeviantArt, any scary story forum, or the darker corners of Tumblr will know what type of stuff I’m talking about.

Oh, okay, there’s another reason for Marina being unpopular: she has trichotillomania – a hair-pulling disorder. Okay, is she seeking help for that? Has no one else suggested that she do so?

The roommates engage in more conversation that is desperately trying to sound like how young people talk. And because Laura is just so nice, she accepts Marina’s Friend Request.

Cut to Marina having plastered a goofy grin on her face as she sits at her computer and visits Laura’s NotFacebook page.

But when you become friends on NotFacebook, you totes become friends in real life, like 4 reals.

Seriously, Laura and Marina even hang out for a bit the next day. Again, they try to have a normal conversation, but clearly the writer has never been around college kids in his life. And this scene is actually pretty uncomfortable.

Later, Marina’s giving off all sorts of red flags. She’s constantly messaging Laura, she’s tagging Laura in everything she posts, and she’s even gone back and “thumbs upped” every one of Laura’s posts going all the way back to the beginning of Laura’s days on NotFacebook. Hey, you can even kind of see the URL. It says something along the lines of http://laura.woodson/messages. Are you kidding me? And yet, for some reason, Laura and Tyler are making out with that being shown on Laura’s laptop in front of them. ‘kay. I love how easily Laura brushes everything off. Also, of course Tyler is a med student.

Cut briefly to Marina in front of the computer. I have no idea why creepy music is playing. Nothing creepy has happened yet.

Laura wakes up in the middle of the night and inexplicably walks over to the window. She sees a wasp on the window and reaches out for some reason, even though wasp stings hurt. She slowly, dramatically reaches toward the window but JUMPSCARE – it’s Marina with a few handfuls of wasps on her. And then Laura wakes up. It was all a dream. Why did this even happen? Marina’s not supposed to be creepy yet.

The next morning on Laura’s run, it’s revealed that it’s her birthday tomorrow. I love how she never gets actual texts – only NotFacebook messages. A bunch come from Marina. It’s been thirty-six hours since they became NotFacebook friends.

Laura then shows her friends Marina’s new profile pic: an image of Laura and Marina photoshopped together. Oooooooookay. They even scroll through to earlier in Marina’s timeline (which Laura had never once thought to check), which shows a random few-second-long staticky flash of two dead young boys with bloated, rotting faces. It disappears, and various other random pictures and videos show up on Marina’s timeline, including a gif of a bunch of Unown Pokemon flying past the screen. They finally stumble across a gif of a horribly burned woman writhing in pain and a woman’s pregnant belly with Unown Pokemon cut into it before shutting the laptop. Where did all this come from? All of these various random things will come into play later in a really stupid update of The Ring. More dialogue that makes me want to die. NEXT SCENE.

As Laura dolls herself up for her birthday party that night, she gets a NotSkype call from Marina. Say no. Say no. SAY N – oh, eff me, she answers it. This reminds me – how are these college kids able to afford all this Apple technology? Laptops, phones, you name it, it’s there in the possession of these college students. Laura seems to be really unwilling to say that what Marina is doing is not okay, that she needs to back off, and that she really needs to get help. She also neglects to ask what those videos were from earlier on her timeline. Also, I love how Marina’s NotSkype feed gets slightly glitchy whenever her feelings are hurt, like when Laura says that she’s just celebrating her birthday with her boyfriend. Seriously, she looks unreasonably hurt over a turned-down birthday invitation.

So Laura lied to Marina – the party is with her, Tyler, her roommates, Gustavo, Kobe, and even Laura’s mom at some restaurant. But who the hell applauds as the birthday girl comes in? What has she done to deserve this? Did she somehow singlehandedly cause Kim Jong-un to step down and North Korea to disarm (this certainly hasn’t aged well)? Did she singlehandedly broker peace between Israel and Hamas? Did she cure cancer? Did she invent a new pencil entirely out of leaves? And what type of birthday party even is this? This feels like a going-away party where Laura is about to head off to Africa for a decade to serve with Doctors Without Borders or something. How popular and beloved is this chick? They even go around the table and give one reason they love Laura. Gustavo even proposes a toast! Oh, and I just noticed this now: when Kobe hugged Laura, I spotted that he had something tattooed on his arm. I looked closer, and I realized with a mixture of shock and laughter that it was binary code. WHAT?! WHY?!

And of course the group posts a crapload of photos on NotFacebook, which makes Marina SAD. She even stands about a hundred yards away from the restaurant, staring at the celebration! How does this woman live?

And the next morning, Marina, who has clearly been crying, even confronts Laura in the cafeteria, saying that she thought they were friends, that she’d had a present for her that she’d been working on for two weeks (LAURA: You’ve barely known me for two weeks. ME: Even though it’s literally been three days unless this movie’s conveyance of the passage of time is literally that bad.), that she’s a liar like everyone else, that she didn’t have to accept her friend request, and that she has no idea how it feels to be alone! She even accosts her! Laura shoves her away, which knocks her beanie off, revealing her swollen scalp that she’s been pulling hair out of. Realizing that everyone can see her partially bald head, she runs off. How the hell is this bitch still alive if she gets that incensed over not being invited to a freaking birthday party? How has she never once thought that maybe her actions are not okay and that she needs serious help? Also, how are the bald spots on her head that swollen?

This isn’t how NotFacebook works, Marina! Just because you’re friends on NotFacebook, it doesn’t mean that you’re friends in real life!

Laura calls Tyler (who’s in the middle of class) about the situation, but Marina tries to NotSkype Laura. She declines the call. Great. She logs into NotFacebook, where she receives a barrage of messages from Marina. She promptly unfriends her.

And apparently, if you have zero friends on NotFacebook, your life is basically over. Seriously, Marina gets seriously broken up over her own mistakes. She commits suicide offscreen.

So is Marina just this sexually frustrated girl who has no idea how to express herself, attract a lover, or exercise proper Internet etiquette, and so just comes off as creepy, and so has no idea how to take rejection? Because her attempts to be friendly coming off as creepy feel really unintentional on her part. To me, Marina comes off as this sad, lonely little girl who was not taught proper morals growing up and who just needs a friend. And the best part about all that is that I KNOW THAT THIS WAS CLEARLY NOT THE WRITERS’ INTENT.

Laura, who’s typing up an essay or something, hears something elsewhere in the apartment. She walks around, decides that finding the source of the noise is too boring, and gets a drink out of the fridge. She starts walking back to her room, inexplicably turns around, and sees the mirror from one of Marina’s videos. She walks super slowly toward the mirror and begins to see the woods from that same video in the reflection. And we all know what’s going to happen. Yes, yes, yes, you’re going super slow, movie. Come on, we know that you’re just a worthless bargain-bin horror flick. We all know how this scene is going to end. Laura leans a little closer to the mirror and starts seeing a dark figure in the mirror walking toward the foreground. Movie, I know what you’re about to do. It’s not going to be scary. Just get the jumpscare over with and move on. And as Laura slowly, dramatically leans farther toward the mirror, a monstrous version of Marina appears behind Laura in the real world. JUMPSCARE! Oh my gosh, so scary! Plus, it didn’t even jumpscare Laura. If the main character wasn’t even jumpscared here, then why was said jumpscare even there? Who is it supposed to scare? The audience? Also, these jumpscares are LOUD. They were even louder than the ones in Smiley or The Forest to such an extent that when I went to see Friend Request in the theater, I had to plug my ears whenever a jumpscare would come around to avoid permanent damage. And no, it’s not caused by the theater just playing the movie too loud – the rest of the movie was played at a normal theater volume.

And what exactly does this scary sequence mean? Is Marina some sort of ghost with the ability to upload her dreams to someone else’s head?

The next morning, the opening scene of the movie is replayed. That means that the first twenty-odd minutes of this ninety-two-minute movie are told in flashback.

And Laura actually seems to feel pretty crappy about it. Her friends tell her not to be, and Gustavo says that they might be able to get out of class for the funeral. Asshole. But then Kobe says that there’s not going to be a funeral, as there’s no body. Yeah, but that doesn’t mean that there’s not going to be a funeral. That’d be kind of disrespectful to most of the victims of 9/11. And best of all, the police have no idea who Marina even was. Her contact info and Social Security number have been deleted from the school database. They don’t even think that Marina Mills was even her real name.

That night, Laura is woken up by the “ding” of her ringtone. But this ringtone has been electronically distorted because spooky. Also, I love this “signal-interference”-inspired soundtrack. It really makes this scene soooooo much more effective. Laura picks up her phone to see that Marina sent her a message. She checks her laptop to find that Marina has sent her a video. It’s a video in black and white (because reasons) of a clearly off-her-rocker and disheveled Marina showing a surprisingly detailed picture of Laura to the camera, yanking it back ridiculously fast with a ridiculously loud JUMPSCARE, lighting it on fire, dropping the flaming picture onto a pile of burning stuff under a chair, getting onto a chair, and hanging herself while immolating herself. Yeah, I’m pretty sure that just the hanging would have sufficed. Laura reacts loudly enough to wake Tyler, who tries to shut it off, but Marina the Internet Ghost won’t let him! Every time he tries to X out of NotFacebook, a dialog box pops up, saying “Unknown Error”.

So how did this video get posted to Marina’s NotFacebook? There was no one there to stop the recording, let alone hack into Marina’s account to send Laura the video. Oh wait, I forgot – Internet ghost logic.

You heard that right – Internet ghost.

Internet ghost (in-tǝr-net gōst), noun: An all-powerful entity that has really no moral reasons for haunting the main characters. Can manipulate anything on the Internet or technology in general at will at any time. Much like the strangers from The Strangers, it always has the upper hand unless the plot says so, and could easily inflict its revenge immediately, however and whenever it wants, but isn’t allowed to because plot.

Also, why can’t Laura just send the video to the police?

The next morning, as Laura walks to school, everyone there looks at her like she’s a criminal. The friend counter even pops up, showing that Laura’s friend count is 847 and dropping! OH NO!

And in class, she gets a message from her boyfriend asking why she posted the suicide video. She pulls out her laptop (even though the class is having a test), logs onto NotFacebook, and sees that the suicide video has been posted on her account and all 836 of her friends have been tagged in it. And they’re PISSED. And when she tries to delete it, she gets the “Unknown Error” dialog box. Nooooooo.

Maybe Laura did post it and she’s just crazy. Did she ever stop to think that?

Jeez, people’s accounts occasionally get hacked (because I couldn’t think of a better term). That happens sometimes. If somebody posted that video under her name, wouldn’t there be a crapload of people reporting it? Wouldn’t NotFacebook take the video down for violating Community Standards? Can’t NotFacebook and the police determine the IP address of where the video was posted from? Oh, wait – Internet ghost logic.

Okay, so Laura has tried changing her password. Okay, then contact NotFacebook Tech Support for help. Then if all else fails, delete your account. If that doesn’t work, contact NotFacebook Tech Support and have them delete it for you citing technical difficulties. No social media presence at all is better than an Internet ghost posting a suicide video on your account.

Oh, and Marina is back in Laura’s friend list.

OLIVIA: Unfriend that dead bitch.

That seemed kind of insensitive.

And of course, because Internet ghost logic, she again gets the “Unknown Error” dialog box.

So she does something at least a little smart and goes to the campus authorities, including a police officer who is there because reasons. But of course, despite Laura’s protestation, the officer’s all like, “This video just magically appeared on your timeline? YOU MUST HAVE DONE IT!” And whichever campus authority this is even says that multiple students reported Laura harassing Marina. WHAT?! How the hell did those students misinterpret that altercation between Laura and Marina in such a boneheadedly misguided way? Were they even paying attention? I thought Laura was supposed to be that popular girl that everyone loves and thinks is awesome. Why did they all of a sudden take Marina’s side? Did Marina use her Internet ghost powers to manipulate the students’ statements? What the crap is happening? And when Laura tries to say that no, it was the other way round, and that Marina was obsessed with her, the dean or whatever doesn’t believe her. The dean literally has the most condescending expression on her face that I’ve seen in a very long time. The cop says that if she can’t delete the video, she’ll have to delete her account. Deleting my NotFacebook account? That’s too HARD.

Also, why are the cops freaking out so much over the Marina Suicide video posted on Laura’s NotFacebook that they seem to have completely forgotten that Marina’s public records have been totally wiped? Why are they even asking if Laura knows where Marina committed suicide? The police must have found the body judging by how super cereal they’re acting about this, right? How do they know that it’s Marina that committed suicide? Her public records are completely gone! How did they ID Marina? She set herself on fire; therefore, the only way of identifying the body would be through dental records, but as I said, Marina’s records are basically nonexistent! How do they even know that Marina committed suicide, anyway? The only evidence that such a thing even happened was the fact that Marina herself posted her suicide video on the university website. Who would have posted the video there if not Marina? Considering how painfully nonsensical the situation is, are the police not even thinking that maybe the video was faked, because the only person who could have possibly posted the video was Marina herself? THIS IS STUPID!

At least Laura tries deleting her account. Of course, we never see this, so for all we know, she could be lying. But of course, Marina the meanie-meanie-poop-head Internet ghost won’t let her. Laura even calls NotFacebook tech support to determine why she can’t delete the video or her account and why she can’t unfriend Marina. Well, NotFacebook tech support is pretty uncooperative, even saying that they can’t even view Marina’s profile, and not even suggesting that they remotely delete Laura’s account. Laura doesn’t even bother suggesting that herself, and she hangs up, having had enough. How more people didn’t cringe at the miserably bad acting here is beyond me.

Okay, now text everyone you know that you’re NotFacebook friends with and tell them that you’re not the one posting it and that your account got hacked, and tell them to text everyone who saw the video that Laura didn’t post it.

I should probably mention that the actress playing Laura is Australian, and that her faked American accent isn’t very good. There are multiple times in every line where this becomes obvious, usually when she really overexaggerates every vowel and consonant that would be pronounced differently with an Australian accent. Even William Moseley is better at doing an American accent.

So Laura decides to go talk to Kobe the creepy suitor, who, as it turns out, is a SUPER HACKER, because why not. Oh, and of course he plays violent video games with a lot of shooting and explosions. They sit down at his computer and scroll through Marina’s timeline. I thought this was supposed to be about getting the video off of Laura’s account. And yet, at a seemingly random video of Marina’s eyes, he recoils slightly and is all,

SUPER HACKER: That – that’s intense.

So Super Hacker decides to “peek behind the curtain” at the site’s coding. And of course, it’s covered in constantly changing Unown Pokemon. He goes over to his other monitor and shows her what code is “actually” supposed to look like. Yeah. Uh-huh. Right. That’s totally NotFacebook’s coding. They go back to looking at Marina’s account, and conveniently, the next clue to solving the mystery is just conveniently sitting there on Marina’s timeline. It’s an old-timey woodcut-printed picture of a woman hanging herself while setting herself on fire, all in front of a mirror. Also, why is the camera shaking so much?

And then jarringly cut back to Laura at Tyler’s apartment, still scrolling through Marina’s timeline. Why? And then Tyler starts passive-aggressively implying that Laura is cheating on him with Super Hacker. Because this is totally the time for trivial insecurities. Laura gets up from the computer, which goes to a black-and-white photo of Gustavo, which distorts. Kind of like The Ring!

Speaking of Gustavo, over at his place, which is apparently the same dorm that Super Hacker lives in, his call with Isabel is lost among Internet Ghost Static. The “signal-interference”-inspired soundtrack returns. His NotFacebook feed devolves into INTERNET GLITCHING before making his laptop screen into what is essentially a mirror. And as he gets up to investigate a door creaking elsewhere, his reflection on the laptop screen, now a still image, keeps staring back at him. He investigates his dark, surprisingly person-free dorm. I have no idea when the power inexplicably went out. And we all know what’s coming. He sees the demon clown picture on a door, enters the room, and sees some sort of mutant cyclops baby doll on a bunk bed. There’s a dismembered doll on the floor, and a wasp nest in the corner of the room. He slowly, dramatically looks at the awful CGI wasps buzzing on the nest, then looks down and is JUMPSCARED by the two dead boys with rotting, bloated faces. These jumpscares are so loud, so sudden, and so out of context that they’re genuinely jarring, and not in a good way. Oh, and whenever Gustavo’s phone’s flashlight shines in the direction of the camera, expect a really immersion-destroying lens flare.

So Gustavo runs out of the room and down the hall to the elevator and gets in, despite the power being out. Seriously, do elevators work in power outages? But as expected, the elevator stops between floors and the light shuts off. Oh, NOW the elevator doesn’t work. He gets his phone back out, slowly, dramatically shining the light around. He hears more wasps and sees the CGI wasps flying toward a wasp nest in the corner of the room. There’s a bunch of Unown Pokemon on the wall. And then he looks to the left and JUMPSCARE, a hand reaches out and swats the phone away.

Isabel gets to Gustavo’s dorm building, the first floor of which still has the power working, and hits the elevator button. The elevator opens to reveal blood everywhere. Isabel slowly, dramatically gawks at the scene. Gustavo JUMPSCARES Isabel by running from one side of the elevator to the other and repeatedly bashing his head into the elevator wall until he…uh, dies, I guess. And Isabel’s screams sound like screams of frustration, not terror/sadness. And of course her screams have the echo sound effect put on them as we transition to the next scene.

Gustavo’s death is super cereal, as not only Laura, but Olivia, Tyler, and even Super Hacker are at the hospital and sitting outside Isabel’s room. Tyler pulls Laura aside, asking if Gustavo was on something, citing his “insane” medical report. And then they just forget about the whole thing and walk into Isabel’s hospital room. But Isabel just tells her to leave, and says that it’s all Laura’s fault, that Gustavo wasn’t himself, and that Gustavo was having nightmares despite nothing ever having remotely shown me this, and that she’s having them too.

Jarringly cut to Laura, Olivia, and Super Hacker putting some flowers on an actual on-campus shrine for Gustavo.

Cut to Laura and Tyler looking super broken up about Gustavo’s death. Laura gets another message with that distorted “ding” ringtone. The signal interference soundtrack returns. The message is from Super Hacker, telling Laura to check her NotFacebook timeline ASAP. It turns out that the elevator security cam footage of Gustavo killing himself has been posted on Laura’s account and has all her 512 friends tagged in it. And of course, not only are the comments filled with hatred, but Laura can’t delete the video. Olivia barges in demanding that Laura delete her account despite having been told earlier that Laura has no ability to do so. After Olivia leaves, Laura tries to post something saying that she’s not the one posting the videos, but Marina the Internet ghost INTERNET GLITCHES the text with Unown Pokemon and replaces it with “u will know how it feels to be lonely 🙂 ”. And she can’t backspace. Oh, and her friend count magically jumps back up to 601.

But then in the next scene, the friend counter shows back up showing that her friend count is at 494 and dropping. She talks with the dean, who says that even though they can’t prove that it’s her posting the videos, (oh yes they can), they have no choice but to suspend her for the rest of the semester. And Laura’s acting like the dean is being super unreasonable. You know, Laura, for all anyone knows, it could be you posting the videos. All the evidence very clearly points to you. And as far as even I know, it could just be her having been driven to madness by her guilt over Marina’s suicide and having inexplicably gained super hacker powers to hack into Gustavo’s dorm’s security camera feeds.

Laura’s mom FaceTimes her in the middle of her walking back to her dorm. That sequence was completely pointless.

And then, because this is totes smrt, Laura and Super Hacker are in the computer lab at the college scrolling through Marina’s timeline, seeing that Gustavo was friended by Marina right before he died. And despite this clearly not being shown from Gustavo’s point of view, Marina friending her next victims is a thing now. Super Hacker then shows the footage of Gustavo’s death, pointing out the obvious wasp-buzzing sound in the background. Super Hacker says that he did some research and determined that black wasps are associated with evil, that they appear wherever witches live, and that they follow witches around and protect them. So Marina’s not just an Internet ghost, but an Internet witch that has free reign to do and manipulate whatever she wants online, has a swarm of eeeeeeevil wasps at her command, and can even make people kill themselves. How does this have a 5.4/10 on IMDB again?

Super Hacker uses his super hacking skills to get him and Laura into Marina’s room. Surprisingly enough, there’s no one else around. They search the place, find some weird pictures and eventually a group photo from some orphanage with a younger Marina in it, just…sitting there in some random folder. That’s convenient. Oh, and in the picture, there are two boys’ faces scratched out. Let me guess – those are the two dead boys with the bloated faces? Laura asks Super Hacker to find whichever orphanage it was, and Super Hacker says that if it was ever on the Internet, he’ll find it. Apparently Super Hacker does not know how to reverse image search.

And so they…just find the orphanage. It literally just cuts to Laura going there herself. Which orphanage is it? How far from her college is this orphanage? How did she get here? She goes inside and is met by the orphanage’s matriarch. Laura learns that Marina’s real last name was Nedifar. The instant I heard that name, I immediately thought “anagram”. So I go to Google, go to the first anagram descrambler I can find, and type in “nedifar”. And it shows me that the word “nedifar” is literally an anagram for “a friend”. I facepalmed. I am not freaking joking. That is painfully dumb.

Capture

I told you.

So, Marina’s history: she came to the orphanage as a ward of the state. She had a really rough time there. She was routinely bullied and even raped by those two boys. Okay, that’s unnecessary. She was always alone. She would continually draw the weird pictures. And then she found some bad places online. Sometimes, she would just stare at the blank computer screen for hours. Why anyone would let her is beyond me. The other kids became terrified of her, saying that she gave them nightmares. This isn’t going to mean anything in the end, is it? Spoilers – no it doesn’t.

Meanwhile, Super Hacker’s still in the computer lab doing research. He determines that Marina used her laptop as a black mirror, and committed her particular method of suicide in front of it in order to transfer a demonic version of her soul onto the Internet. Okay, that’s more than enough backstory, movie. The whole “spirit of suicided girl seeks revenge” idea was all that was needed. Also, Super Hacker’s gotta highlight the super-important bits because this movie’s creators think of their audience as illiterate chimps. As Super Hacker finds the same picture that was on Marina’s timeline, the screen does some INTERNET GLITCHING and cuts to showing a close-up of Marina’s eyes. JUMPSCARE, by the way. The lights in the computer lab go out, every computer starts playing the same video of Marina’s eyes, and when Super Hacker tries to escape, he sees a demonic version of Marina at the door. But when it cuts back to the door, it’s just the janitor, the lights have turned back on, and the computers are back to normal. The janitor is rather confused at Super Hacker’s terrified expression.

Tyler’s at his apartment on NotFacebook, typing up something saying that Laura oh-so-obviously isn’t posting the two suicide videos. But because Marina the Internet witch wouldn’t like that, the text INTERNET GLITCHES into Unown Pokemon, and Tyler all of a sudden hears a loud ringing and then wasp buzzing in his ear that was obviously added in post-production. He takes a pair of tweezers to his ear and pulls out a wasp. Are we ripping off Case 39 now?

Oh that’s how Laura got to the orphanage – she took a bus. She’s on her way back now, doing more research. She finds an article about two boys who were found stung to death by wasps. Yeah, it’s the rapist kids. Oh my gosh, this is more than enough. This is silly now. She calls Tyler and asks him to access Marina’s medical records. Wouldn’t those have been deleted too?

Oh, here comes another spoopy sequence. Olivia finishes showering (but it’s the middle of the day), dries off, hears some sounds in the dorm room, sees the patio door slam shut (JUMPSCARE), and leans down toward her laptop. It’s doing things by itself because Internet witch logic. She sees that Isabel is now NotFacebook friends with Marina. Oh NO!

Isabel is at the hospital flipping through photos of her and Gustavo on her phone when her phone does INTERNET GLITCHING and becomes essentially a mirror, freezing on a still image of Isabel. The signal interference soundtrack is back. She looks outside the window to see some burning building: an obvious hallucination that will mean something later. Oh, remember how the rest of this movie’s jumpscares up to this point have been at least a little out of the norm by being the second thing you’d expect rather than the first? Yeah, well, that’s all about to end. She slowly, dramatically looks onto the other hospital bed to see a horribly burned pregnant woman. And then said woman JUMPSCARES her by sitting up really fast, because of course. She runs out of the room into the dark hospital hall. Why are there no doctors or nurses anywhere on this floor? She runs off down the hall and sees the two dead boys walking toward her. She runs into the bathroom and locks the door, but a large puddle of blood spreads across the floor. She sees a hallucination of herself lying dead in a bathtub, having slit her throat. Yeah, nice sky-blue contacts. I totally believe you’re possessed. She slowly, dramatically walks up to the corpse. And then the corpse JUMPSCARES her by having her eye move to look at her, because of course. Despite telling herself that it’s not real, she looks to the left and sees the demonic Marina, who kills her offscreen via really awful editing.

Isabel’s death is super cereal, as Laura’s back at the hospital again, and she’s obviously not been crying. She’s just rubbed her eyes until they’re a little red. The police talk to her and show her the security footage, which shows Isabel wandering through a populated hospital, but not one doctor or nurse is doing their job. Apparently, Isabel doing this as well as ripping out her hair and slitting her throat is a first for this cop. He even makes another accusation that Laura posted the death videos on her NotFacebook, though he admits that they can’t prove it, because they can’t determine the IP address from which the videos were posted. THEN WHY ARE YOU MAKING SUCH ACCUSATIONS AT ALL?! You’re freaking out so much about these suicide videos getting posted on Laura’s timeline that you’re not even thinking about why Laura’s friends are killing themselves in strange ways or how Laura could possibly access CCTV footage! Also, could Marina the Internet witch not have manipulated things to make it look like the videos were being posted from Laura’s IP address?

And of course, Isabel’s death video is posted on Laura’s NotFacebook, and all 209 of Laura’s friends are tagged in it. And of course the comments are filled with derision.

Cut to Peter in the middle of dissecting a corpse in class. Cut to Olivia, who tries to delete her NotFacebook account, but Marina the Internet witch won’t let her. “Unknown error” dialog box. Tyler tries the same thing with the same results. Wait, I thought Tyler was in the middle of a dissection; why is he on his phone off to the side? And of course, when Super Hacker tries the same thing, he also gets the same results. He then tries to unfriend Laura, but to no avail. That’s what’s so scary about Internet witches – the inconveniences they cause. Honestly, it’s more funny than scary.

Tyler somehow knows the code to the door for his supervisor’s office. He goes in, sits at the computer, and looks up Marina’s medical files which Marina has not deleted with her Internet witch powers for some reason. I’m also pretty surprised that Marina’s files have her actual last name on them rather than her fake one, because she was attending this college with the last name Mills and her records should show that. Where’d she get the money to attend this college, anyway? Did she magically increase the funds in her bank account? Did she ever have any money to her name at any point in her life? Apparently Marina’s had a few runins with the medical staff at this college, as she’s been diagnosed with psychosis and reactive attachment disorder as well as trichotillomania. He even determines that her mother was in some sort of evil witch coven at some random building in the middle of nowhere. The building caught fire, Marina’s mother was the only survivor, and the hospital kept her just alive enough to carry Marina to term. Heavens above, stop. You’ve long since crossed the line. Marina’s backstory is now overstuffed and unwieldy. I love how Marina the Internet Ghost decides to not make the medical files start INTERNET GLITCHING.

Super Hacker tells Laura about the black mirror stuff and the repercussions of Marina’s suicide as Laura just looks super bored. Apparently the only way to stop Marina is to find her laptop and destroy it.

Olivia packs up her technology and other stuff, intending to go home. But she hears her printer printing out a bunch of stuff. It’s printing out a bunch of paragraphs of glitchy Unown Pokemon, but the entire paper is covered in ink save for the white Unown Pokemon. That’s a huge waste of ink. She slowly, dramatically looks over the sheets of paper, and then gets JUMPSCARED by a hallucination of Isabel cutting her throat. Laura’s off in the other room printing out every last picture on Marina’s NotFacebook timeline. Olivia bids goodbye to her.

The next day, Laura shows up super late to the triple funeral of Gustavo, Isabel, and Marina. She couldn’t even make it to the funeral on time? Wow, you’re a bitch, Laura. Also, a triple funeral? I’m pretty sure the families of Gustavo and Isabel wouldn’t want that. Also, I would be able to take this scene much more seriously if the friend counter didn’t show up, showing that Laura’s friend count is at 79 and dropping. Oh, and her mom’s there, and she wants Laura to come home. Screw solving the mystery – just go home. Or at least explain the situation to your mom.

Tyler tells Laura about the coven and the fire and the birth, and how she was “alone in the womb for months”. You’re alone in the womb for the entirety of the time your mom is pregnant with you, you dumbass. But then on a different laptop, Marina’s NotFacebook page starts posting a bunch of Laura’s photos, including the group one from her birthday. And Olivia’s face starts distorting like in The Ring. Ur nur.

Olivia’s phone goes off because Marina can power up her cell phone even though she powered it down. She hears some whispering elsewhere in the dorm and goes to investigate. The computer in…somebody else’s room starts INTERNET GLITCHING and does the mirror-to-still-image thing. She slowly, dramatically leans closer to it and is instead JUMPSCARED by the doorbell. She slowly, dramatically goes to answer it, slowly, dramatically gets up to the peephole, and looks through. She sees the silhouettes of the two dead boys off in the distance, but then one of the most cliché JUMPSCARES happens: the demonic version of Marina sticks her face right outside the peephole. Of course. Olivia backs away from the door, but because she sucks so bad, she trips over her own two feet and lands on her ass. A bunch of awful CGI wasps fly in through the peephole. Olivia starts scooching backwards, but she looks behind her to see a demonic version of Marina with a wasp nest growing in her head. That is freaking disgusting.

Laura and Tyler are driving super fast to get to Olivia. I can’t help but notice that they’re driving on the left side of the road, despite using an American car. This wasn’t all filmed in America, was it? In fact, the whole movie was filmed in Cape Town, South Africa. They pull up to the dorm only to have Olivia slam down onto the hood of the car. And I found myself thinking, How did Olivia fly that far from her dorm window? The only way that works (because physics) is if someone threw her from that window. Like a football lineman. Olivia is still alive, and she’s even wearing those sky-blue contacts. HOW IS SHE STILL ALIVE?! How far above ground is her dorm room?

Olivia is taken to the hospital. Laura is there. The friend counter appears again, showing that Laura’s friend count is at 21 and dropping. Laura pulls out her phone to see a notification that Olivia is now NotFacebook friends with Marina. Wait, can you actually get those notifications saying that two of your NotFacebook friends are now NotFacebook friends? Tyler comes up to Laura and says that Olivia might actually pull through. You know, I can’t help but notice that Tyler has not once shown fear for his life given the circumstances. Is he just that noble? Is he just too manly to show fear? I’m not talking about not showing mortal fear around Laura – I’m talking about not feeling any mortal fear ever. Laura sees the cops and quickly leaves. I guess we needed a reason for Laura and Tyler to not be together in these next few scenes.

She heads out to the burned building with Super Hacker. The soundtrack decides to be really freaking annoying. Tyler calls Laura, but the cops interrupt them and Tyler scrambles to cover for himself. I should mention that the tree shown in one of the videos on Marina’s NotFacebook shows up. What terrible reincorporation. And of course there’s no cell service out there. Kobe mentions that Laura shouldn’t be fearing for her life, as Marina’s Internet-witch-ly goal is to make her lonely.

Back at the hospital, the possessed Olivia wakes up in the ICU after her heart rate monitor glitches out. She pulls out the various medical equipment with hilarious stock squishing sounds and gets up inhumanly quick.

Capture 2

What the hell type of face is that supposed to be?

The police officer outside turns around to see that she is missing. Olivia JUMPSCARES him from the side, slamming him into a shelf of stuff. She takes his gun despite the cop being a grown-ass hunkin’ MAN, drops him on the floor, makes like she’s going to shoot the cop gangsta style, then turns the gun on herself. The other cop and Tyler rush into the room and behold the scene.

BLACK COP: Really?

Okay, that’s the funniest part of the movie.

Laura and Kobe arrive at the burned-out shell and go in. As to why they waited until sunset to do this, I will never know. Drama, I guess. Super Hacker gets that distorted ding ringtone, telling him that he’s now NotFacebook friends with Marina. His phone glitches out and does the whole mirror-to-still-image thing. The signal interference soundtrack comes back. He tosses the phone away.

Laura has somehow left Super Hacker behind. She’s still searching the place. Super Hacker tries to find her. He sees some random woman walking out of some hatch that must lead to a basement, and she starts slowly, dramatically walking toward him. But then he gets JUMPSCARED by backing into Laura. Well, that’s both cliché and convenient. Super Hacker and Laura go into the basement. I had no idea Laura brought a flashlight with her. They scour the place, finding a bunch of big wasp nests and the ruins of Alph. And again, Laura and Super Hacker get separated. Laura looks for him and finds him down a corridor, standing in the corner, facing a mirror. Laura slowly, dramatically moves closer to Super Hacker. Are we ripping off Blair Witch Project now? I guess not, because when Laura turns Super Hacker around, he’s all

SUPER HACKER: She can’t make you lonely when you’re dead.

And JUMPSCARE, Super Hacker stabs Laura. In a nonfatal place because we still have ten more minutes of movie. I freaking predicted this from the beginning. Laura smacks Super Hacker upside the head with her flashlight and runs off. And surprisingly, getting stabbed gives Laura super endurance powers, because she somehow actually manages to OUTRUN Super Hacker. She makes it to some construction site, completely neglects to ask for help, and just gets a taxi to some other random building that she recognizes from Marina’s NotFacebook page.

Super Hacker runs into Tyler, who drove there in record time. How the crap did he get away from the cops?

Laura’s taking a taxi to the Random Building. The taxi driver offers to take her to a hospital, which he should have done despite Laura telling him no. The fact that she’s not even thinking of seeking medical attention is ridiculous. But he just drops her off at the Random Building. Laura goes in.

Tyler takes Super Hacker to the Random Building, despite having no idea that Laura is there. I have no idea why Super Hacker doesn’t bother to explain the situation to Tyler. Tyler goes in.

Laura comes across a bunch of nothing and is feeling remarkably little pain for having just been stabbed in the left middle side of the abdomen. She’s FaceTimed by her mom, who says that she’s been seeing things and having nightmares. After some INTERNET GLITCHING, she all of a sudden gets those sky-blue contacts in her eyes, which disappear for some reason. Laura’s mom walks away from the camera with a knife before the call ends. Oh nooooo, not…Laura’s mom. Tyler finds Laura, but Super Hacker shanks him in the neck. Noooooo, not…Laura’s boyfriend. He was the best actor in the movie.

Super Hacker chases Laura in a surprisingly tensionless and short chase sequence. Super Hacker catches up, but a crapload of CGI wasps swarm him and sting him to death. How are they stinging him through his clothes? Surprisingly, his skin is not even slightly bloated. We never see his body again.

Laura demands to know what Marina wants of her. She tearlessly cries, because she’s a terrible actress. She looks really broken up for having just watched her boyfriend get murdered. The child version of Marina (who is clearly not the same child actress from earlier in the movie) approaches Laura and says that she just wants them to be friends. Best friends. Forever. Marina, if you wanted to be friends with Laura, there were so many other better ways to go about doing so. And now, why do you expect Laura to acquiesce?

Kid Marina walks away into a passageway leading to a secret room. Laura follows, finds Marina’s fried corpse, and even finds the laptop. And she doesn’t even think to do the thing she came here to do: break the laptop. She walks up to the laptop, which is doing the whole mirror thing again, except this time, the area around Laura morphs into the forest from Marina’s video. Laura’s standing there in the forest, slowly, dramatically looking into the mirror from that same video. She hears whispers coming up behind her, and she turns around. Ooh, now that we’ve had the bullcrap twist like in Unfriended, are we now going to have a giant jumpscare? Yes. Yes we are. In a massively horrible JUMPSCARE, the demonic version of Marina lunges at the camera.

But unlike Unfriended, Friend Request doesn’t end in a pathetic jumpscare. It ends with Laura having taken Marina’s place as the loner who’s always on her laptop, creepily eyeing some other girl at school, and having zero friends on NotFacebook. Though I should point out that her NotFacebook account’s profile picture is the photo from earlier with Laura and Marina photoshopped together. Oh, and one of her eye irises is blue, even though they were already blue before. The way we can tell this is because Laura looks into the camera at the end, sending the cheesy teen drama factor through the roof. Is that supposed to signify possession? If there was a sequel to this (there won’t be, because nobody went to see this), an exorcism performed on Laura presumably wouldn’t work because Internet witch logic.

And what did all of that crap overstuffing Marina’s backstory lead up to?

KUNI: NOTHING! AAABSOLUTELY NOTHING! … STUPIIID! YOU’RE SO STUPIIIID!

Five minutes of credits, cutting the length of this movie down to eighty-seven minutes. I complain about this a lot, but this is a big pet peeve of mine when it comes to movies. It just really pisses me off when bad movies lie about their runtime by slapping several minutes of credits onto the end to increase the runtime to feature-length.

The instant I saw the name Simon Verhoeven being credited as the director, I immediately thought, He can’t be related to Paul Verhoeven, can he? The director of Robocop and Total Recall? As a matter of fact, he is! He’s Paul Verhoeven’s grandson! Well, I can clearly say that nepotism in the film industry is rarely a thing. Yeah, we’ve got directors like Sofia Coppola, daughter of Francis Ford Coppola, and, more recently, Oz Perkins, son of Anthony Perkins, but they are the exception, not the norm.

Friend Request is such a chore to sit through. I thought that this was going to be one of those funny-bad movies that would be perfect to watch with drunk friends, but no – it’s just dull and painful and puts me in a foul mood.

This is obviously a movie made for my fellow millennials and is meant to highlight our potentially dangerous obsession with social media, but Friend Request treats its main characters, and by extension its audience, in such a condescending and lazy way. It doesn’t give us a reason to root for the main characters, there are no character arcs, and every one of them is nothing more than a stereotype. Even the college professor is the typical “old fart who hates the Internet” and the cops are laughably inept. I feel nothing for these snobbish rich kids going to college all the way over in Cape Town. Of course, they all wear the best clothes and have all the best Apple technology, which is pretty condescending in and of itself, because most college students can’t afford Apple products. I sure can’t – I’m typing this review up on my crappy $600 Toshiba laptop that I’ve had since the end of 2015 that had a fatal hard drive crash the next June. And speaking of Apple products, why is it that every teen movie features their characters using all this super-expensive technology? This is extremely annoying. It’s just another one of those garbage horror films that’s trying to be hip with the youth because the plot involves social media.

The movie rocketed right out of the gate with its plot and refused to give us any character development whatsoever. I had no reason to care about the main characters, and therefore had no reason to fear for them when they were in scary situations. I didn’t give a crap whether they lived or died. In fact, the only emotion I really felt toward any of the character’s deaths was relief that at least the movie would be over soon. The motivation of the antagonist was really silly and childish, and her super-overstuffed backstory led to absolutely nothing. And it didn’t help that the characters were played by terrible actors (okay, William Moseley and even Liesl Ahlers as Marina do fine) and had to spout such cringey dialogue that was clearly written by someone who’s never been around millennial college students ever in their life.

It doesn’t help that the plot is so predictable and formulaic. As soon as I got introduced to Marina and her emotional issues, I knew exactly how her character would act over the course of the movie. As soon as it was revealed that Marina turned into an Internet witch, I knew exactly how the rest of the plot would play out. It became nothing more than a supernatural social-media-related slasher with a really dumb mystery and pointless backstory tacked on to pad the runtime. Without the mystery or backstory, the movie would only be about forty minutes long. Or less. And to make things worse, it even steals elements from The Ring and Unfriended. Speaking of Unfriended, literally the only thing that Friend Request does better than Unfriended is that it’s not as painfully boring.

And even the approach to horror here is pretty damn basic, as every scare sequence gets super quiet, has everyone do everything slowly and dramatically, waits ten to twenty seconds, and then inserts a deafening jumpscare. Yeah, the jumpscare sometimes doesn’t happen in the first or even second way you’d expect, but you will definitely guess right by the third time. Every time a scare sequence comes along, we know exactly what to expect because of what type of horror flick this is, and we just grow super impatient waiting for the inevitable. It’s crap like this that pisses me off about studio-produced, factory horror.

It’s yet another out-of-touch bargain bin horror flick whose only marketing scheme is pandering to the youth because social medias r kewl. But even I have to give millennials credit sometimes – they knew pandering when they saw it, and the only people who went to see this crap were schmucks like me who watch movies like this ironically.

And for all I know, it could have just been Laura being crazy.

How does this have a 5.4/10 on IMDb again?

Final Verdict: .5 out of 5 stars.

Still/Born (1/5)

So I just saw the new movie Still/Born, and while it started off pretty mediocre, it completely fell apart by the end.

The premise is strikingly unoriginal: after losing one of her twin babies at their birth, a woman discovers that an evil supernatural entity wants her baby. It’s basically Insidious meets Grace, but not only does Still/Born have no idea what made Insidious so good, but it has many of the elements that made Grace into a pile of garbage.

Namely, the protagonist. For about the first half, the movie plays itself as a supernatural horror movie with an evil entity from Mesopotamian lore trolling the mother nearly every night. But about a third of the way through the movie, the mother is established as mentally unstable. She keeps seeing this evil entity, of course investigates it, and learns that she has to sacrifice another baby to save hers. Of course. And about two-thirds of the way into the movie, the movie decides that no, the mother is actually insane, and, over the course of the movie, has endangered her baby multiple times. And then at the end, after she’s been shot after trying to sacrifice her neighbor’s baby, it’s revealed that though she was crazy, she was also correct. Still/Born, you can’t do this to your main character and expect that we’ll still give a crap about them. Seriously, the mother’s insanity was reaching such a point where I was genuinely hoping for the husband to leave with the baby.

The plot only ever moves forward when 1) the other characters have to conveniently be absent, 2) the mother or father make a stupid decision (and they make a lot of them), namely unintentionally endangering their baby multiple times over the course of the movie, 3) the mother has some sort of hallucination, and/or 4) something effs up. And there is not a single element to this plot that you cannot predict if you have ever seen a horror movie in your life.

And one thing I noticed that made the plot super convenient was the very lacking communication between the mother and father. Had the mother or father only explained the various situations to each other when they damn well needed to, things almost certainly would have ended up better than they did.

I’m not exactly scared while this stuff is happening. While a massive detriment to any fear in this movie is because the characters are pretty unlikable and annoying, its very standard approach to horror really takes the cake, because this is another movie where every scary sequence is the same. It quiets down, the characters only ever make ridiculously slow movements, the camera starts doing that slow zoom toward something, the camera gets up close and personal with the source of what’s inevitably going to happen, and eventually, after maybe fifteen to twenty seconds, a wild jumpscare appears. Every time.

It doesn’t help that not only is the acting not very good, but the mother’s acting gets really obnoxious toward the end. Also, is it me, or does the actor portraying the dad look a little like Justin Trudeau?

At least the movie looks and sounds professional. It actually looks pretty good. I did enjoy the camerawork when it wasn’t making the scary scenes so obvious. Unfortunately, the soundtrack is either half-decent or really bad.

At best, Still/Born is painfully mediocre. At worst, it’s thoroughly miserable, and personally, it left me in a foul mood. It’s the equivalent of really nice-looking tofu. It looks nice, but it’s still just really bland tofu. Oh, and it has a couple of dead cockroaches in it. And I’m giving Still/Born a 1 out of 5.

Paul Harvey’s “If I Were the Devil”: More Relevant Than We Know

“If I Were the Devil”:

“If I were the Devil, if I were the Prince of Darkness, I’d want to engulf the whole world in darkness, and I would have a third of its real estate and four-fifths of its population, but I wouldn’t be happy until I had seized the ripest apple on the tree, thee.

“So I’d set about however necessary to take over the United States.

“I’d subvert the churches first. I’d begin with a campaign of whispers. With the wisdom of a serpent, I would whisper to you as I whispered to Eve: ‘Do as you please.’ To the young, I would whisper that the Bible is a myth. I would convince them that man created God instead of the other way round. I would confide that what is bad is good, and what is good is ‘square’. And the old I would teach to pray after me: ‘Our Father, which art in Washington.’

“And then I’d get organized.

“I’d educate authors in how to make lurid literature exciting so that anything else would appear dull and uninteresting. I’d threaten TV with dirtier movies and vice versa.

“I’d peddle narcotics to whom I could. I’d sell alcohol to ladies and gentlemen of distinction. I’d tranquilize the rest with pills.

“If I were the Devil, I’d soon have families at war with themselves, churches at war with themselves, and nations at war with themselves, until each in its turn was consumed. And with promises of higher ratings, I’d have mesmerizing media fanning the flames.

“If I were the Devil, I would encourage schools to refine young intellects but neglect to discipline emotions – just let those run wild – until, before you knew it, you’d have to have drug-sniffing dogs and metal detectors at every schoolhouse door.

“Within a decade, I’d have prisons overflowing. I’d have judges promoting pornography. Soon, I could evict God from the courthouse, and then from the schoolhouse, and then from the Houses of Congress. And in His own churches, I would substitute psychology for religion and deify science. I would lure priests and pastors into misusing boys and girls and church money.

“If I were the Devil, I’d make the symbol of Easter an egg, and the symbol for Christmas a bottle.

“If I were the Devil, I would take from those who have and I would give to those who wanted, until I had killed the incentive of the ambitious.

“And what will you bet I couldn’t get whole states to promote gambling as the way to get rich.

“I would caution against extremes in hard work, in patriotism, in moral conduct.

“I would convince the young that marriage is old-fashioned, that swinging is more fun, that what you see on TV is the way to be. And thus I could undress you in public, and I could lure you into bed with diseases for which there is no cure.

“In other words, if I were the Devil, I’d just keep right on doing what he’s doing.”

Paul Harvey was not only right back in 1965 when he said this, but he’s even more right now.

Interesting experiences at work: February 16, 2018

To get anyone who’s reading this up to speed, I quit my job at Walmart back in November, dealt with some various things until December, when I got a job at High Sierra Patrol as a security officer. My job is to watch over a particular hotel/resort/spa overnight. I audit keycards, deal with any checkins or issues with other customers, patrol the grounds at least twice a night, and make the coffee in the early morning. It’s an easy job, but it doesn’t come without its own bullcrap.

Like tonight. So I’m on my first patrol of the night and getting toward the end of it. I get to one of the smaller buildings toward the north end, and I see this guy outside his room talking to someone on the phone. He calls me over to him, and I ask what the situation is. I am subject to a barrage of verbal carnage as this guy yells at me about being locked out of his room and his keycard not working and him having supposedly been waiting in the lobby for nearly an hour and him supposedly having been standing there for the better part of two hours (obviously not) and him being in the middle of calling the police and him saying that he doesn’t trust my security officer uniform and him demanding that the hotel/resort/spa comp him a bunch of stuff. I try to explain the situation to him including what my job is and why I’m the only employee here overnight; I even show him my badge, but he doesn’t even let me get a word in. Even when I’m trying to talk over him to explain what’s going on, defuse the situation, and ask what I can do to help, he yells over me, calling BS on or shutting down everything I’m trying to say, and possibly waking other patrons. I even try to offer to let him into his room with my master keycard and then go back to the lobby to program a few keycards for him, but he calls BS on my keycard and heavily implies that I’m just some random guy trying to impersonate a security guard. I don’t hear what the 911 operator is saying in response to his complaining. Eventually he somewhat calms down and his call ends. I offer to let him into his room and to program some keycards for him. He hands me his nonfunctioning keycards, and I head for the lobby.

The police are already there, as well as one of my senior officers. I explain the situation to them and they go to talk to the guy. I reprogram his keycards and head back out. Upon arriving at the guy’s room and seeing the police and the senior officer talking to him, I see that the guy is still being a massive craphole and being seriously uncooperative. Ultimately the police have had enough with this guy, and they leave, telling him not to call the cops for this type of situation. The senior officer tells me to go back to the lobby as he talks to the guy. As far as I heard from the senior officer, he eventually calmed the guy down despite the guy still being a serious asshole. My senior officer and I meet up in the lobby a little while later and I write up my report.

I’m currently typing this up at about 2:30 AM PDT while it’s still fresh in my mind, and I’m not sure what the repercussions of the situation will be come morning. I will update this if anything happens.

UPDATE: As far as I’m aware, nothing really came of the whole thing. Thank heaven.

Hellraiser: Judgment (0/5)

So I just saw Hellraiser: Judgment, and it was so bad that it made me want to die. When I saw Hellraiser: Revelations, I thought that the series had hit rock bottom, and that there was nowhere to go but up. Oh how wrong I was. There is a long way to go still after hitting rock bottom, and Judgment does that. It is even worse than Revelations.

There is no plot. There is no beginning, there is no middle, and there is no end. It’s just seventy minutes of nothing. The premise is half ripped off from Hellraiser: Inferno. Though there has been a string of brutal killings that three detectives are investigating, the movie just drops us into the gap between the thirteenth and fourteenth murder (out of what is supposed to be fifteen) and expects us to just roll with it. And the ways in which the killer murders his victims of course have to reflect their earthly sins, and the messages left for the police are obviously words taken from literature about the wrath of God. Yes, this killer is basically a hyper-radical Christian version of a mashup of Jigsaw and Kevin Spacey in Se7en. That’s all we get. And through the entire movie, I never have any freaking idea what is going on. Meanwhile, we deal with porno-quality actors playing flat, lifeless, boring characters and halfheartedly spouting painful dialogue, absolutely garbage cinematography with pathetically bad color grading that looks like the cameraman and lighting crew have never shot a movie before, a worthless soundtrack, and blatant, aggravating contradictions to the Hellraiser mythos. And it all ends with a braindead, nonsensical twist about the identity of the killer, and some unintelligible bullcrap about Pinhead / the Hell Priest.

See, I regard the first two Hellraiser movies as having set up the mythos, and I look at each proceeding sequel separately to determine just how unfaithful it is to the mythos of the original. And thus far, the only Hellraiser sequels after Hellbound that have remained even the slightest bit faithful to the original two’s mythos is Inferno and to the barest extent, Hellseeker. Judgment is easily the least faithful. By far. But that doesn’t stop it from making pretty ridiculous references to the original.

So what happens is that you get some sort of summons to go to this random rundown house in the middle of nowhere. You go in the front door and randomly show up tied to a chair in front of some sunglasses-wearing bald guy with a cut-up face calling himself the Auditor. You confess your sins to him as he types them down on a typewriter. You then randomly wake up in a different room as a big, obese man with a whiny voice wearing a suit coat who is called the Assessor puts the papers with your sins typed on them on a plate, soaks them in the tears of children, and eats them. He vomits them up into a tube which leads into another room, where three naked twentysomething girls with various facial mutilations called the Jury stick their hands in the vomit and do…something with it. I don’t know. Then you are taken to another room, tied down on a table, licked clean by some naked middle-aged women called the Cleaners, and forced to swallow their spit. Then this other giant obese guy called the Surgeon comes into the room and turns around to show his clothed backside. Some skinny guy wearing a full-body gimp suit and a gas mask jumps out of the fat guy’s clothes and sits on you. He wields a pair of crescent-shaped blades, and he skins you alive. I have no idea what happens after that, I have no idea why or how it happens in the first place or why it just seemed like the writers decided on each detail via dartboard, and after the first forty minutes, nothing of the sort is ever mentioned again. I’m not joking. In fact, the first ten minutes as well as every single scene involving this house could have been cut out of the movie. But then it wouldn’t have been feature-length. Every last one of the rules regarding how to summon the Cenobites, what they do to you, and whatever rules the Cenobites follow in regards to fairness are completely gone. And then about halfway through the movie, the script sees fit to introduce an angel character, who is supposedly the angel who kicked Adam and Eve out of the Garden of Eden. Up until now, the Cenobite mythos had completely avoided any semblance of similarity to any of the three Abrahamic faiths, but here, Pinhead / the Hell Priest and the other Cenobites are directly opposed to the Judeo-Christian God. They even occasionally quote the Bible and even once quote Dickens’s Tale of Two Cities.

This doesn’t even feel like a Hellraiser script. None of the themes from the original two are here. Nothing that made Hellraiser, Hellbound, or even Inferno great is here at all. You could cut anything to do with Hellraiser out of the movie and nothing would be lost. Pinhead / the Hell Priest is barely in the movie, has absolutely no reason to be, and looks as bad as he did in Revelations. At least Paul T. Taylor’s electronically deepened voice sounds slightly like Doug Bradley, unlike Fred Tatasciore’s painful impression.

And even the torture sucks. It’s painfully obvious that this movie had no budget. Whatever practical effects there are look insultingly cheap and its sound effects are overblown, loud, cartoonish, and are obviously either purchased from a storefront or found online. In every scene of violence, the movie splashes around the stage blood, but only a very tiny amount of the actual infliction of injury happens onscreen, and the two instances that happen onscreen – a skinning at the beginning and the flesh of a face being pulled off in two directions while somehow having split perfectly in half – look laughably pathetic. Seriously, there is one scene at the end where a character is shot in the throat, and it shows not the wound, but some blood most likely flowing from a tube beneath his clothes. And then the shooter empties the clip into the character, yet no new burst blood squibs or even bullet holes appear on the person. As I said in my Revelations review as well as my review of the original Hellraiser, Clive Barker created some of the most incredible practical effects ever put to film all the way back in 1987 on a one million dollar budget. There is no and will never be an excuse to not be able to replicate those perfectly in 2018. And none of the gore or even extremely tame sex is even remotely transgressive in the slightest. At least Revelations did that. Good heavens, did I just defend Hellraiser: Revelations, the former worst installment in the Hellraiser franchise? That is what Judgment has reduced me to.

Oh, I should probably mention that part of Judgment‘s marketing was the fact that Heather Langenkamp was in it. She is in the movie for less than ten seconds. She randomly shows up about halfway through and then disappears entirely. I didn’t even realize that it was her that I saw until after the movie was over.

Hellraiser: Judgment doesn’t even attempt to show that any effort was put into making itself look like it possesses even the slightest shred of quality. It doesn’t even come close to even making an attempt to be an actual Hellraiser movie. And it was so obviously made so that Dimension Films could prevent the rights to Hellraiser from reverting back to Clive Barker.

I can’t even imagine how Clive Barker must feel, seeing what garbage this franchise that he started has become.

And I’m giving Hellraiser: Judgment a 0 out of 5.

Please don’t see it. These disgusting hacks don’t deserve your money.

The Ritual (2/5)

So I just saw The Ritual, and while it wasn’t all bad, it was pretty disappointing.

The Ritual is the first feature-length movie directed by David Bruckner, a director whose ample talents have heretofore been relegated to making three short films that were part of horror anthology movies. He directed the “Crazy in Love” segment in The Signal, the “Amateur Night” segment in V/H/S, and the “The Accident” segment of Southbound. Regardless of the rest of the movies’ quality, Bruckner’s segments were easily (or arguably, if that’s your opinion) the best ones in each movie. The Signal was pretty great with Bruckner’s segment being the best. V/H/S was absolute garbage with Bruckner’s segment being the only part of the movie worth sitting through. And Southbound was okay, with Bruckner’s segment being the best one again.

And now we have The Ritual, and it’s really disappointing. Well, it’s really disappointing that Bruckner’s directorial talents were wasted on such a generic, predictable script. I can relieved-ly say that David Bruckner was not involved in the writing of the script.

Because the script is worthless. The plot is as cliche and predictable as you would expect. There are multiple instances of characters making such bewilderingly stupid decisions that I legitimately groaned every time I realized, Oh, of course they’re going to decide to take that course of action. I wonder if they’re going to take that shortcut through that thick forest that may as well be screaming, “I’m the domain of a horrifying creature! You should really just stay away! You don’t need to go through me if all you want is to shave one day off your journey!” I wonder if they’re going to spend the night in that dark, rundown, abandoned, spooky house. Oh, what a coincidence, they all had horrible nightmares. I wonder if they’re going to take that path that just randomly appeared overnight that so obviously does not lead to civilization. I wonder if they’re just going to stick to the path instead of head up that steep hill up to the ridge where they will be able to see where they are supposed to be going. I wonder if instead of heading directly for the nearest edge of the forest, they’re just going to waste precious time by standing there and arguing. Oh, look, they’ve camped for the night and the monster has taken one of them from the camp and is brutally murdering him. I wonder if they’re going to run after their friend in a blind panic and get lost. I wonder if the only non-white character is going to get killed. I wonder if they’re going to come across a cult that worships and offers sacrifices to the monster. I wonder if the monster is going to not only be shown, but explained to be some sort of fiend out of Nordic mythology, utterly shattering any semblance of fear I felt toward it. I wonder if the monster is not going to just straight-up kill our main character, but rather give him the chance to injure it so he can make his escape. I wonder if the creature’s guidelines and behavior as well as the now-dead cult’s practices and methods of survival are never going to be explained and instead will just feel random. I should probably mention that the movie’s title is a big spoiler, but not only is the titular ritual not the centerpiece of the movie, but it isn’t even important to the movie at all. And the movie as a whole is so forgettable.

The characters themselves, while very well acted (thank you David), just feel flat and lifeless. While I certainly don’t hate any of them, I don’t find them to be likable either. They spout profane dialogue that really starts to wear on you after a while. The only two characters that are anything more than “just there” are 1) the cliche everyman that made a really bad mistake in the past that he needs to atone for, and 2) the cliche craphole killjoy. There are no character arcs. The main character does not learn or gain anything from his experience in the forest. Okay, he learns to let go of his guilt for his friend’s death, but I’ve seen that before in so many better movies. And the script never gives me a reason to care.

And even the monster isn’t all that great once the monster itself is revealed. Apparently the monster is one of the jötunn, a race of evil nature spirits opposed to the Nordic gods, with this one being a bastard son of Loki, but even this script’s attempt to utilize Nordic mythology is pretty inaccurate. Anyway, this creature resembles a massive monstrous deer, but it has a pair of humanoid arms attached to a black hole with a pair of yellow eyes in it in place of the mouth. I felt that the monster posed an undeniable threat in the first two thirds of the movie, but when we finally got to see the monster itself, I personally found it to be rather silly. See, utilizing a beast from Nordic mythology as well as a cult that worships it and sacrifices humans to it is a cool idea, but not for a “lost in the woods” type movie where the horror stems from what you don’t see and what you don’t know.

Aside from that and some annoying jumpscares, David Bruckner’s approach to horror is pretty great, especially when it comes to atmosphere and how he handles the monster until the script mandates that he show it in its entirety. This Swedish wilderness is drenched in atmosphere. The forest itself is thick, dense, and really claustrophobic, especially knowing that there’s an evil being out there hunting down the main cast. Actual tension and dread is established, and David Bruckner does his damndest to build on that, but he’s hampered by the terrible script. And the fact that we never even see the monster until the last third of the movie is phenomenal. I was genuinely on edge, incredibly curious about what the monster would look like. Unfortunately, I was disappointed.

But it’s not all bad. David Bruckner had no control over the things that brought this movie down. In the areas he does have control over, he absolutely excels. Like how he directs his actors. And, of course, the visuals. Oh, heavens, this movie looks gorgeous. He uses these locations perfectly. I love how he shoots the wilderness in wide, open, and distant shots, but in the forest, his shots turn into something confined, cramped, claustrophobic, and close-up. And I have mentioned just how drenched in atmosphere the locations are. All’s well and good for direction and cinematography until, of course, the last thirty minutes, when the movie, while still looking good, has completely gone to crap.

Also, I should mention that when the soundtrack is allowed to do its thing, it really flourishes. I don’t know if the Ben Lovett who composed the soundtrack is the same Ben Lovett of Mumford and Sons, but this particular Ben Lovett is pretty damn good.

In the end, The Ritual starts off strong, gets pretty shaky towards the middle, and finds its footing at the end of the second act, but once we enter the final thirty minutes, the movie is in total freefall.

I don’t blame David Bruckner for this film not being good. All this movie needed was less jumpscares. Oh, and a much, much, MUCH better script.

And considering this movie’s positive reviews, I don’t see David Bruckner going away any time soon. We’re definitely going to see him at the helm of more films in the future. Let’s hope he has more creative control.

At least the parts of The Ritual that David Bruckner was in charge of were absolutely stellar. But ultimately, when it comes to the story and characters, this movie fails miserably.

And I’m giving The Ritual a 2 out of 5.

The Cloverfield Paradox (.5/5)

The Cloverfield franchise has always intrigued me – this little franchise of Twilight-Zone-ish sci-fi stories that aren’t directly linked but share a common theme. I’ve been a fan of this franchise ever since I saw both movies, and I was super pumped to see where the franchise was going next.

I get why they call it Cloverfield. Clover field. A field of clover. You reach down and pick a single clover, hold it to your nose, and sniff. Each clover is the same type of flower, but each one is different from the next. I finally understand the reason why the name Cloverfield was chosen.

I first saw the first Cloverfield movie back in 2015, and to me, it was a genuinely good and genuinely scary movie that approached found-footage and monster movies from a new perspective. It was a surprisingly unique experience, and Cloverfield remains one of the best found-footage horror movies ever made. I gave it a 3.5 out of 5.

In 2016, I saw 10 Cloverfield Lane, a palpably tense and claustrophobic slow-burn thriller, and it was not only amazing, but one of the better films I saw that year. The level of tension elicited from 10 Cloverfield Lane easily outpaced most R-rated horror movies I’ve seen. I gave it a 4.5 out of 5.

It seemed that with 10 Cloverfield Lane, Cloverfield had entered an entirely new frontier in franchise filmmaking, and I gladly awaited the next installment.

And now, in 2018, we have The Cloverfield Paradox. And it really, really sucks. It’s so disappointing to see such a promising franchise fall so far. Its biggest problem is that it tries to explain the mysteries of the first two Cloverfield movies that were originally left brilliantly vague. And its explanation is perhaps one of the most ludicrous ideas I have ever heard in my entire life. It turns out that no, the Cloverfield movies are not just separate stories with a similar theme. No, they’re actually connected. Apparently, when this dimension-hopping device hops dimensions, it somehow brings all sorts of monsters over from a parallel dimension and deposits them all across time. How exactly it does this is never explained. The monsters brought over include the monster from Cloverfield which came to earth in 2008, the aliens from 10 Cloverfield Lane that came to earth in 2016, and now some massive titanic leviathan that looks kind of like the monster from Cloverfield that has come to Earth in the near future. This is so stupid that I can’t even wrap my mind around it. Seriously? This is the mystery solved? These are the secrets revealed? This is what I’ve been waiting almost two years for? One of the most preposterous and nonsensical ideas I’ve ever heard? Why? Why did it need to be revealed why exactly the events of the first two movies were happening? What even is this titular Cloverfield Paradox?

And even just on its own, the movie makes no freaking sense. Obviously, the story starts out with one of the most basic premises ever: Oh, no, the earth is out of resources, but we have this really cool science experiment involving a particle accelerator that we can try (that has to be done on a spaceship because reasons), and if it works, we’ve got aaaaaalllllllll da energys that we need 5ever! But if it doesn’t work, all sorts of random bullcrap will happen. We have to make the supposed negative consequences very clear and very specific to the audience by having some random guy on TV say that if we try this experiment that horrible monsters will appear in the past, present, and future. I have no idea how he knows this. OOH, POORLY DONE FORESHADOWING. Oh, and the main character of course has to have her only defining traits be that she’s black, British, a woman, and that she misses her dead family.

And then, of course, the experiment goes wrong, the systems go down, and the Earth disappears. And yet, not even once does a single scientist hypothesize that maybe the reason that they can’t detect the Earth or why they can’t just use the stars to help them is because the systems are down, not because the Earth has disappeared. OKAY.

The crew just randomly finds this random woman inside a wall with wires coming in and out of random parts of her body, despite her location being the source for obviously inhuman and inhumanly short screams. None of her injuries are fatal, of course, because she has to survive so she can become integral to the plot. OKAY.

The Russian scientist has eye problems which switch on and off randomly, feels something crawling around inside of him, randomly crafts a gun on the space station’s 3D printer (that also has unlimited ammo {seriously, I never once see a clip and/or bullets crafted or see this gun get reloaded ever}), tries to go psycho but collapses into convulsions, flatlines on a table despite not being connected to any medical equipment, and has the station’s inexplicable colony of worms burst out of him. OKAY.

The Italian crew member who lacks an accent all of a sudden gets his arm sucked into a wall. The hole in which his arm is sucked into moves around all over the wall haphazardly, then bloodlessly chops his arm off. And the stump is some of the most ridiculous CGI I’ve ever seen; I don’t for a second believe that this actor wasn’t just wearing a green glove that goes halfway up his upper arm so the visual effects team could digitally remove it in post-production. Then the arm randomly appears elsewhere, crawling around on its own a la Evil Dead 2. Except in Evil Dead 2, the possessed arm was supposed to be funny, while here it’s meant to be taken seriously. When the crew traps the arm, its hand starts making what are said to be writing motions. I have no idea how they came to this conclusion. When a crew member gives the arm a pen, it writes a message, telling the crew to cut open the Russian crew member’s stomach. They do so, and they inexplicably find the ship’s gyroscope. OKAY.

I should probably mention that none of the characters even once consider that the random “arm getting sucked into a wall and cut off” or any of the other forthcoming random bullcrap might actually happen again.

So when they actually find Earth by only NOW using the stars, they discover that everything is upside down, that that particular Earth is saying that the spaceship was destroyed, and that there’s some war going on in Europe. Okay, so the spaceship just hopped dimensions and is now looking at a parallel Earth. Meaning that the Wall Woman is a crew member from the same spaceship that was performing the same experiment, but in a parallel dimension in which Black British Woman’s kids hadn’t died and Wall Woman had gone in place of Black British Woman, even though Black British Woman and Wall Woman were working different jobs on the ship. Meaning that this extremely specifically random event caused purely by circumstance not only happened in two separate dimensions, but somehow just happened to collide in the same location. OKAY. Wait, if the ship crashed back onto earth in the alternate dimension, then how did Wall Woman teleport onto the ship?

The Asian crew member is then randomly killed in a freak accident when she enters and closes an airlock, water randomly fills the room, and when the crew tries to open the airlock, their attempts at doing so for some reason cause the other airlock door leading to space to open just enough to instantly freeze all the water in that room the instant the water is exposed to vacuum. OKAY.

I should probably mention that throughout the movie, this Asian crew member always speaks Chinese (I think), but not only can she understand English perfectly, but everyone else on board can understand Chinese. The characters even occasionally switch languages mid-sentence at times. Why was this even a thing?

The crew tries to get the particle accelerator back running, because they believe that doing exactly what they did to get them to this parallel dimension will somehow send them back to their own dimension, instead of, you know, sending them to yet another dimension and/or causing even more random chaotic events. OKAY.

And then the Italian crew member, while off in a different room, sees a bunch of metal things fly toward one wall because of some inexplicable magnetic field randomly popping up for some reason, and then,…uhh…hold on, let me try to explain: So whenever some piping needs to be fixed, the crew member uses some sort of caulking gun except instead of caulk, it uses some sort of goop made up of bits of magnetic material that once electrified, it hardens and sticks to the piping. But yeah, this magnetized goop reaches out, grabs the Italian crew member, and, despite the inexplicable magnetic field, drags him backward, holding him against a wall. And then an oxygen tank (actually, it might have been CO2) flies by, hits the wall, and causes a huge explosion, causing the ship’s accelerator ring to hang off the ship at a dangerous angle and put the entire ship into jeopardy. OKAY.

Three crew members go down there to decouple the accelerator ring, and, despite Black British Woman waiting until NOW to tell Black American Guy that the ring can be decoupled remotely, Black American Guy sacrifices himself to launch the accelerator ring into deep space. OKAY.

Black British Woman gives Wall Woman a uniform that she specifically says doesn’t fit, but later, the uniform fits Wall Woman perfectly. Aren’t Future Clothes amazing?

So after Wall Woman goes psycho, kills the Brazilian crew member, and is blasted into deep space by Black British Woman, Black British Woman sends the spaceship’s specs and a super heartfelt but insultingly vague message to her alternate dimension counterpart. But did the movie straight-up FORGET that the reason that Wall Woman was on the ship to begin with was because she was on its alternate dimension counterpart that used the exact same device that malfunctioned? OKAY.

And then the last two crew members, Black British Woman and Helmut Zemo, reuse the particle accelerator and get back to their Earth perfectly without even a hitch. They take an escape pod back down to Earth. And as they reentered Earth’s atmosphere, I thought to myself, What’s the stupidest thing that could happen right now? And it happened. A freaking gigantic monster that is not only made up of garbage CGI but looks similar to the monster from Cloverfield pokes its head up through the clouds and roars. OKAY. And then the movie ends.

Oh, I should probably mention that the movie occasionally randomly cuts back to Earth, completely destroying any possibility for tense, claustrophobic atmosphere, where the boyfriend of Black British Woman is beholden to much destruction, saving some girl, and even seeing the silhouette of some sort of monster. I wonder why the alternate dimension counterpart of the spaceship isn’t there. It used the same device and had the same malfunction, right? Shouldn’t it be there? The crap on Earth could have been cut out of the movie, and nothing of value would have been lost. But the most insulting part is that the scenes on Earth were hinting at something so much more interesting, so much more important, and so much scarier than any of the crap happening in the alternate dimension.

It’s a garbage mishmash of so many better sci-fi materials, stealing elements from Alien, Event Horizon, Pandorum, Solaris, The Martian, Star Trek, The Twilight Zone, and not even slightly understanding what made those movies (and TV show) good on even a basic level. Hell, it even steals from that movie Life that came out last year, and that movie wasn’t even good.

Cloverfield Paradox doesn’t even know what it wants to be. Does it want to be a horror movie? A sci-fi B-movie? A drama? A comedy? The movie tries to utilize elements from all four of these genres, but none of them work even slightly, and it just makes the movie feel even more inconsistent.

There is no character here. This movie just acts as if the characters in the movie have already been developed, and even tries to make us care, but it completely forgot to develop anything. It doesn’t help that every character in this movie looks like an actor who has no idea how to work a spaceship or what all these sciencey words in the script even mean. And it all feels meaningless when they all just die at random moments through absolutely ludicrous circumstances.

It also seems like the Cloverfield references were just tossed in there at the last minute. It really shows, especially when the only people to ever mention the word “cloverfield” are the guy on the TV at the beginning or Black British Woman’s husband. And it became even more painfully obvious when I learned that this movie originated as a script written back in 2012 titled “God Particle” that was totally unrelated to Cloverfield. This entire movie could have eschewed any references to Cloverfield, and nothing of value would have been lost. Hell, this entire movie could have been cut out, and nothing of value would have been lost.

What freaking moron wrote this? Oh, the guy who wrote 22 Jump Street. Freaking perfect. Much of the dialogue is incomprehensible, poorly written scientific mumbo jumbo punctuated by the occasional painful comedic line.

Despite the fact that some of the movie’s shots look okay, it still looks and feels like a low-budget sci-fi TV movie.

J.J. Abrams suckered us in with two great movies and the promise of amazing things to come. You know, like he always does, except with Star Trek. That promise has been all but squandered. I can see why this movie’s release date got delayed multiple times.

And The Cloverfield Paradox gets a .5 out of 5.

I guess, …here’s to hoping Overlord is better…? Hey, maybe the Cloverfield franchise can learn from this, just completely forget about The Cloverfield Paradox, and just make Overlord the official third movie in the franchise.

Winchester (.5/5)

So I just got home from seeing Winchester, and wow, what a steaming pile of garbage it was.

First off, there is no plot. I’m serious, there is no plot here whatsoever. I can sum up the events in this movie as follows: Psychologist goes to Winchester mansion. Psychologist and Sarah Winchester learn that a very angry spirit wants to kill all remaining Winchesters. They defeat it. End. I’m not freaking kidding. This movie is an hour and forty minutes long, and about fifteen to twenty minutes of the movie actually has things happening in it. In between the exposition at the beginning and a little exposition just before the climax, literally nothing happens to advance the plot aside from the passage of time, meaningless dialogue, pathetically wooden acting, a fatal lack of any character development whatsoever, and a barrage of really badly executed jumpscares. This expanse of nothingness takes up eighty to eighty-five minutes of this movie.

There is no character. I’m serious. I cannot tell you a single thing about who any of these characters are. I could tell you some of the events that happen to them either in or before the movie, but I cannot for the life of me explain who these characters are or why in God’s most holy name I am supposed to give a damn. The only character that even goes through the slightest bit of an arc is Jason Clarke’s character, but all that happens to him is that he kicks his addiction to laudanum, he lets go of his guilt for the death of his wife, and he tosses aside his skepticism toward the supernatural. Oh, and because Jason Clarke was physically dead for several minutes and came back somehow, he can see the spirits. All things I’ve seen before and in better movies. But here, not only is the character himself lacking any traits whatsoever, but Jason Clarke’s acting in this movie is really bad. Considering that not even a single other character has even the slightest bit of what would resemble an arc (I just remembered: Sarah Snook’s character conquers her fear. How original.), the whole cast aside from Jason Clarke and maybe Helen Mirren feels like they’re barely in the movie. Sarah Snook? Barely see her. Her character’s son? Barely see him. Angus Sampson slumming it and sporting a ghastly beard? Barely see him. The movie literally tries to insert this subplot about the main angry ghost possessing Sarah Snook’s son, and it not only adds nothing, but it was completely pointless. Seriously, you could cut Sarah Snook and her son out of the movie entirely, and nothing of value would be lost. Hell, you could cut this entire movie out of the movie entirely, and nothing of value would be lost.

And having no character isn’t helped by the acting being as bad as it is. It is a rare occurrence when a character’s voice is anything else but a bored, uncaring drone, with Jason Clarke being the worst offender. Sarah Snook is at least trying, but she’s barely in the movie, and even when she’s onscreen, she’s not even good. Helen Mirren is a fantastic actress, but this is one of those movies in her career in which she really doesn’t do a very good job. It’s clear that the actors know that this is a garbage horror flick that will be forgotten as soon as it leaves theaters, so they’re barely trying.

Speaking of Helen Mirren, is casting a big-name actor in a crappy horror movie released in an early month of the year a trend now? It’s not enough that last year, they managed to cast Vincent D’Onofrio in Rings, but they somehow got Faye Dunaway a cameo in The Bye Bye Man. How the hell do these garbage movies manage to cast such amazing actors in these roles?

And speaking of crappy horror movies released in an early month of the year, everyone is aware of the curse on horror movies released in January. Everyone knows that these particular horror movies are just quietly released in the dead of January because the studios behind them have no faith in their quality and just hope that maybe the movie will earn a little money from stupid teenagers and college students with no expectations. But now it seems that the release of crappy horror movies that studios have no faith in has spread to February. It seems that now even the month of February is cursed. While the January horror movie curse began in 2008 with the release of the remake of One Missed Call, the February horror movie curse has begun much more recently – in 2015, with the release of The Lazarus Effect. I’m not kidding. In 2016, it was Pride and Prejudice and Zombies. In 2017, it was Rings. And now, in 2018, it is Winchester. I dread what dreck will show its face in 2019.

Sorry, I went off on a tangent. I should probably talk about Winchester‘s approach to horror. And its approach to horror is as bottom-of-the-barrel as it can be: nothing more than Jumpscare Porn. There is no atmosphere. There is no tension. There is no dread. There is not even an interesting reason for the hauntings. There are just jumpscares, and really bad ones at that. There is literally nothing else but jumpscares. Literally every spoopy sequence has a jumpscare. For every jumpscare, you can literally sit there, watching the spoopy sequence, and be able to count down from five and get to zero at the exact moment the jumpscare happens. Every. Single. Time. There are so many freaking jumpscares in this movie. Almost all of them are completely unwarranted. Most of them occur with no buildup at all. Almost every one of them is fake, being just a character loudly bursting into frame, a ghost popping up for a half second before vanishing in the next shot, or another character doing something else that scares the crap out of the main character. You can see every single one coming, and every last one leads nowhere. And every last one involving a ghost is the most basic jumpscare ever: get really quiet to anticipate people for the jumpscare, wait ten seconds, and then flash a scary face on the screen accompanied by an instrumental sting. There is not a single jumpscare here that could not have been cut out of the movie. They happen throughout the entire movie except after the climax, just going to show how awful Winchester‘s pacing is. Not one of these jumpscares advances the plot, and they only serve to make stupid teenage girls jump out of their skins and scream loud enough to burst the eardrums of the lone horror fan that actually knows what makes a good, scary movie. Yes, that happened to me tonight. No, my eardrums did not actually burst, but they hurt so bad that I had to get up out of my seat and move up a few rows. No, I’m not going to be an asshole and berate them, because they’re just too stupid to know any better.

Oh, and no, Winchester, you are never going to make the song “Beautiful Dreamer” scary.

And believe it or not, this movie tried to get a little political. It tried to take a stance against gun manufacturing (this movie was made almost entirely by Australians, which explains a lot). But it is so bad at communicating such a message that every time they tried to say something about guns and how all they do is kill, I chuckled to myself. Seriously, Winchester does for gun control what Birdemic did for environmentalism. No, Winchester‘s politicking is nowhere near as embarrassingly hamfisted and hilariously heavy-handed, but its attempts to put forth a message about gun control are either throwaway lines or so unintentionally funny.

Also, I should probably mention that this movie even got the reasons why Sarah Winchester built her house wrong. See, in real life, Mrs. Winchester believed that the ghosts of those killed by Winchester rifles were after her and wanted to kill her, so she had her house built in such a way that it would confuse the spirits, and so she could hide from them longer. But in the movie, (…hold on, this is kind of confusing) she built her house in order to attract the spirits and commune with them so she can help them move on. But there are those who are pissed at Sarah and want to kill her, so she somehow traps them in various rooms via really stupid measures. But then when the main baddie spirit of the movie starts wreaking havoc and releasing the other angry spirits, somehow the trapping measures don’t work and then work again at random. And then when the main baddie spirit is defeated, the other angry spirits just return to their rooms for some reason. Why? I think if all the angry spirits teamed up on Jason Clarke and Helen Mirren, they could kill them and get their revenge.

This movie is directed by the Spierig brothers, the guys behind the okay Daybreakers and the really subpar Jigsaw. I expected better of them. Seriously, their approach to plot and character in Winchester is so incompetent that it is easily worse than most of the worthless horror movies I’ve watched these past few years.

But as much as I’ve bashed this movie thus far, it does do one thing somewhat right: aesthetics. Parts of the movie looks good. I’m serious. The camerawork is good, the sets are good, the costumes are good, and the lighting is good at times. Unfortunately, even that has a downside, as the entire movie at times is too visually dark. Seriously, even the scenes shot outside in broad daylight look like they have a 25% darkness filter on them. And some of the scenes shot in the dark are too dark, making it very hard to see what’s going on. When I watch a movie, I want to, you know, watch the movie. There’s nothing spooooooooky about scenes being so dark that I can’t see anything. Yeah, you can shoot a scene to be as dark as you like, but there still needs to be a way that we can see what’s happening. It’s annoying and it’s frustrating.

In conclusion, the Winchester mansion deserves a much better horror movie than this crap. Maybe someone talented will come along and direct a character study of Sarah Winchester herself.

We’ve just entered February, and we already have a candidate for the worst horror movie of 2018. Freaking fantastic. I will absolutely be reviewing this when this movie comes out on DVD.

Winchester has nothing. No soul, no shelf life, no plot, no character, no scares, and no purpose, and it will be forgotten before it even leaves theaters. And I’m giving Winchester a .5 out of 5.