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Quentin Tarantino: Film Ranking

If you asked a group of people for their favourite living filmmaker, there is a strong chance that a large percentage of them will say the name: Quentin Tarantino. One of the greatest and most original minds to come out of the film industry in the history of film, Tarantino practically defined 90s cinema with his look into the gangster underworld of Los Angeles. His films are known for their strong use of language, gratuitous violence and the iconic writing style that Tarantino brings to his dialogue. The owner of two Best Original Screenplay Oscars (for Pulp Fiction and Django Unchained), he has yet to win a Best Director gong. With the release of this year’s Once Upon a Time in Hollywood, could this be another successful awards season for Tarantino?

Tarantino had always stated that he intended to make 10 features. Counting Kill Bill as one, Once Upon a Time in Hollywood would be his ninth and, therefore, penultimate picture. I thought it would be a great celebration of his work to revisit his films old and new and see how I would stack them up when compared to each other.

Here are the reviews for the films of Quentin Tarantino:

Reservoir Dogs (1992)

Possibly one of the most (if not the most) iconic debuts ever to be delivered by a filmmaker, Reservoir Dogs follows a group of men who are given colour code names such as Mr. Orange and Mr. Brown and their attempt to carry out a diamond heist. A pretty simple plot but the genius of the film comes from Tarantino’s decision to not show the heist itself. What we are presented with is the run-up to the heist and it’s consequences when it goes wrong. Featuring a brilliant cast including Harvey Keitel, Michael Madsen and Tim Roth. My favourite performance comes from Steve Buscemi who plays the fearfully paranoid Mr. Pink. Among the men, Pink is clearly the outsider from the beginning when he refuses to give the waitress a tip. The script may seem simple but it is anything but. There is a rhythm and style that would come to define a Tarantino feature such as extensive allegories and numerous pop culture references. The soundtrack for this film has also become somewhat of a legend in its own right and has become a reference point for a lot of modern filmmakers. Tarantino himself claims that this film is the closest to being a “perfect” film which although I see the argument for, I would say that he has managed to make even better films. It would be a shame to think that his first film was his best.

Pulp Fiction (1994)

If you had to say one film that defines the 1990s, I think the majority of people would say Pulp Fiction. From the iconic poster design, extreme violence and brilliant dialogue, Pulp Fiction catapulted Tarantino to the top of the A list, winning him the Palme d’Or at Cannes Film Festival as well as an Academy Award for Best Original Screenplay. Starring John Travolta and Samuel L. Jackson as suave hitmen Vincent Vega and Jules Winnifield who work for drug lord Marsellus Wallace (Ving Rhames) and his cocaine-addicted wife, Mia (Uma Thurman in her most recognisable role). Pulp Fiction is bigger and better than its predecessor with an even more starry cast, bigger budget and killer direction. Even 25 years on, it is still commonly referenced for its costumes and standout scenes such as Jules’ biblical recitation before blowing the brains out of a man who attempted to double-cross Wallace. It is undoubtedly Jackson who is the shining star of this gangster masterpiece as he brings his trademark attitude. You know you did a great job when the person who beat you to the Oscar says that you should have won. There’s a reason why Pulp Fiction marked the start of the iconic collaborations between Tarantino and Jackson. Their love of action, violence and strong language makes the perfect pairing. Besides every time Jackson is onscreen, my favourite scene is Christopher Walken’s iconic monologue as Captain Koons, an Army veteran who survived the war and is gifting his son, Butch (Chandler Lindauer and Brue Willis playing the younger and older versions, respectively) his prized watch. Only Walken could deliver the monologue with the sincerity and conviction that his does.

Jackie Brown (1997)

Jackie Brown is one of those films that finds itself among the top of people’s favourite Tarantino films or worst. Sadly, it is among the bottom of my list but not because it is a bad film by any means. It is simply because of its nature as an adaptation. When I watch a Tarantino, I want to see the usual quirks in the dialogue which I think isn’t there as much as other films. Following Pam Grier as the titular air stewardess who becomes embroiled in a smuggling scandal, Tarantino relies on a great cast to carry out this complex web and pulls it off which include Samuel L. Jackson with a fantastic haircut. Known for her starring roles in Blaxploitation flicks, Grier herself is amazing and had such a powerful presence onscreen. She doesn’t just give a great performances, she becomes Jackie. It’s one of my favourite performances in the Tarantino catalogue but I just feel that there are elements such as the odd pacing that let the film as a whole down. It would be nice to see Tarantino reunite with Grier on a new project, perhaps his 10th (and supposedly last) feature. The film is grounded in reality a bit more than the others and I think the fact that any director could have made this film is why it ranks low. When I watch a Tarantino film, I want it to be distinctively Tarantino but I don’t get that from this film and as previously stated, I think that comes from the fact that it is an adaptation. The man thrives from his originality and it’s what the audience loves.

Kill Bill: Volume 1 (2003)

I remember watching Kill Bill for the first time and being blown away by the strength of the protagonist. The film follows the vengeful ex-assassin The Bride who seeks revenge on her former colleagues when they kill her wedding rehearsal party on the orders of Bill, the man who runs the group. Kill Bill is intended to be watched as one film but due to running length was divided into two volumes. The first volume is seen as the Eastern installment as The Bride ventures to Japan to face the first assassin O-Ren Oshii (Lucy Liu). There are so many reasons why my love for this film is unequivocal such as the clear appreciation for Japanese cinema and culture, the amazing use of animation within the film and most of all, the wide abundance of fleshed out female characters. This film is known for its extreme violence and high body count but don’t let this put you off. Playing the woman who lost everything, including her unborn baby, Thurman’s performance is undeniably ruthless, unapologetic and emotionally charged to the max. Even though she seems unbreakable and unemotional on the surface but you sense her pain underneath the surface from the opening scene with Vernita Green (Vivica A. Fox). Tarantino uses various elements such as sound mixing and colour giving the film its flamboyance and elevating it beyond realism and into fantasy.

Kill Bill: Volume 2 (2004)

Following on from Vol 1, Kill Bill: Vol 2 takes us back to America where the Bride has the second half of her list left to kill in the form of Bill’s failure of a brother, Budd (Michael Madsen), the merciless Elle Driver (Daryl Hannah) and Bill himself (David Carradine). This installment has a larger focus on the Bride’s background before the massacre took place and her journey to becoming an assassin. I love how both films have become a genre of their own. The body count may be a fraction of its predecessor but it still includes some of the most terrifying scenes in film (insert buried alive segment here) and is captivating in its own way. We see the Bride’s emotional journey and her guard slips as she makes some unexpected discoveries in her quest for blood. I think that together, Kill Bill makes for a fantastic saga and would definitely be among my favourite films of the 21st century so far.

Death Proof (2007)

I know there are some people that wouldn’t put Death Proof in the list due to it being part of a two-part feature titled Grindhouse with fellow director and friend, Robert Rodriguez directing Planet Terror (2007). Death Proof is a Texan action led by Kurt Russell as a stuntman who murders women with his car. The film is split into two parts with one group of women’s fates determined the first half and another group in the second half. Death Proof is often viewed as Tarantino’s worst and it is but it’s not a bad film. It is entertaining and Russell is brilliant as the killer in the “death-proof” car. It’s not as complex as other Tarantino films and doesn’t perhaps have the gumption or wow factor that the others have. That being said, for what it wants to be, it delivers in spades. The soundtrack is great and Rose McGowan and Mary Elizabeth Winstead are great in their roles as Pam and Lee, respectively. It’s pretty great that Tarantino and Rodriguez cast McGowan in a leading role in both films to spite Harvey Weinstein for what he did to her. McGowan shines in both films and it would be great to see her make a return to films in roles as amazing as the Grindhouse duo.

Inglourious Basterds (2009)

The first Tarantino film I watched and boy was it a great pick. Undoubtedly one of the best opening scenes in film history, Tarantino manages to create tension with a glass of milk. The film is a reimagining of Nazi-occupied France during the war with Brad Pitt playing Aldo Raine who leads a group of men known as “The Basterds” who are set on killing Nazis and collecting their scalps. Inglourious Basterds also includes what I would argue is Tarantino’s best character today in the erringly charismatic SS Officer, Hans Landa. Played spectacularly by Christoph Waltz in a role that would see him in his Hollywood breakthrough and take home every Supporting Actor Award including the Cannes Film Festival, BAFTA and the Academy Award. Landa is a character who commands your attention. He’s despicable and manipulative, the sociopathic changes are intriguing to watch such as him loving his nickname “Jew Hunter” in the opening scene when intimidating a local farmer, to despising the name when realising that the Nazis are set on losing the war. His motives and outlook can never be understood because he is such a whirlwind character. He seems to take his job seriously one moment then not at all the next and flits the fate of others with ease, not finding it difficult to kill if he sees fit. I don’t think there’s a character that has unsettled a global audience as much as Hans Landa has and yet you long for him to be on the screen because the character is so engaging. Tarantino’s screenwriting is possibly his best, which he clearly knows from the final frame when Aldo looks into the camera and says “this might be my masterpiece”.

Django Unchained (2012)

Bringing his love for spaghetti westerns to the frontline for this Civil War epic, Tarantino’s 3 hour Django Unchained follows Jamie Foxx as the titular character and his quest to find his wife Broomhilda (Kerry Washington) in the Deep South were slavery is very much a thriving business. With the help of bounty hunter Dr King Schultz (Christoph Waltz), Django’s adventure sees Tarantino using an endless amount of fake blood and a controversial multitude of n-words throughout which faced criticism from individuals such as Spike Lee. I do think this is a film plagued with indulgence and excess in its violence, language and numerous endings but it does have very strong points. The cast are perfect in their roles particularly Christoph Waltz as Schultz and Leonardo DiCaprio as plantation owner Calvin Candie. Waltz is charismatic and charming as a man set on freeing slaves and hunting killers and would go on to win a second Best Supporting Actor gong although I personally think his role is a lead not supporting performance. DiCaprio’s performance on the other side is chilling and captivating as he relishes in torturing the slaves.

The Hateful Eight (2015)

Concluding the western trilogy in Tarantino’s catalogue, we venture to Wyoming in the aftermath of the Civil War. There’s a heavy blizzard and eight murderous brutes are trapped in Minnie’s Haberdashery including the honourable John “The Hangman” Ruth (Kurt Russell), country hunter Major Marquis Warren (Samuel L. Jackson) and a career-best from Jennifer Jason Leigh as the disgustingly brilliant Daisy Domergue who John is bringing to Red Rock to hang. Like all Tarantino films, this one is also a mash-up of genres. It is primarily western but is also murder mystery, comedy and thriller. The film’s composer, Ennio Morricone stated that he wrote the score for a horror film which would end up being the film’s strongest point and leading to Morricone’s long-awaited Oscar. It’s a truly brilliant soundtrack and elevates the rhythm of the dialogue which is so important in the moments of extreme tension. Tarantino’s writing is tight and every character has been fleshed out, admittedly some more than others, but each one is memorable in their own way. It’s an interesting inclusion and the film shows a maturity in Tarantino’s filmmaking. There is violence, granted, as expected but Tarantino is more focused on his script and positioning of characters than the actual violence.

Once Upon a Time in Hollywood (2019)

I have already written an extensive review on this one (which you can read here) so I won’t go into too much detail. What I will say is that it has a very good chance of scoring some nominations and potential wins going into awards season. It’s nice seeing Tarantino returning to California for his penultimate film and it seems like a film that he was destined to make. The personal touches are definitely here in what seems to be a return to the place where he grew up.

So we’re all up to date and I eagerly await to see what Tarantino has up his sleeve for his tenth and supposed final feature. Undoubtedly, it will be one of the biggest events in film history with actors and crew members alike clambering at the chance to work with him. There’s only one Tarantino and there certainly won’t be another director like him again.

With all that said and done, here is my final ranking:

1) Kill Bill: Volume 1 (2003)

2) Inglourious Basterds (2009)

3) Reservoir Dogs (1992)

4) Pulp Fiction (1994)

5) Kill Bill: Volume 2 (2004)

6) Once Upon a Time in Hollywood (2019)

7) The Hateful Eight (2015)

8) Django Unchained (2012)

9) Jackie Brown (1997)

10) Death Proof (2007)

I know it’s probably shocking having Kill Bill: Volume 1 at the top, but there is something incredibly empowering to me seeing a female character leading a blockbuster four hour saga. I hope people refer back to this when people claim that audiences don’t want to see women in film.

Which Tarantino is your favourite? Let me know in the comments below!

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A Nightmare on Elm Street Ranking

If you had to ask me what my favourite horror franchise is, I would say A Nightmare on Elm Street with no hesitation. Home to Wes Craven’s iconic slasher villain, Freddy Krueger, a dream-haunting nightmare with knives for fingers on one hand. He’s disgusting and terrifying and doesn’t let his victims die easily. The first film was released in 1984 and has seen multiple sequels, a reboot and even a feature mashup with another certain horror icon. They’re not to everyone’s taste due to their extreme violence and inappropriate content but as a horror fan, I find them fun to watch. Kruegar is the first truly charismatic slasher to come from this genre as Jason and Michael Myers silently stalk and kill their prey. Freddy on the other hand likes to torment his victims and is constantly making grim jokes about their pending demise. Wes Craven has always been a skilled filmmaker but he really reached his peak with this creation. It’s brilliant and crosses the line between horror and humour. This makes the films entertaining and, dare I say, enjoyable to watch.

Now I’ve already done a ranking for the Child’s Play and Final Destination films which you can read here and here, respectively, but I thought it would be fun to look at this franchise as a whole and see where the films would slot from best to worst.

Without further ado, let’s delve into the nightmare and get on with the reviews:

A Nightmare on Elm Street (1984)

The one that started the nightmare. A Nightmare on Elm Street is a pioneer in the slasher genre, coming after Halloween (1978) and Friday the 13th (1980). Spearheaded by horror legend, Wes Craven and featuring Robert Englund as the gruesome killer, Krueger, we are plunged into a world that sees the teens of Elm Street slashed to death one by one. The film is widely known for its explicit violence, paedophilic themed subtext and also marked Johnny Depp’s film debut. A group of teens start being killed off one by one, apparently by a badly burned man with knives for fingers. Led by Nancy Thompson (Heather Langenkamp), the group work together to trap and kill the monster. It’s an iconic film. Even if you haven’t heard of it, you know what Krueger looks like and the basic premise of the film. Nancy is a brilliant protagonist and just like Laurie Strode in Halloween franchise, she is fearless when needed. It’s strange to think that a genre associated with the subjectification and glorification of violence towards women (which is a completely legitimate issue) also provides such progressive roles for women as well. There’s a humour in this film that you don’t really see in other slashers that would set a trend for franchises like Child’s Play and the sequels for Friday the 13th which purposely become weirder as the films went on.

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A Nightmare on Elm Street 2: Freddy’s Revenge (1985)

It’s no secret that I love camp horror films. I love a film that isn’t afraid to be highly satirical of itself and the genre. Despite only being released a year before, Freddy had become somewhat of a titan of horror. A sequel was rushed through with no involvement from Craven and the result is the polar opposite of its predecessor. The film follows the Walsh family who move into the Thomson family home five years after Freddy’s initial defeat. Teenage Jesse (Mark Patton) is struggling to fit in and finds himself getting into fights with his peers at school but his world is quickly flipped when the people who . The film has become a cult classic among fans and is known for its homosexual undertones with Englund himself declaring it a “bisexual film”. There is a strong argument to suggest that Jesse’s inability to fit in is due to his conflict with his own sexuality. The big issue that I have with this film is that it flips Freddy around to be the hero. When he’s bullied by a group of partying teenagers, the audience sympathises with him. This sentiment was shared by Craven himself who stated that Freddy should be “threatening and overpowering” which I think was missing. Freddy becomes a punchline in this feature rather than a genuine threat.

A Nightmare on Elm Street 3: Dream Warriors (1987)

This sequel does not get enough love. Coming off the failure of the previous installment, Dream Warriors is a brilliant addition to the franchise. It’s known among fans of the franchise that this film is fantastic but not as well known to horror fans in general who truthfully are missing out. Following a group of young people in a psychiatric ward, we see Freddy messing with the minds of these vulnerable individuals and watch as their pleas are quashed by the doctors and other authorities figures. The film marked Patricia Arquette’s film debut as Kristen Parker, a young teen who is chased in her dreams by Freddy who then cuts her wrists which looks like a suicide attempt to her mother who swiftly commits her to Westin Hills psychiatric hospital. She teams up with a group like her who have had nightmares of the same man and soon they are killed one by one. Calling themselves “dream warriors”, they plan to use their weaknesses as strengths to quash Freddy’s murderous attempts. The film also marks the welcome return of Heather Langenkamp as Nancy who has grown to be a psychiatrist, inspired by the events of her childhood. This film features some of the best death scenes in the franchise and sees Craven taking control of his franchise once again.

A Nightmare on Elm Street 4: The Dream Master (1988)

The film follows the remaining survivors of the third film (Tuesday Knight taking over the role of Kristen Parker) after they have been released from the psychiatric unit one year later. Kristen is still haunted by what happens and Freddy returns to cause havoc on the survivors and their school friends. This is where the films start to play the same routine and becomes more repetitive but trying to make the death scenes as ridiculous as possible. There is even a death where one of the girls is turned into a cockroach and squished! It’s still a good popcorn flick but largely unoriginal. This film also features Lisa Wilcox as new protagonist, Alice Johnson, who takes the helm as scream queen for this segment after befriending Kristen. I like the aspect of bringing someone else into the dream which is continued from the third film into this one. Freddy uses Alice to lure him to her friends who he starts to pick off one by one, including a horrific death involving her asthmatic friend. This installment was the highest grossing the original franchise and kept it that way until 2003’s Freddy vs. Jason so it was a huge hit with audiences.

A Nightmare on Elm Street 5: The Dream Child (1989)

The fifth film follows Alice (Lisa Wilcox) who is still haunted by the events of the fourth film. The opening scene throws us immediately into the dream world as we see Alice as Amanda Krueger, a nun who works in a men’s psychiatric ward who is subsequently raped by masses of inmates when she is accidentally locked among them. She has a second nightmare that sees Freddy as a baby digging up his remains from the fourth film and brings him back to life. After Alice’s boyfriend, Dan (Danny Hassel), dies tragically, Alice is convinced that Freddy is back which is swiftly followed by the revelation that she is pregnant and Freddy subsequently starts to give the unborn baby powers so he can be more like him. There is a lot going on in this film and the more I think about it, the more confused I become. There’s the usual plotline of Freddy killing teenagers then the subplot of Alice’s pregnancy and then there’s the second subplot involving Freddy’s origins. It’s a lot to cram into one film and naturally the film fails because of it.

Freddy’s Dead: The Final Nightmare (1991)

This installment is by far my least favourite. If you thought the previous film was overcomplicated then you’re not prepared for this one. Freddy has killed all the kids and teenagers in a small town and seeks out the one survivor to bring more teens to kill. There are so many questions that come to mind regarding the cannon and where this sits in the universe as there is no reason for his reincarnation from the last one. The adults in the small town have gone insane and there is definitely a strange Twin Peaks tone that they are going for that fails spectacularly. This is probably the rock bottom for the original franchise and seems to just be a money grab rather than a genuine passion project. It also features a cameo from Johnny Depp and a bizarre cameo from Roseanne Barr who plays one of the deranged townspeople.

Wes Craven’s New Nightmare (1994)

This film takes place outside the universe and is a unique experience as it is very meta. Following the making of a new film, Freddy breaks out and starts killing the cast and crew. Featuring a return from Heather Langenkamp and with many of the other parts played by cast and crew. Wes Craven returned for the project and the great thing is that it seems like everyone is genuinely having fun. It’s a shame that this film had become largely forgotten as it is a great addition to the franchise. It’s to Craven’s credit that he is always trying to think of something new while still being faithful to the originals. The Freddy in this film also goes back to darker routes and becomes less comical than the last few installments.

Freddy vs. Jason (2003)

This film is one of those that is so bad it’s great and I love it. Freddy resurrects Friday the 13th villain, Jason Voorhees in a bid to scare the residents of Elm Street while they’re awake so he can kill them while they sleep. Soon enough, Jason starts going on a killing spree which angers Freddy and the two become embroiled in a feud that brings a huge body count. It’s a fun film that ventures on the wackier side and also serves up a variety of stereotypes in an ironic way such as the resident stoner and drunk partying teens. The film is the last to feature Englund as Krueger and stars Ken Kirzinger as Jason. It’s a shame they didn’t follow this up with a sequel as it would have been great to see what more they can do with this universe cursed with this villains. It’s not a great film by any means but it’s a fun popcorn flick. I think what makes this film so enjoyable to watch ishat it isn’t afraid to poke fun at itself and be completely bonkers.

A Nightmare on Elm Street (2010)

This is one of those rare films where I go against the grain a little bit. This film was (rightfully) torn apart by critics like one of Freddy’s victims despite its commercial success. It is equally hated by fans and despised so much that they didn’t even bother making any sequels for this reboot. It’s a rehash of the first film with newcomer Rooney Mara filling the boots for Nancy Thompson. The reason I go against the grain is that I am one of the few people who actually enjoyed this reboot. Don’t get me wrong, it doesn’t hold a candle besides the original at all but I thought it was an interesting take in bringing up the darker themes that couldn’t be discussed in the original, mainly Freddy’s paedophilic nature. I think Jackie Earle Healey is one of the most underrated actors working today and his performance is a darker take on Englund’s Krueger. I understand why his performance wasn’t well received because the humour and charisma is what differentiates Kruegar from other slasher villains. Also, Mara is one of my favourite actresses working today and this is the film that properly introduced me to her (aside from The Social Network but that was a small support role). I thought that the darker tone was an interesting aspect to explore but I do think ultimately the film suffers because of this and becomes just another horror film.

So that’s all of the reviews done and dusted. I am not sure if they’re going to create anymore, especially since Craven has since sadly passed, but it would be intriguing to see how they would reintroduce Freddy in this new revolutionary climate.

Here is my ranking:

1) A Nightmare on Elm Street (1984)

2) A Nightmare on Elm Street 3: Dream Warriors (1987)

3) A Nightmare on Elm Street 4: The Dream Master (1988)

4) A Nightmare on Elm Street 2: Freddy’s Revenge (1985)

5) Wes Craven’s New Nightmare (1994)

6) Freddy vs. Jason (2003)

7) A Nightmare on Elm Street 5: The Dream Child (1989)

8) A Nightmare on Elm Street (2010)

9) Freddy’s Dead: the Final Nightmare (1991)

What do you think? Which one is your favourite? Let me know in the comments below!

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Final Destination Ranking

The franchise that was one of my first introductions to the horror genre. The Final Destination franchise is almost a passage of rite for teens and have been massively popular since the first installment dropped in 2000. The basic set-up follows a teenage protagonist and their friends on some sort of adventure or activity when the protagonist suddenly has a tragic premonition that sees their demise. The protagonist then prevents them and their friends going through with the premonition only to discover that the group starts to die violently and mysteriously one by one.

With the news that the studios have sixth and seventh installments planned for release, it made me think back on the films that helped shape my love for horror and I thought it would be a nice idea to see where they would rank.

Here are my reviews for each installment:

Final Destination (2000)

The one that started the craze. We follow recent graduate, Alex Browning (Devon Sawa) who is venturing off to Paris with his classmates. He suddenly has a graphic premonition that sees the plane explode and every passenger diminishes. Alex freaks out and is escorted off the plane along with several of his classmates. Minutes after the plane takes off, it explodes and Alex finds himself under police investigation. It doesn’t end there however as the survivors start to die one by one in violently crazy ways as death seeks its revenge. The film brings something new to the table while also paying homage to previous franchises such as the welcome cameo by Tony Todd who works as a mortician. As the film goes on, the deaths become more and more elaborate compared to his friend Tod’s demise due to strangulation to his teacher’s death sequence which saw her computer explode, followed by a knife to the chest which was pushed in by a chair. We see Alex’s descent into madness as death becomes his nemesis and he escapes to a cabin in the woods with the help of his friend Clear (Ali Larter), who believed in him from the plane accident.

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Final Destination 2 (2003)

This is one of those rare franchises where the sequel is better than the original. The second installment takes the ideas from the first film and builds on them. The film follows Kimberly Corman (A. J. Cook) who has a premonition of a major road accident on a motorway that sees a huge body count. Like the previous film, she freaks out and saves herself and others only to discover that the survivors are being stalked by death. There are so many iconic sequences in this film and it’s pretty much every death. From teenager Timmy being squished by a falling window pane to the creepy ladder through eyes fiasco with young millionaire, Evan. This sequel turns up the ante and the body count. It’s gruesome and brilliant and the acting and writing is a big improvement on the first installment. It also incorporates a new theory on evading death where life can counteract death and eliminate the whole list which is an interesting twist. We also see Ali Larter return as Clear and Tony Todd reprising his cameo. I don’t care what anyone says, I have a soft spot for this film and I think the deaths are great and imaginative.

Final Destination 3 (2006)

The most famous and recognisable installment comes with the third film which features the incredible rollercoaster premonition. Starring Mary Elizabeth Winstead as Wendy in a role that would solidify her position as the 21st century “scream queen”, Final Destination 3 has an abundance of imaginative sequences that have long tortured the minds of teens alike namely the sunbed death which sees two girls trapped and burned alive by their sunbeds where the temperature has been mysteriously tampered with. If I had to rank individual performances from the whole franchise, I would probably say by Winstead is by far and large the best of the bunch. It’s a really involved performance filled with guilt and sadness. This performance is what thrusted Winstead into the spotlight where she has managed to grow into a star. It’s nice to see that happen in the modern day the same way horror made stars of  Jamie Lee Curtis (Halloween) and Patricia Arquette (A Nightmare on Elm Street 3: Dream Warriors). It also features great support performances from Kris Lemche and Alexz Johnson as goth couple Ian and Erin who aren’t fazed by the concept of being chased by death.

The Final Destination (2009)

By far the worst installment, The Final Destination is a film that underestimated its audience and provides a film that is neither fun or memorable. The premonition takes place at a race track where a tyre flies off a speeding car and hell breaks loose. They shot this with 3D in mind and it shows. The studio was more bothered about making sure random objects and body parts are flying at you so much that they forgot to include any creativity in the process. It’s not a franchise known for its deep characterisations (nor do we expect it to be) but none of the characters are particularly likeable and they are all one note. The death sequences are predictable and elongated with some lasting way longer than necessary (the organs in the swimming pool drain being a prime example) and it soon becomes a tedious experience to watch. In a totally bizarre twist, this installment is by far the highest grossing in the series so far so Thankfully, the studios veered away from this aspect in the fifth installment.

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Final Destination 5 (2011)

The fifth and latest installment of the franchise looks back to the original for inspiration and becomes more old school. After the critical failure of the fourth film, the studios reflected on what went wrong and made what is the “best” installment in the franchise. The script is actually tight and the characters are well-developed compared to the other films. The opening disaster is a road accident which sees a bridge collapse while a group of colleagues are on their way to a work retreat. It’s a simpler set-up than previous installments but the effects are brilliant and the deaths are just as gory. Like the fourth film, this was also released in 3D but it didn’t feel as though they were just catering for 3D and the use of it was interesting and minimal. It didn’t need the 3D to succeed but it did amplify the experience in the cinema. Following Sam Lawton (Nicholas D’Agosto) who has the premonition and the usual set-up of rescuing his friends. This installment has an array of theories and twists that are not overthought or complicated and works brilliantly as a franchise installment and also a standalone.

With all of this said and done, I am even more excited for the new installments to be released. I think that the Final Destination idea is really interesting and they’re great fun to watch. I’ll definitely be front and centre on release day with a box of popcorn in hand.

I think it’s a credit to the writers for the franchise that all but one of the sequels managed to surpass the original and even the film that is deemed the worst was the one that made the most at the box office. There is a huge audience for these films and it’s a shame that there’s been such a big gap between the last installment and now.

Here is my final ranking:

1) Final Destination 2 (2003)

2) Final Destination 5 (2011)

3) Final Destination 3 (2006)

4) Final Destination (2000)

5) The Final Destination (2009)

What do you think of the ranking? Do you agree or disagree? Let me know in the comments below!

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Nosferatu the Vampyre (1979)

The vampire genre is one that has proven longevity since the popularity of Bram Stoker’s Dracula. Since the inception of film as an artistic genre, we have seen vampires populate horror ever since the 1922 classic Nosferatu. It’s a genre that has become a parody unto itself thanks to its association with teen franchises and the common link between vampirism and sex. What makes Werner Herzog’s 1979 masterpiece so impactful is the sincerity and the minimalism with which it is executed. Herzog brings such a natural approach to the production and yet everything is so clearly calculated. Starring Bruno Ganz as Jonathan Harker, Isabelle Adjani as his wife, Lucy and Klaus Kinski as the titular character, the film follows the story of Jonathan Harker and his encounter with the mysterious Count Dracula who lives among ruins in Transylvania. Dracula subsequently ventures into Wismar and brings along a rat infestation causing a plague in the village while feeling entranced by Lucy. The film is a haunting adaptation of the classic tale and with minimal violence, effectively mounts up fear thanks to the emotionally charged script and the isolating direction.

First thing to talk about is Herzog’s direction and screenplay which I have touched on a bit. What’s genius about Nosferatu the Vampyre is its timelessness. It’s a film that could have been made today and still received in the same way. I think that is a credit to Herzog’s talent as a writer and filmmaker that he is able to create a film that is so unique and provided an impact to the horror genre. The first act of the film follow Jonathan’s journey to Transylvania and is fairly slow burning with the middle portion showing Jonathan’s encounter with Nosferatu and his downfall and the final act sees the plague takeover and final showdown. Herzog successfully creates rounded characters in its main three protagonists: Jonathan, Lucy and Dracula and easily follows their isolated storylines before merging together in Wismar. The film becomes an intricate puzzle and Herzog cleverly manages to slot the pieces in the right place by making it more than a simple linear structure.

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Due to the lack of blood and violence, it’s up to the actors to evoke the fear in the film and the cast does so perfectly. Headed by Ganz and Adjani as the Harkers, we are immediately immersed in their world from the opening shot of Lucy screaming herself awake from a nightmare. Kinski isn’t physically in the film that long and first appears halfway through but his presence can be felt even when he is not onscreen. As we see Jonathan succumb to vampirism, we see his attitude shift from loving husband to isolated madman in a performance that is portrayed brilliantly by Ganz. The highlight for me comes from Adjani for her stellar performance as Lucy. Considering the film was made in 1979, Lucy is such a complex character. Herzog makes the audience believe that she is weak and feeble as she struggles to cope when Jonathan sets off on his journey but her strength shines through in the aftermath of the plague that sets upon Wismar. As we see a society led by men crumble, Lucy can be seen actively trying to solve the problem against the advice of the supposedly wise Dr Van Helsing (Walter Ladengast). The nightmares and instincts that Lucy create a sense of otherworldliness to her as she is viewed as a force for Good against the Evil of Nosferatu.

I don’t think I would be doing the film justice if I were not to discuss the iconic soundtrack provided by Popol Vol and featuring the Vocal Ensemble Gordela. The score brings in new sounds and unexpected notes which exemplify the films various twists and turns. It’s hauntingly beautiful and grabs your attention instantly. The score helps the film’s impact on the viewer and really elevates the experience and horror of the subject matter. The track “Tsintskaro” performed by the Vocal Ensemble Gordela is among the many musical highlights in this film as we see Lucy as she ventures through the town square among the madness of the fellow villagers. The incorporation of this traditional folksong brings forth the culture into the film and it clearly made an impact as it also provided inspiration for Kate Bush who sampled this song in “Hello Earth”.

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It goes without saying that Nosferatu the Vampyre is my favourite vampire film and among my top horrors of all time. I think that there is a strong argument to say it is the best vampire film of all time and struggle to think of a horror film that has impacted me more. It’s brilliance comes in its simplicity and its fear comes from the performances which shows what a fantastic cast and crew this film had. All the components mesh together beautifully to create a film that is still haunting and impactful 40 years on.

What do you think of Nosferatu the Vampyre? Let me know in the comments below!

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Unpicking the Witch: Suzy and Rose in Retrospect

When watching Dario Argento’s horror classic Suspiria (1977) and its thematic sequel Inferno (1980), it’s understandable that the mind would instantly capture the bright cinematography and bloody violence that occurs throughout the film. What Argento doesn’t receive credit for, however, is the portrayal of its female protagonists, Suzy Bannion (Jessica Harper) and Rose Elliot (Irene Miracle). Both characters are artists with Suzy a student a prestigious ballet school and Rose an aspiring poet. Both find themselves living within the confines that house demonic and powerful witches who create darkness and chaos and delight in killing and torture. I love both of these films (I have written reviews on both which you can read here and here) with both leaving a lasting impact on how I view horror films. The writing is fantastic and the cinematography is highly creative but it was the portrayal of these women thrown into impossible circumstance and their determination and strength that stood out to me. Compared with the trend of horror films at the time where we see women portrayed as the damsel in distress and in need of a man to save them, Argento omits men almost entirely in Suspiria and the protagonist, Mark in Inferno is far from the traditional “strong men” that you tend to see in films.

Starting with Suspiria, Argento’s big breakthrough into English-language horror was a technicolour masterpiece filled to the brim with fake blood and guts. Following aspiring dancer Suzy, a new student at a prestigious dance school, as she begins to investigate mysterious disappearances of other students and staff alike. We first see Suzy leaving the airport in Freiberg into a torrential storm. The cuts and use of music when the automatic doors of the exit are opening and closing brings that otherworldly atmosphere to the film. Her introduction to the staff sees her intervene in an interview with the police when they enquire about a missing girl. What transpires is an environment in which Suzy becomes even more of an outsider than before as her bids to fit in make her stand out to the witches that run the academy. Naturally, Suzy is reluctant to believe the stories that her friend Sara tells her but as people begin disappearing one by one, Suzy becomes resourceful and finishes the mission that Sara started. Suspiria only has a handful of male characters with the bulk of the cast being made up of the female staff and students.

Rose Elliot in Inferno is much like Suzy in her ways. The film opens with her reading about The Three Mothers, three witches who use their dark powers to control the world. She is warned off the subject by a male antiquarian but she goes ahead with her investigation regardless. What follows is a fantastic scene in which Rose dives into a pool to retrieve a lost necklace. Upon swimming into a corpse, she is understandably frightened but still pushes on with her investigation and writes to her brother Mark, asking him to return to New York to help her. Rose’s mission doesn’t end happily and Mark ends up getting the credit but his findings are based on his sister’s research without whom he wouldn’t have figured out the mystery. Rose’s contribution to the film can be felt throughout despite her absence in the second half. Her character also seems more developed and intriguing than Mark which is odd for a genre that (at the time) excluded strong women from their narrative.

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Both women are also artistic as discussed before and their talents not only add to their character development but these skills assist them in desperate times. Suzy’s curious nature inspires the witch to attempt a physical injury by inflicting a hemorrhage on her during class causing her to become bedridden. This fails to slow down her investigation, however, and the loss of best friend Sara inspires her to get to the bottom of things. The same could be said of Rose whose love of books and research adds to her observant nature and her ability to attune her focus on figuring out who owns the building.

I really enjoy both performances because the characters don’t come across as reliant even when they ask for help. They are indifferent to the male heroes we see in horror films. Argento also doesn’t sexualise the protagonists  which is refreshing to see as women in horror are usually subject to appearing in demeaning scenes such as unnecessary nudity and rape scenes. There’s a reason why his films are timeless and even watching now they feel current and progressive, showcasing his real talent for filmmaking.

What do you think of Argento as a filmmaker? Which film of his is your favourite? Let me know in the comments below!

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High Life (2018)

As part of an initiative to bring lesser-known films to Wrexham, 73 Cinema aim to show a variety of films that would otherwise have required a trip to bigger cities to view. Based in Ty Pawb, the second chosen feature was High Life (2018), Claire Denis’ first English-language project starring Robert Pattinson in the lead role as a death row inmate who is sent to space with other inmates in order to conduct experiments for those on Earth. Their major mission is to venture to the far ends of the Solar system and the minor mission is to attempt reproduction in space. Denis is a filmmaker who refuses to follow the rules and the brilliant use of non-linear structure reflects this. The film opens with remaining survivor, Monte (Pattinson) repairing the ship as his baby daughter, Willow, cries hysterically, causing him to lose a piece of equipment. There are moments of deep isolation in Monte’s eyes that are soon swept away when Willow starts to laugh and play. Willow becomes his driving force to survive.

Denis’ direction is outstanding and the film is beautifully still. The use of one major primary location is genius because it allows us to feel the claustrophobia. What is brilliant is how small the ship looks from the outside but it seems so big inside with each segment of the ship looking as though it is in an entirely different space. It’s difficult to believe that the same ship contains the garden that grows their food also contains the aptly-named “Fuck Box”, a room where the passengers go to obsessively masturbate. Monte is the only passenger who avoids the room, choosing to lead a celibate life and making him appear alien to the others. Pattinson knocks it out of the park with his performance. Monte is quiet and subdued, allowing the action of the film to be carried out by the more extroverted characters but he is also the most resilient of the bunch. Despite his crime, he has a strong moral compass and doesn’t lend himself to the violence easily. Pattinson carries this film and his performance as Monte appears natural. It’s a role that he was born to play.

The supporting cast are also strong with stellar performances from Juliette Binoche as the sinister Dibs, the ship doctor who is determined to complete the reproduction mission for her moment of glory and Mia Goth as troubled passenger, Boyse who is reluctant to participate in the experiment. Dibs is a character who can never be trusted and her presence onscreen immediately brings unease. She is unapologetic for her actions and what she does to Monte and Boyse is hugely upsetting and she shows no remorse. She is aware of her crimes and the monster she is but chooses not to linger on it with the exception of an emotional scene between her and Boyse in which she confronts her crime. It’s a moment in which Dibs becomes human and seems equal to the others. On the other hand, Goth is an actress who has shown much promise and fearlessness in her film choices since her debut in Lars von Trier’s sex-fuelled Nymphomaniac (2013). Her performance as Boyse shows a clear growth from her earlier work and I predict that she will have a long career. The scene in which she escapes in a ship to enter a blackhole is deeply disturbing and makes for one of the craziest death scenes I have ever seen in film.

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As ever, the screenplay is what I pay attention to the most and the film has so many qualities that I admire. Written by Denis and Jean-Pol Fargeau, the film could be described as a sci-fi horror set in space and yet is one of the most human features I have seen. It’s a claustrophobic study of human nature and the strength to survive in unknown conditions. As discussed, it is hugely intense and the script relies heavily on the actions rather than the dialogue. A lot of the time, the physicality and expressions of the character take us through a scene rather than what they are actually saying. Like the mission, the script also takes us into the unknown with twists and turns at every scene and motives change or emerge. There are only a couple of scenes based in Earth to give us a contextual glimpse into the background of the mission and the ship is used a primary location.

It is important to note that High Life is not a film for everybody. It doesn’t hold back in its grittiness with excessive violence, explicit rape scenes and suicide but it’s also a film that creates an intricate study into the human mind when thrust into impossible situations, demonstrating just how far people will go to ensure their legacy. Even in the vacuum of the universe, there is an obsession throughout the film with the idea of legacy and being heroes but in the end, it doesn’t matter. It is Monte’s refusal to engage with such ideals that has meant he is the last survivor. The final scenes between him and teenage Willow (Jessie Ross) bring the film to its hopeful conclusion as they venture into a black hole.

What did you think of High Life? Let me know in the comments below!

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Scanners (1981)

Another film that I watched on a whim on BFI player is one that has been on my list for years. Scanners is a sci-fi horror directed and written by David Cronenberg and follows a sub-species of humans called Scanners, people who can control others with their minds. When one Scanner, Daryl Revok (Michael Ironside), goes rogue and starts to hunt down other Scanners in order to take over the world, security system corporation Consec uses social outcast, Cameron Vale (Stephen Lack), to infiltrate the community to bring Revok down. Assisted by the allusive Dr Paul Ruth (Patrick McGoohan), Cameron must hone his powers in order to face Daryl whose powers are much stronger than the other Scanners. He teams up with the powerful Kim (Jennifer O’Neill) and they work together to bring Daryl down.

The plot itself is linear as Cameron goes from social outcast to leading the fight against Daryl. We see him come out of his shell and become stronger than the Scanners until he is strong enough to fight Daryl. The climactic scene between them is fantastic and unexpected. Relying on the actors’ physicality and strong use of gory special effects, the scene is larger than life but also extremely simple due to its setting and the focus on the actors. Cronenberg knows that he doesn’t have to go above and beyond to create an effective fight scene and therefore brings no distractions. The focus on facial expressions also adds to the intensity of the film. I personally like that the film throws you into the situation and we are introduced to the world of Scanners through Cameron’s own realisation and experience.

The most iconic scene in this film is definitely the head explosion where we first meet Daryl in which he violently kills a fellow Scanner by causing his head to explode. Very few scenes in films make me jump and this one truly did. The brilliance of the physicality of the Scanning process is highly intense and the build-up in this scene had me on edge the entire time. I also think that the character of Daryl is one of the films highlights for me. He is an interesting character who was clearly distressed and reactive to the environment around him. He is relentless in his quest for world domination, even attempting and succeeding to violently kill other Scanners in order to do so. This contrasts with Cameron who is hugely reluctant to join his cause and has no inner conflict to do so. The two Scanners are polar opposites on the sides of bad and good.

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I really like the style of the film. It’s sci-fi but doesn’t feel like it due to its realistic setting. The Scanners themselves look like regular humans and the Scanning effect is very physical and relies on the actors rather than the special effects which are bring the results. The special effects are one of the strong points and are brilliantly gory. It is not a film for the faint of heart. There are exploding heads, charred bodies and plenty of guts throughout. Even the scenes that don’t have gore are full of horror as we see the affect that the Scanners have on other humans. It doesn’t feel like a horror in the traditional sense, however, because of its sci-fi aspects so it’s a film that sits in its own genre.

Cronenberg’s long time collaborator Howard Shore provides a score that really brings the film to life. The Scanning process is enhanced by Shore’s score with it’s use of futurstic sounds and abnormal tones. Being an avid fan of Peter Jackson’s The Lord of the Rings Trilogy (2001-2003), one of my favourite aspects is Shore’s revolutionary score so listening to this soundtrack made me realise what a great talent he is. He captures the tone and unease of the film perfectly that it seems that the film is shaped by the score at times, particularly those intense scenes when the Scanning is reaching the climactic point.

Overall, Scanners is a film that brings special effects in abundance but also asks a lot of its actors and the result is a great film that revolutionised the horror genre. It’s a film that showcases Cronenberg’s brilliant mind and imagination and his reluctance to follow trends and put himself in a box.

What do you think of Scanners? Let me know in the comments below!

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Lips of Blood (1975)

I came across this film by chance on BFI player and without knowing anything about it or the director, thought I’d give it a watch (which I rarely do truth be told). Made by horror director Jean Rollin, it follows Frédéric (Jean-Loup Philippe), a 30-something man who is haunted by a childhood memory that is triggered when he gazes at a photograph of a château while at a perfume launch. The memory is immediately shown in which he encounters a young woman, Jennifer (Annie Belle, credited as Annie Briand), in the doorway of the château. His mother was always adamant that he imagined the woman but when the woman starts to appear to him, he knows that the only way he can figure out the mystery is by facing his childhood demons. Released in its native France as Lèvres de Sang, Lips of Blood is a film that provides violence, blood and sex where the vampires walk around in sheer dresses that billow in the wind.

The screenplay written by Rollin and Philippe is tight and compact making the pace of the film nice and fast. I found that this added to the suspense of the film, however, as we see Frédéric’s descent into madness and despair in his search for Jennifer. This contrasts with Rollin’s direction which tends to linger at points with brilliant use of close-ups and scenery, allowing the audience to become immersed in the location. It makes the film an entirely sensory experience which is elevated by Jennifer’s speech towards the end of the film where she explains that her spirit has wandered the landscape without leaving. There are also some questionable choices that Rollin brings to the film, the main scene being one where Frédéric locates the woman who photographed the château who we see photograph another woman who is fully naked and masturbating in front of the camera. It’s a scene that is entirely gratuitous and does not enhance the plot in any way but is clearly reflective of Rollin’s experience as a pornographic director. Again, the costume designs for the four vampires (particularly the two dressed in sheer sheets) screams sex. It’s bizarre to watch because these vampires are walking around public streets absolutely naked and it seems that no one bats an eyelid or even questions this.

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Philippe’s performance as Frédéric brings a mix confusion and distrust as each situation proves even more bizarre than the last. He doesn’t stop to question anything and instead pushes on with his mission. Frédéric’s acceptance of the situation allows the audience to become invested in the plot with no doubt. There’s a huge shift as Frédéric is torn between his God-fearing mother and the demonic vampires in the final act. This is the moment when it seems to come to a stand still as physically and mentally, Frédéric has pressed forward without thinking for much of the film. His one fixation appears to Jennifer throughout but it is only his mother who has the ability to stop him. On the other hand, there is Jennifer who is played beautifully by Annie Belle who subverts the traditional vampire trope and makes the character ethereal and (ironically) angel-like. Rollin allows the costumes to also speak for the characters with Jennifer dressed in shades of white and off-white with various textures and layers to illuminate that not all is as it seems contrasted with the single sheered material that the other vampires wear demonstrating a freedom and fearlessness.

It’s a film that I would be interested in watching again to see what else I could take from this film. This time around I really took in the use of location, costume and the cinematography but I could see the huge amount of detail given in the props in the background. I think that there is more to this film that meets the eye, particularly with the characters of Jennifer and La Mère de Frédéric (Nathalie Perrey). On researching this film on the internet, it seems that it is a fairly unnoticed film overall so I’d be interested in watching more Jean Rollin films (the horror ones that is!) and seeing how this one fits into that collection.

Have you seen this film? Let me know your thoughts in the comments below!

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Inferno (1980)

Dario Argento’s second feature in his Three Mother’s trilogy transport us from the Freiburg set Suspiria (1977) to New York where a young writer, Rose (Irene Miracle), is suspicious of a curse within her building. After reading an antique book titled The Three Mothers, she finds that the apartment block she lives at was once occupied by one of the Mothers. The Three Mothers rule the world with sorrow (Mater Suspiriorum who lives in Freiburg), tears (Mater Lachrymarum who lives in Rome) and darkness (Mater Tenebrarum who resides in New York). With Mater Suspiriorum meeting her demise in Suspiria, we now see Mater Tenebrarum face off those who rebel against her rule in New York. Tenebrarum is the cruelest of the sisters and the deaths in this film definitely reflect that.

Directed and written by Argento, Inferno carries on the themes explored in Suspiria but on a seemingly bigger scale. The stronger scenes are those based in the Mother’s domains as their presence can be felt at every corner. Argento’s love for the dramatic is also carried on in this film with lingering suspense and exaggerated deaths. Upon a traumatic discovery in the cellar of her apartment block, Rose writes to her brother, Mark (Leigh McCloskey), who is studying music in Rome and begs him to come and help her solve the mystery. From the moment Rose posts the letter, deaths begin to happen to whomever the siblings come across with Mark dealing with Mater Lachryrum during his time in Rome. Like Susie Banyon (Jessica Harper) in Suspiria, Rose is a strong and independent female character which is refreshing to see in classic horror films. Romani Albani is brought on as cinematographer and does a brilliant job of bringing Argento’s vision to life by bringing contrasts throughout the film from the surreal apartment that Rose’s sickly neighbour, Elise (Daria Nicolodi) lives in to the gritty sewers of Central Park. It feels like visual growth from Suspiria.

The film is filled with suspense from start to finish with a breathtaking scene in the cellar as Rose tries to search for the clues to lead her to the mysterious owner of the building. When her necklace falls into a deep pool, she is forced to dive and founds an underwater ballroom in a scene that sets the tone for the rest of the film. Argento never allows the audience to feel settled and the only scenes that don’t contain scares or violence tend to be those where background story is given in Argento’s signature fairytale way. Even the introduction begins with Rose reading an excerpt from The Three Mothers aloud in a way that makes it seem like an adult fairytale. Much like Suspiria, the experience of Inferno is heightened by the amazing soundtrack with a score composed by Keith Emerson who does a brilliant job. He combines new electronic sounds with dramatic operatic pieces to add to the unbalanced ambience that the film creates. It’s a striking score that I think is overlooked due to the iconic association that Argento has with The Goblins who composed the stellar music for Suspiria. What Emerson does is create an entirely different film with his unique sound.

My favourite scene comes near the beginning of the film when we are first introduced to Mark who is attending a classical music session. As he tries to read Rose’s letter, he is distracted by Mater Lachrymarum who is disguised as a beautiful student (Ania Pieroni). He can see that she is mouthing something at him and he feels pain. It is an intense scene as the wind picks up and he is visibly uncomfortable. When he snaps out the pain, she has mysteriously disappeared and he accidentally leaves the letter behind. It’s a brilliant scene that uses the classical music as the main force of emotion as the gradual crescendo coincides with his building pain.

Although the film overall isn’t as tight as Suspiria, I think it is highly underrated. I think that Suspiria is a stronger film because it focuses on the first witch but Inferno brings in the remaining witches with the first act showing killings in Rome before travelling to New York. I think the short running time of 90 minutes means that we don’t spend much time in either place. On release, this film was critically panned but over the years has developed much love in retrospect. In some ways I find this film more interesting than Suspiria because it brings in the legend of The Three Mothers. Much like Suspiria, the aesthetic of the film is beautiful as well with Argento’s signature use of bright contrasting colours to set the mood of the scene and plenty of gore and blood throughout. There is clearly a lot of passion that was put in this film and it’s a shame that the film did badly on initial release. It’s a horror film that I think will only get better with time.

What do you think of Inferno? Did you like it or loathe it? Let me know in the comments below!

You can my review on Suspiria here!

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It: Chapter Two (2019)

Set twenty-seven years after the events of the first instalment, It: Chapter Two brings the Loser’s Club back together as they reunite in Derry to defeat It once and for all. Bringing in an ensemble cast led by Jessica Chastain and James McAvoy to play the Losers as adults, It: Chapter Two is just as unexpected as the forms It can take. It’s important to remember that even in the book, the adult segments and teenage segments create an entirely different viewpoint and therefore, this creates an entirely different film. While the first segment brings us that introduction to It (in particular, Pennywise the Dancing Clown), the adults are already familiar to his tricks and aims. By this point, we’re familiar with the individual fears and the gang know how to defeat them; however It isn’t willing to give up that easily as he has been wreaking havoc on Derry. This film is told from the perspective of the insider as outsider as they witness tragedies happen but are unable to do anything about it and question whether they should do anything about it. After all, what has Derry done for them? It’s a film that shows that right and wrong isn’t always black and white.

With the exception of Mike (Isaiah Mustafa), who stayed in Derry, the gang moved away to various locations with their memories of the tragic events blurred the further they live. This may seem like an escape but the members of the club are leading unfulfilled lives. Bill (James McAvoy) is a seemingly successful writer who can’t seem to write a good ending, Beverly (Jessica Chastain) has found herself in another abusive relationship, Richie (Bill Hader) is an alcoholic stand-up comedian, Ben (Jay Ryan) is a dissatisfied architect and Eddie (James Ransone) has married a woman who is just like his mother (a funny touch being that they cast the same actress for extra measure). The only member of the gang who seems to be content is Stanley (Andy Bean) who is happily married and is looking forward to going on holiday. The trauma of the past events slowly piece together for the group as the film goes on but for Stanley, it immediately comes crashing down as soon as he sees the Derry number pop up on his phone. It’s brilliantly cast with Chastain and Hader particularly being my highlights from the Losers. The rapport between them feels as natural as it was in the first instalment.

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The forms that It takes in the first instalment are the fears of the gang members in particular. In this film, the forms become more bizarre and veer on the side of grotesque with baby heads on the bodies of cockroaches as one gruesome example. The scenes when these creatures dominate can tend to go on for too long but the effects are brilliant and it is terrifying to watch. With double the budget, the special effects team have gone to town with making It as disgusting as possible with all sorts of bodily fluids floating around the place.

And now it’s time to talk about It itself. Bill Skarsgård has somehow exceeded the expectations from the first one and manages to bring another level of depth as he uses his emotions to trick the kids of today. One little girl is touched by his story of being a lonely clown with no friends in a scene that sees Pennywise act weirdly human which is unsettling to watch. We see Pennywise become completely unhinged as he is gradually backed into a corner as the gang work together to figure out how to kill It once and for all. He’s cheeky and mischievous as ever but more determined to make the deaths as gory as possible.

Both Andy Mushietti and Gary Dauberman are reliable in the roles of director and screenwriter, respectively and clearly have love and passion for the novel as they are faithful as can be. Even the changes that have been made feel necessary and natural to the progression of the plot and are mainly because of the time difference between the book and films. The brilliance of it ensures that today’s audiences are terrified just as the 80s audience would have been terrified from the book. If the films had followed the timelines in the book then it wouldn’t have the same impact due to how much the world has changed since then. One change that I am uncertain about was that rather than have Ben remain in Derry, they stayed with Mike. Mike is the one in the book who does all the research rather than Ben so naturally that would mean that in the film Ben stays in Derry so that aspect seemed disjointed in the film as we don’t really see Mike’s progression and research into madness from that early age which is done really well in the book. This doesn’t take away from the film but it did make me wonder why they decided to do it this way instead.

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The younger cast also make welcome appearances in flashbacks from the firsts film as well as additional scenes that were mainly filmed alongside the first film. Seeing the shots of the gang as teenagers against their adult counterparts shows how perfectly cast the film is, particularly Eddie and Beverly.

It’s quite difficult to compare the two films as they have completely different tones and themes. It would be too simple to merely state that it is a “grown-up version” of the first part as the characters have actually struggled to grow-up and remain largely as adult versions of their teenage selves which begs the question of: have they really escaped It? Did It stunt their emotional and mental growth into adulthood? It’s certainly more mature than its predecessor in its themes and especially explicit in its portrayal of abuse with the homophobic attack at the beginning one of the most shocking scenes I have ever seen in a film. It was horrific to read it in the book but on the screen, they didn’t hold back with the brutality and it showed that the greatest monster is actually mankind.

My favourite aspect of the film is a cameo by the brilliant mind behind the book. Yes. Stephen King makes a brilliant cameo as an antique shop owner who extorts Bill when he wants to buy his bike. It’s a great scene to watch and makes the film feel homely. It’s also a nice homage to the works of Stephen King. Let’s not forget that his work has been adapted the most and not always successfully so it’s great to see that this has his seal of approval.

What did you think of the film? Did you enjoy it? Let me know in the comments below!