Terminator: Dark Fate Review

Terminator: Dark Fate
Director:Tim Miller
Cast Headliners: Mackenzie Davis, Natalia Reyes, Gabriel Luna, Linda Hamilton, Arnold Schwarzenegger
Original Release Date: November 1st, 2019

The Terminator film franchise is much like its apocalyptic future in that things were, are, and will be messy. Sequels to the iconic first two films have been extremely mixed bags with each attempting to start its own era of stories only to be swept away. What sets Terminator: Dark Fate, the sixth film overall, apart is that even more of the DNA of those first two films is present. Not only does Arnold Schwarzenegger as a T-800 return again but so does Sarah Connor, Linda Hamilton, herself. James Cameron also helped produce and craft a story that is set in a time-line canon only to the first two films. One might think this is sure to work but only in a mixed way.
A short prologue actually explains this timeline divergence. With some incredible de-aging CGI used to show the 1990s again a young John Connor is killed by another (apparently many ) T-800 in a move very reminiscent of Cameron's choice in Alien 3. This sets the future up for a new and unknown world ahead.
Jumping to 2019 Mexico is the world to which cyborg human-terminator hybrid soldier Grace(Mackenzie Davis) is sent back. Of course naked and afraid she at first only reacts to this strange time with no context or civility. Soon she realizes that her mission is to protect Dani Ramos(Natalia Reyes) from a Rev-9 terminator robot(Gabriel Luna) on their trails. There's some other new characters but none of them really make an impact aside from a moment. Even the new heroes and villains are pretty generic with Reyes being like a younger new Sarah Connor / John Connor fusion with much less of both the charisma and aptitude. Davis' Grace and Luna's Rev-9 have some fierceness to them but like so many in this franchise are generic while being better at action scenes. It's also questionable if it needed to really be “Legion” and “Rev-9's” instead of Skynet again since its the same plots but with the nouns swapped out.
What gives the movie its most authentic charm is the presence of the legacy characters used better than ever. It's so great to have Hamilton back as the older Sarah Connor. She's maybe even tougher than ever with great combat prowess and some funny quips. It's as if she never left and the character arc feels very much true to her past.  Schwarzenegger's older “Carl”, who's connections to the past must be seen firsthand, is also really good. Much like Genisys he's able to bring a humorous angle to things although here more robotic and reserved to fit a more accurate dark tone. It all works so well and it's a bit of a shame that they come in late to the picture (Sarah around 1/3 in and Carl for the last 25% respectively). The absolute best stuff is their rivalry with each other which brings both laughs and emotional feels. However it's understood that, like so many soft-reboots these days, these are precious connections whose minimal usage makes feel that much better.
  The gritty 80s tone is mostly successfully brought into the modern day. It's helped by the pounding metallic soundtrack, including the iconic theme, by Junkie XL although the synths are interspersed with generic orchestrations. James Cameron's lore touch and some tone is felt although he actually didn't direct it this time. This was done by Deadpool 1's Tim Miller. Through this a slight lower budget CGI cheese is felt but his frenetic style is felt (as if it was Wade Wilson versus foes but in a more grim way). Things tend towards larger than life movements which work with Rev-9's splitting-into-two-halves angle with liquid effects that remind one of T2(why does everything try to be T2....it was a legend of course). Things become a bit better when realistic gritty car chases and gunfights occur since they're more practical. It can be at times rough with the movement but it entertains.
That's what this film is... it's nothing too new but it entertains. Some of the ingredients help bring it up slightly from the muck of its franchise past but what isn't working still isn't working that well. However it acts as a bit of a nice closed loop for the series(with its box office this may be the end forever)  and worth it for either big fans or those looking for some silly robotic time-jumping fun. 7.35 out of 10.

The Lighthouse Review

The Lighthouse
Director: Robert Eggers
Cast Headliners: Willem Dafoe, Robert Pattinson, you'll have to see
Original Release Date: October 18th, 2019(limited)

  With 2015's The Witch (or technically to some, The VVItch with to v's) Robert Eggers proved he's an incredibly unique director for both the horror genre and films as a whole. His style is already so distinct in ambiance and darkness with delicate use of period-centric dialogue and audio. The Lighthouse ramps up that atmosphere tenfold to offer a chilling but more dramatic psychological look into the despair of two men in the void of the sea.
Sometime in the 1800s (and after one of the few glimpses into the outside world of other people) a rookie lighthouse keeping “wickie” Ephraim Winslow(Robert Pattinson) settles in the far ocean under the employ of salty seadog veteran Thomas Wake(Willem Dafoe). The two men must contend with an unforgiving environment, arduous tasks, illusions and tales of monsters, but most of all the biggest trial: each other.
This is as mentioned a film with such little quantity in terms of location or characters but it makes up for it in complexity and quality. There's some seagulls and an indeterminately illusory mermaid (Valeriia Karaman)  but otherwise its these two sea-men and their watery, rocky surroundings.
This isolated context makes the script and acting so key to the experience upon which the film delivers quite well. Each is a masterful highlight in their own way. Dafoe's Wake takes most of the spoken screentime and he's packed with all kinds of quotable intense moments. Acting far beyond his age he's as saltily grumpy as they can be with a mad look and a gloriously dirty large bird. He manages to be so absurd that its at times comical (on purpose) between his stern fearsomeness.  Conversely, Pattinson proves his acting talent as Winslow. He seldom speaks but carries so much power in his take whether it is through stressed outbursts or the cold lack of any emotion forged in his locale. It's unrecognizable from anything he's ever done and makes a strong, total immersion case for anything he does like the greats. Together these two have such an intricate relationship that will cause questions and introspection for years to come even if it at times becomes repetitive.
Aiding this dramatic stress is the aesthetic chosen by director Robert Eggers. The movie is entirely in black and white which brings to mind both the bygone era but also such visceral works such as Eraserhead and the Elephan Man by David Lynch. This greyscale gives mind an old-timey photograph in motion (aided by the set design and dialogue) while also adding to the cosmic horror nihilism at play. Mark Korven's eerie scratchy score also adds to this wonderfully. Some surreal, weird, disturbing images pop up at times which makes it seem more like a work of art than “joyful entertainment” but the combination of all these dark factors makes for something incredibly memorable.
It's a very long and slow burn to the pulse pounding thrills but it's one worth the wait for one willing to embrace what it's going for. The performances here, like the context of the film, mark actors with a career nearer to its end and one just beginning. So too is this yarn just another accomplishment by Eggers and one can't wait to see what he does next if it builds even further upon this atmosphere.  8.6 out of 10

Zombieland: Double Tap Review

Zombieland: Double Tap
Director: Ruben Fleischer
Cast Headliners: Jesse Eisenberg, Woody Harrelson, Emma Stone, Abigal Breslin, Zoey Deutch, Rosario Dawson
Original Release Date: October 18th, 2019

     It can be difficult to create any kind of comedy sequel much less a zombie themed one and especially after over a decade has passed. 2009's Zombieland was a quirky unique thing that existed before a decade of zombies revival and the likes of such things as The Walking Dead and Z-Nation on television. Zombieland (2): Double Tap attempts to be a worthy sequel but has some ups and dows. However as with then there's definitely aspects which set it apart. For better(for the fans) or for worse it brings more of that same silly oddness to the present film scene even if it's nothing too deep.
Somehow after a decade the oddball family of  nervous tip/rules-making Columbus(Jesse Eisenberg), ridiculously skilled and powerful Tallahassee(Woody Harrelson), straight to the point realist Wichita(Emma Stone), and her sister in the now young adult Little Rock(Abigail Breslin) are still roaming the post-apocalyptic zombie-afflicted world without a home. Some humorously inane rules declaring voiceovers scenes right out of the 2009 film give some context for the different types of zombies who seemed to have learned such as slow-moving “homers” or intelligent “einsteins”. A new threat eventually arises in the self-healing “T-1800”(think Terminator in one of the film's fun pop culture allusions) complicates their situation further.
Events transpire to where this family does find a home in Washington D.C but for different reasons Little Rock and Wichita split off from the men when it comes to their relationships. They must brave the ever more dangerous wilderness to find them as well deal with potential new survivors as well. Of course things don't go easily and of course too are there many quips and bloody kills along the way.
The film succeeds best at being a funny comedy than anything else. What's decently commendable is how the old cast is able to slip right back into their old characters for the most part. This is particularly true of Eisenberg, Harrelson, and Stone. Columbus weaves between geeky incompetence and a newfound confidence with kills and women. Tallahassee's Twinkie obsession is swapped out for cheesy love of Elvis, big weaponry/equipment, and a  supposed Native American heritage.  Witchita goes for a slightly more dramatic bent as she deals with her boyfriend and sister but has some fun dry comebacks especially to the new situations they find. With so much time passed Little Rock is a little more rebellious than before and feels detached from her family but she has her occasional quips. The humor packs a lot of heart but it's nothing that wasn't done too much the first time however that's not a bad thing.
Some of these new situations show what the movie surprisingly becomes in part: a zombie-romantic comedy. Nearly everyone gets a new potential love interest to deal with that complicates things. Columbus has to contend with the most stereo-typically dumb blonde ever in Madison(Zoey Deutch). Her extremely stark peppy contrast to the dark world around her leads to some great laughs (especially with Tallahassee and Wichita) however in time the joke gets stupidly played out. There's also the mysteriously suave fellow Elvis fan Nevada(Rosario Dawson) and hippie Berkeley(Avan Jogia) who ultimately don't do much more than drive the plot forward along other random strangers.
Like the first film(as has been implied many things are just a parallel) some great even more bit cameo roles show up. Trailers have hinted at Bill Murray's appearance as Bill Murray himself again so be sure to stick around after the credits for that one even if it's pointless. Some rival zombie slayers in Albuquerque(Luke Wilson) and Flagstaff(Thomas Middleditch) surreal-ly resemble Tallahassee and Columbus respectively in their dress and mannerisms. Each gives such a great little comedic performance but unfortunately it's very late into the act and they fall by the way-side of the plot. Keep on the look out for some funny verbal smack-talk battles of the year however.  These remind what makes the Zombieland films so unique in their meta-ness and usage of pop-culture like famous objects and tongue-in-cheek self awareness. One wishes more zombie media took this route when possible but maybe it works more since its a comedy.
Director Ruben Fleischer returns as well from the original. The movie manages to capture that same mix of darkness and slight comic-book color unreality. Some of the CGI effects are even more suspect compared to modern blockbusters but it gets the job done. The rules and “zombie kill of the year” cutaways are some of the best shots since it gives an excuse to glimpse far off lands such as an icy city and Italy. There's actually not that much overall action in the movie but when it does appear it's some bloody silly fun and stakes when they do appear. David Sardy's score isn't anything to write home about but a couple of pop / rock songs are used very well.  It's all what it should be.
That's the film in essence in that it's exactly what one would expect and not much more. Viewers willing to embrace these characters again or for the first time will definitely have some laughs and bloody “ooh” moments. The new elements mix things up just a bit even if it far never reaches the originals. Still the heartwarming is heartwarming and it's not a bad way to spend a spooky autumn afternoon, again. 7.4 out of 10

Joker Review

Joker
Director: Todd Phillips
Cast Headliners: Joaquin Phoenix, Robert De Niro, Frances Conroy, Brett Cullen
Original Release Date: October 4th, 2019

     The thing this Joker film wants us to know is that, as the great George Costanza once said we're living in a society.  DC Comics have had a history that's longer and more tumultuous than many. They have attempted at a longer plan but have also started to focus more on sub-worlds of characters ignoring that plan yet sometimes not ignoring that plan. Batman and Joker have shown up in this world but that's not this Joker. This is something wholly removed from the DCEU entirely and that's for its best. It's an attempt to take a gritty, grounded look at how someone could become the Joker, a Joker, his own Joker in a dark dramatic tale not concerned that much with the future ahead or whatever other multiversal copies may exist of him. It's viscerally its own thing.
The film is set in an indeterminate retro past that is said to be the 1980s but this is of course in Gotham City where everything seems to be eternally stuck in a grey gothic take on the roaring 20s(this time with some meets 60s or 70s). Arthur Fleck(Joaquin Phoenix) is our future Joker who at first doesn't really remind one of the future menace at all. He's a loser who works as a roadside clown(ah) who is frequently beaten up and mocked by strangers and his co-workers including Randall(Glenn Fleshler) and Gary(Leigh Gill).   He lives with his bed-ridden elderly mother Penny(Frances Conroy) as he depressingly comes home to empty mailboxes and attempts at joke writing.  He attempts to be a stand-up comedian writing and telling jokes but unfortunately his mental conditions cause him to both not understand societal norms nor curb his frequent bursts of inappropriate laughter. Lurking below poor Arthur's exterior is a ticking time bomb of powerful, yet at times even justified, villainy.
It was with great excitement that Joaquin Phoenix's casting as the eventual Clown Prince Of Crime Joker was received and luckily he delivers incredibly. He's the soaring standout of the film from an acting perspective. Absolutely, incredibly amazing in his transformation for the role. It's not a surprise for those who know of his larger repertoire that he immerses himself to an intense degree. With his unkempt hair and sickly so-skinny-he-might-break physical state its something that reminds of someone who may very well the Joker even if his skin isn't whitened yet. Every movement, often every look, every facial movement carries an unstable insanity with it that manages to terrorize when it needs to yet even cause sympathies when it needs to too. One will be impressed by the accuracy, they'll feel on the edge of their seat in the face of darkness, and yes they'll even at rare times laugh and cheer. It's a bit of a letdown that his true colorful costumed, mentally snapped beyond the point of no return green-haired and face pointed form isn't in much of the film at all. However once it is there Phoenix is so effective at that side as well for what this take on the Joker from his pathetic abused context. The sulking of sorrow becomes the dance of dark victory. It's a transformation to be remembered.
The rest of the cast is pretty good as well with no one ever reaching the heights of the titular star although a strong script is present in most things. Conroy's role as Arthur's mother has some exposition and emotion in her similar frail poor state. The co-workers tend to be bit token punching bags for exposition much like police officers(Shea Wigham and Bill Camp) who get involved in violence Arthur finds himself apart of that starts the villainous downfall. Other parts of the relatively small  cast include a love interest of a neighbor Sophie(Zazzie Beetz), a clerk Carl(Brian Tyree Henry), and an assistant Gene(Marc Maron ever likeable and witty with sadly just two or three lines) to someone important all have their important moments in the pre-Joker's life but are just momentary exposition chess pieces in the coming evil checkmate.
That important player who has that assistant is talk show host Murray(Robert De Niro). He gives one of the film's other great performances in his kind-hearted show business self right out of something like Ed Sullivan. He's a bit cheesy but it's in an archetypical way that leads to some powerful lines both inspirational and accusatory to Arthur who's dream it is to be on this inspiration's show. The film actually has frequent Martin Scorese co-producer Emma Tillinger Koskoff involved so De Niro's presence and delivery make it feel even more like a gritty crime drama than a larger than life comic book movie. The influence of the equation's antihero progenitor's Taxi Driver and The King Of Comedy is definitely felt.
However while the movie may have its differences for its Joker and relatively smaller stakes plot there's definite Batman vibes going on. The setting of Gotham is as sinister and moody as ever with more daytime than usual which may reflect the metaphor of what's occurring. A very young child Bruce Wayne, the future Batman, shows up although Dante Pereira-Olson understandably doesn't say a word at all (he'll get his chance someday). It's his father Thomas Wayne(Brett Cullen) who does the most talking whether it be class rhetoric as he runs for mayor or threats as he makes an enemy out of Arthur. He's an effectively threatening white collar take if  a bit hammingly stereotypical in his own way. One might get tired seeing the inevitable outcome of his family's outing to theaters and alley's but it shows the ties to the classic world this film has even if the setup will not result in a movie sequel.
The visual splendor is handled quite well by director Todd Phillips. Almost as its main actor star he's completely unrecognizable from his silly comedy or war satire film past. Fantastic direction and cinematography exists in locations big and small.  Everything has a depressing, surreal dark tone to it. Blood and gore is seldom appearing but shockingly R-rated when it does which may remind of the director's dark comedic leanings. An incredible music score by Hildur Gubnadottir aids much to proceedings that helps to create this atmosphere whether somber or psychotic along with some period fitting jazz / rock pieces the rare times they do show up. The stakes never really give a chance for these artists to draw their brushes in elaborate strokes but for the scale it is it's nigh-beautifully done.
Much of the film is this slow, depressing burn but there's even times, rare times, where the excitement meeting insanity with what music and shots used reminded of the masterpiece Christopher Nolan Batman trilogy. It definitely doesn't surpass those leagues but it's the closest thing to remind of them since then which is good. The film however is best at being its own first to the world thing among the homages. It's the sad, chilling tale if at times straightforward portrayal of what was found in the classic piece of media this takes the most from in Batman: The Killing Joke “one bad day”. It's a bad day to be remembered an commended. The fall down and the rise up of an evil legend. 8.73 out of 10

Ad Astra Review

Ad Astra
Director: James Gray
Cast Headliners: Brad Pitt, Tommy Lee Jones, Donald Sutherland, Liv Tyler, Ruth Negga
Original Release Date: September 20th, 2019

Science fiction is a dime a dozen yet it also can be masterpiece a dime a dozen due to the literal infinity of our real space. Ad Astra on its surface may appear to be a generic 2001 or Interstellar copycat but it isn't. It certainly wears its influences on its sleeve but also has some fresh ideas presently kind of wonderfully. Brad Pitt in galactic Apocalypse Now is the slightly more apt comparison even if it never reaches the peaks of either of those claims.
In some unknown time into Earth's future humanity has established a moon-and-planet spanning network of space stations and antenna's. Major Roy McBride(Brad Pitt) is a pilot / officer veteran of the Space Command who almost loses his life in a space antenna energy “Surge”-related incident. Dark secrets come to light when its revealed to him by his superiors that not only is his long lost father Clifford McBride(Tommy Lee Jones) alive on the distant alien-seeking Lima Project but may be sending out Surge rays from an anti-matter weapon on Neptune. Roy is tasked with finding his father and if need be even taking him down.

The concepts of the film are an absolute highlight whether its from a world-building or philosophical perspective. As mentioned there's cosmic rays being used as potential weapons across the solar system so that's a pretty epic scope in itself. There's also moon commercial flights, moon pirates, Mars bases, floating monkey research stations, and more shown or referenced. It can be a very, very slow burn but the occasional twists and surprises excite while they provoke thought.

In the vacuum of space some human performances slightly shine through. Pitt's Roy isn't a highlight of his career but he's decently determined in his mix of level-headed charisma and personal haunting. Much of his dialogue is actually delivered as narration / inner monologue which is an uncommon technique but carries mostly depth in its script however this does bring some of the pacing down or confrontations down. He's joined for a certain majority of the voyage by rotating crew members including the ever-reliable (but often same) Donald Sutherland as Colonel Pruitt, base commander Helen(Ruth Negga, or the crew of the Cephaeus shuttle who don't quite differentiate from each other but are skilled and or friendly enough. He also remembers flashbacks or views recordings of his wife Eve(Liv Tyler) who doesn't say much in the film either.

The person with the most and important recordings is of course Lee Jones' mysterious Clifford. The Coppolla comparisons come from both the narrative yet also in his late-game introduction and insanity. He's broken, wise, and even heartfelt. It can trend towards generically boilerplate but the skill of him and Pitt make for a worthy complementary duo for what they mean towards each other.

The entity who performs the most of all is perhaps the director James Gray playing with the cosmos. This at times is an incredibly beautiful film. Interiors of spaceships and installations, Earth's atmosphere, the Moon, Mars, Neptune's atmosphere and more as mentioned feel so real yet so properly otherworldly. Wide pans, retro colors, and special effects give everything a breathtaking sheen. Some effects are less commendable than others holding it back from true excellence but what works works well. Some inventive action happens especially unique to space like the moon pirates projectile weapons in the silence of the cratered surface leading to such a special chase sequence or other quarrels in believable zero-g. A score by Max Richter is often typical strings but some dips into relaxing electronica add to the spacy wonder.

Some of its concepts never really go as deep as they should with the plot having an exciting journey with a possibly questionable end for its partly sluggish runtime. However for lovers of hard sci-fi it may likely scratch the itch one would want from something like this. There's some notable components and sequences which make it a fun heady ride even if its been done before. 8.05 out of 10

Rambo: Last Blood Review

Rambo V: Last Blood
Director: Adrian Grunberg
Cast Headliner: Sylvester Stallone really all its ever been right?
Original Release Date: September 20th, 2019

 When it comes to Syvester Stallone's iconic franchises the Rambo series may as well be second most recognizable after Rocky. However due to its decades long journey and “evolution” to be relevant to whatever times it released in it may as well be the Fast and the Furious. It's been a long time since the last entry in this gritty action / drama series. Rambo: Last Blood is the fifth in this legacy and has a bit of a concerning political timing with its tale of Mexican cartels and borders. However there's much more action than preaching luckily.

In the long period since the last film veteran hero John Rambo(Sylvester Stallone) has taken over his father's horse ranch of which it is fine for anyone but Rambo purists to have forgotten. Between cheesy ranching scenes he lives with old family friend Maria(Adriana Barraza) and her grandniece Gabriela(Yvette Monreal). Very little of the context of all this is actually explained in the film but what matters is the present.

Gabriela's desire to meet her father Miguel(Rick Zingale) makes her leave home, against paranoid Rambo's wishes of course(as he tends to his homemade traps in on-the-nose foreshadowing), to go to Mexico to visit her friend Gizelle(Fennessa Pineda). Big shock but things do not go well as she finds herself sold into the sex trade of a dangerous cartel run by the Martinez brothers Victor(Oscar Jaenada) and Hugo(Sergio Peris-Menchata). Rambo gets on the case with the help of local journalist Carmen(Paz Vega).

Suffice to say that this is not a very smart movie. The franchise has never really been smart since First Blood but at least Rambo 4 brought back a bit of dark nuance. Most of that nuance is lost in this film. Its interestingly funny how each film reflects its era in not just antagonists but style as well with the antihero piece of the 70s contrasting the shlock shoot-em-ups of the 80s being combined in 4 to now being a generic vigilante justice thriller. Of course that's what one may seek out of Rambo.

Rambo is definitely what one gets from the man himself. Stallone is of course much older than his past self but still manages to kick a ton of bad guy booty. His age brings a bit of emotional nuance in a manner slightly like his past few Rockies but again there's not the emotional nostalgia from the audience. He's fierce (if at times hard-to-understandably gruff) and determined. One will likely actually smile at HOW tough he is as he creates charisma through ludicrously violent slaughters and bone snaps.

Of course the rest of the cast is at an even lesser bar than he is with several relatively no-name actors. Monreal's Gabriela is alright mixing teenage cool-kidism with her dark past that leads to some slightly humorous and or important banter with Rambo but due to the narrative it disappears into generic melodrama on her journies with others. The other women of the film such as Vega's Carmen or Barraza's Maria offer little more than exposition. The villains are fearsome to be sure but other than Victor being the “crazy one” and Hugo being the “cool fancy one” they're about as generic as any antagonist in this franchise has been since the 80s.

Luckily the melodrama eventually gives way to pure action and slaughter in a brisk runtime. The last 20 to 25 minutes or so of the film is a pulse pounding showdown between Rambo and the Cartel that truly feels like it could be the end of the road for our muscle-headed hero. Seldom director Adrian Grunberg even pulls off a nice sweeping and or close-knit shot or two after all the mundane ones.

This is an incredibly gory film. There's the literal bone snaps as mentioned along with much blood, explosions, and gore. People are sliced, diced, stabbed, eviscerated, shot and so on. This at times is shocking but that just adds to the entertainment. It's to a little lesser extent than one may want from the series but the down-and-gritty chases and home defense mixes old and new.

World context and movie cheese aside, this movie entertains. One will either be on the edge of the seat for its excitement laughing at some of its attempted quips or maybe its for how cheesily “meh” it is. There's some attempt to bring this to a close with dramatic feels at times. Maybe that should mark this chapter as a close but if it doesn't there's definitely some more reading, and watching of its past self, to be done. One thing is for sure Stallone always Stallone as he intends to. 6.4 out of 10 

Villains Review

Villians
Director: Dan Berk / Robert Olsen
Cast Headliners: Bill Skarsgard, Maika Monroe, Jeffrey Donovan, Kyra Sedgwick
Original Release Date: September 20th, 2019 (very limited)

Here's a fun little one which is especially little as its currently a Regal theaters exclusive that's not even listed on Wikipedia or IMDB. Villains, an independent film directed by first timers Dan Berk and Robert Olsen. A couple of its cast members make it of note but really its premiere and execution deliver upon it moreso.

Bank robbing deeply in love criminal couple Mickey(Bill Skarsgard) and Jules(Maika Monroe) hold up a convenience store but soon find themselves out of gas deep in the wilderness. They break into a nice mountain home to find supplies yet also find the chilling sight of a young child Sweetiepie(Blake Baumgartner) locked up in the basement. The homes owners George(Jeffrey Donovan) and Gloria(Kyra Sedgwick) come home to confront them. If the little girl didn't give it away these people are not just anyone but a pair of insane serial killers. It's criminal versus criminal with the black comedy-thriller fusion that follows.

It's a film that can be brutally bloody and scarily intense yet its presented much more as a dramatic character study and humorous comedy due to the small cast / location list involved. The whole thing carries this wacky, quirky vibe to proceedings with things rarely erupting into more than momentary violence.

The cast list may be filled with relative unknowns but the performances are strong. Skarsgard comes off quite a thriller month although Mickey is very different to Pennywise. Here he's much more of a nice person that wavers between cockily brave and neurotically wimpy with some quips at play. It's not quite a highlight and perhaps one maybe would want more menace from him but he's ok. More likeable is girlfriend of the duo Jules. Monroe has her noble intentions amidst some stupidity (that they both have) but proves herself with some retaliations and ideas with an even more sincere side. Together they're a lovingly fun pair emphasis on loving.

These two seem so nice in comparison to the much more wicked foes they face. The absolute performance highlight is Donovan's George. With a distinct mustache and fancy sweatered look he's like an evil southern Mr.Rogers. He brings a smile with a dark secret underneath but treats everything as if he's a gentlemen from 1950s high class retro America. Hidden angers occasionally burst forth which makes his reserved other self that much more complementary. Sedgwick's Gloria is delightfully insane as well pairing nicely with him with her own sick insanities and even slight sympathies. As said this is a movie that trends towards humorous and absurd then scary with these two making for the best of it. Little other cast appears with the exceptions of Sweetie's silent victimhood and a brief police officer played by Danny Johnson who's look and charisma would make you swear he's Danny Glover.

For first-timers the Berk / Olsen team does decently well with their camera work. Whether the grey forest outside or the retro-styled house interior everything feels distinct. Some pop songs (especially in dream sequences) and otherwise orchestral music by composer Andrew Hewitt adds some momentary spice. It's all presented very snappily over its relatively brief but intensely fun runtime.

This movie won't blow one's mind but it has the solid aspects mentioned. A darkly charming indie darling that's been done before but offers a fun twist and surprise filled ride of evil-versus-eviler. Check it on home release for anyone interested in the talent involved or premise knowing its constraints. 7.8 out of 10