The Movie Rat

61 Days of Halloween: Daybreakers

Posted on September 25, 2012 by bernardovillela

Most holidays worth their while encompass entire seasons, such as Christmas, for example. However, as you may have noticed there is a corporate push every year for us to think about the next holiday even sooner. While this has many negative side effects I figure I may as well embrace it.

Since Labor Day is really only good for college football and movie marathons cinematically it is as significant as Arbor Day, which means the next big day on the calendar is Halloween and we can start looking toward it starting now.

Daily I will be viewing films in the horror genre between now and then and sharing the wealth. Many, as is usually the case, will not be worth it so for every disappointment, I will try and suggest something worth while as well.

Daybreakers

Daybreakers is yet another vampire movie who may have fallen victim to an overexposed genre in terms of box office. While it does have a good premise, and creates a seemingly true to life realistic future world that never seems hyper-real, it is by no means perfect. The positive is that there were at least three legitimate very good scares and shocks in this film.

What is interesting to note in the film is that directors Michael and Peter Spierig not only wrote the movie but were also lead effects artists, which allows their vision to be total in the film, and the effects work is most definitely up to snuff. It is in story that the film lacks at times. There is definitely a visual signature to this film, which possesses the rare quality of being desaturated much of the time yet still being interesting to look at. Their future work will be something to be on the lookout for.

Willem Dafoe steals the show in this film, which is a double-edged sword. On the one hand he’s a great performer and it’s great to see him work, but on the other hand as soon as he enters the picture everyone else becomes less interesting even the protagonist, which of course is never good. He and his character are such large personalities that they dominate scenes he is in. Thankfully the good doctor of this tale, Ethan Hawke, does get some alone time so we can still follow him distraction free.

The second act is without question the hardest act to execute in a film. First and third acts it is often said are a piece of cake. There are struggles with pace, motivation and logic through the second act as the film nears its conclusion.

One of the central conflicts of characters is between Dr. Edward Dalton (Ethan Hawke) and Frankie Dalton (Michael Dorman). The former being an altruistic doctor seeking a blood substitute for the vampire world and the latter being a soldier. Towards the end Frankie informs Edward why he infected him. It is difficult to tell whether or not Frankie is lying and if he is truthful as it’s a pretty flimsy excuse that is not compelling at all.

While there is the rare effective use of slow motion the ending conflict does get a little bogged down, however, the cure that is thought of in this film is clever.

The movie avoided ending on time and decided to close with a cheesy scare attempt failing to notice that the last impression we get of the film is as important, if not more so, than the first. Conversely the first impression we get is a little odd. We get an inciting incident, a well-done dramatic little scene, featuring a character who has no bearing on the rest of the film whatsoever.

It is worth watching but is does not quite live up to the expectation that is set up during a very clever and effective first act.

7/10

61 Days of Halloween: Frozen

Posted on September 24, 2012 by bernardovillela

Frozen

Frozen is a suspense/horror film that speculates on what may happen if three twenty-something friends were caught on a ski lift overnight. Despite playing to favorable and classically hyperbolic reactions at Sundance this film, despite its promise, is deeply flawed. There are spoilers herein.

The three protagonists Parker (Emma Bell), Joe (Shawn Ashmore) and Dan (Kevin Zegers) are well set up in the beginning portion of this film, however, that beginning is too protracted and talky especially considering the plot and the nature of it.

The concept of the film, under attack by some, is not the film’s downfall. The fact that these three get caught on the ski lift overnight is, in fact, a good concept which is not fully explored and those parts which are explored aren’t very well executed. One means for escape is never attempted and the first attempted was bound to fail based on how it was done. Joe jumps from the lift, abandons his snowboard but still tries to land on his feet, which was bound to break his legs.

Considering the film is called Frozen, the most the characters ever suffer is a low grade of frostbite and not hypothermia as you might expect. Furthermore, the deaths are not due to the elements but wolf attacks. This acts sort of as the opposite of a deus ex machina, wherein the characters’ destruction is brought about by a seemingly divine, or demonic, plot element randomly thrown into the mix.

So far as the cast is concerned, the expression “two out of three ain’t bad” comes to mind. Emma Bell seems to be trying too hard in this part and goes over-the-top in her more emotional scenes. Kevin Zegers isn’t there very long but is serviceable when he is there leaving the standout and ‘the glue’ as Shawn Ashmore who did quite well but even his best efforts can’t keep this thing together.

After being trapped conversations the characters are engaged in are far too distracted from the situation to be believable. They seemingly forget the very real situation they are in for much too long. Breaking some of the backstory-filling up with quiet or renewed panic would’ve been better.

The characters in this story are placed in a situation with really only three outs and they only tried two. They could’ve been put in a slightly more advantageous situation. Despite the claustrophobia and occasional tension the film does build it is all torn down by the missteps along the way.

Despite a well-intentioned effort at a different kind of suspense tale Frozen is tepid at best.

4/10

61 Days of Halloween: Paranormal Activity

Posted on September 23, 2012 by bernardovillela

Paranormal Activity

Paranormal Activity is the kind of movie that generates so much hype that people are likely to end up on either extreme with regards to their opinion of the film. There are definitely kudos to be given to Paramount and their marketing scheme for this film. That, and that alone about this film, is pure genius and I am sure it made many more people want to see this film than otherwise would’ve wanted to – myself included. The expectations were then heightened by hyperbolic reviews like “scariest of decade” and references to “scaring the living hell out of” people.

As ingenious as it is, and one can’t really dispute that, it is ultimately a wolf in sheep’s clothing, meaning if you’ve seen The Blair Witch Project or one of its many first person knock-offs over the last 10 years then you’ve seen Paranormal Activity. This has a somewhat more definitive ending than most but even still it ends up being ultimately ineffective as whole.

It is undeniable that there is a sense of dread and foreboding throughout, after a certain point, but it is much too subdued for a while. There is much anticipation, and while the subtlety is to be appreciated, there isn’t enough escalation of incidents throughout. Many of the first few recorded events are very minor. In my opinion, a more incessant film out this year was a The Haunting in Connecticut. One might dispute the merits of where that story goes but it is incessant, you might call it cliché but no one is calling this film original.

It’s only 86 minutes long, and not only does it seem longer, but even while being that short it manages to be repetitive. There are several fights about stopping the taping, not buying a Ouija board and whether or not to contact a demonologist. Almost each and every incident needs to be reviewed on video or in audio and they feel it necessary for the audience as well as the characters because the shots aren’t clear, or the incident perhaps too subtle. So, in being redundant in its two most vital aspects, verbally and visually; it is doomed to fail.

While found footage, an updated cinéma vérité style, might more aptly be called progeny of the YouTube age, and believe me there is nothing wrong with that, as I note in another article, what it does create and perpetuate is bad framing. Framing is being turned into a lost art; however, it is fine if it exists through most of this film but there a moments in this film where you would have preferred a clearer shot of something even if that something was the book of demonic illustrations the likes of which we’ve seen in myriad horror films.

While this film cannot be knocked for keeping a consistent level of tension that level is far too low, and never really escalated. It’s a flat-liner, which is unforgivable. The acting is passable but not going to sink or save this film unlike its godfather The Blair Witch Project, which is elevated and believable due to the strength of the performances.

Ultimately, the good that will come from this film is from the marketing. While they tried to make the film seem like a real event with no opening title and closing title sequence, I doubt with the internet as ubiquitous as it is now that many people believe that as they did 10 years ago. However, the legacy it will leave is due completely to people wanting to see it due to buzz. I wouldn’t doubt if a similar tactic was used again and we can only hope it’s selling a better product.

3/10

Short Film Saturday: La jetée

Posted on September 22, 2012 by bernardovillela

OK, I know that I promised that I wouldn’t let 61 Days of Halloween interfere with normal posting activities. For a while, I was keeping up on this series at least. Then last weekend I slipped.

To make up for it. I figured I’d choose a great film that needs minimal introduction. We recently lost Chris Marker the director of La jetée one of the most influential shorts in the history of film. It’s composed of stills. It’s certainly inspired me (examples here and here), countless others and was one of my favorite discoveries last year. Enjoy!

61 Days of Halloween: The Last Exorcism

Posted on September 22, 2012 by bernardovillela

The Last Exorcism

I thought of a (American) football analogy as I was watching The Last Exorcism as the most apt description of the film. This film reminds me of a team driving down the field to win the game and taking the ball to the opposing one-yard line and then throwing an interception, or to put it otherwise, it’s a film that comes real close to doing something special but ruins it at the end.

The first thing that absolutely has to be said is that the cast of this film is just absolutely outstanding, pretty much pick a cast member and you weren’t likely to find a better fit for the part. Everyone knows who they are what the role demands and how to deliver it in spades, and this goes down to the smallest roles. It is indeed a rare treat to see acting of this caliber in a horror movie and it is most of what propels this film to the edge of greatness before it plummets of a cliff terribly. It is worth viewing for the performances alone.

The second thing this film does very well is that is convincingly portrays its story in a documentary/cinéma vérité style. It opens with a lot of exposition through questions and the thoughts of our protagonist Rev. Cotton Marcus. Then it morphs from Q & A mode to recording things as they happen.

The cinematography throughout manages to be rather good and economical in its movement, despite the ever-present handheld images. It is only on the rare occasion that things get wild and visual information is hard to interpret.

It’s like the metaphor above implies, the film does a lot right but it really botches it with its ending and in truth most if not all the weaknesses that drag it down are story-related.

While it is very effective, at times, for horror films to have their protagonists be non-believers this one takes it a bit too far and has Rev. Marcus steadfastly disbelieve what his eyes are seeing for far too long such that it’s out of character because a man that smart can’t be that stubborn for that long.

He believes there is no possession and continues to even though they have recordings of Nell (Ashley Bell) having a conversation with a person unknown in Latin, a language they have established she cannot speak. Nell also picks up the camera at one point and tapes herself attacking livestock. It’s never made clear whether they watched the footage, the ways the characters act towards the end make you think they did not. Yet the camera is found damaged and bloodied, they know she used it but they didn’t check the footage? It’s the first thing a cameraman would do.

Then there is the end where there are a few twists one of which is major and we see coming the other which we really don’t. The second of which is truly the extraneous, one in which the film is trying to be a little too clever for its own good. Also, the end does raise up a few more questions and is a bit frantic and the one place where things can be lost and that’s where you can’t afford to.

This is a film that has so much going for it on the technical end, but it was all in service to a story that could’ve been more tautly rendered and more well-told. Such a shame.

5/10

61 Days of Halloween: Survival of the Dead

Posted on September 21, 2012 by bernardovillela

Before diving in and talking about the film itself there are two tales to tell about the actual viewing of this film which are rather relevant. First, being that even though this film is set in Delaware for much of it there were no showings on its opening weekend in either Wilmington or Newark, why? Which leads to the second tale: The film is available on Video on Demand through Verizon FiOS. Me and two friends viewed it at $7.99 for three as opposed to a movie theatre where that price would’ve been in excess of $30.

While some fans of Romero might be a little put off by this different approach to the zombie tale he takes, I love it personally. The zombie subgenre has been vastly overexposed in recent years, in fact, it’s likely that only vampires are more in vogue at the moment, for better or worse. Yet, amazingly Romero keeps finding new ground to tread and he does so in this film with incredible deftness and skill.

The main issue examined in this film is how to handle the overwhelming amounts of the undead that exist. This debate is examined through the guise of a family feud. The opposing sides of the quarrel is kill them on sight versus capturing and trying to rehabilitate them to eat other game. As is frequently the case Zombieism is seen as a disease so it’s a logical question to ask: why is this the only disease in which summary execution is the only remedy?

Also vastly improved in this installment is the dialogue and the script overall. In fact, here Romero seems to have addressed one of my main problems with Diary of the Dead head on and leaves his social commentary only in the voice-over narration, and, as expected, that works brilliantly and adds poignancy to the tale and allows for a subtlety in this film, which is rarely seen in his works.

Those who admire and/or frequently view horror films develop quite a high tolerance for incompetent thespians, however, overall this cast may be the strongest he’s had, seeing as there is no one who makes you want to run smack into a brick wall while screaming. The standouts aren’t many, but again just the fact that there are standouts is great, but there are three: Richard Fitzpatrick as Seamus Muldoon, Kathleen Munroe and Devon Bostick, seen earlier this year as Roderick the bullying older brother in Diary of a Wimpy Kid.

Not that everything is absolutely sparkling about this film. The cinematography, for example, is not always on. It has in it the kind of video images that show you why 35 mm film stock is still king. The framing is never terrible and the lighting is never godawful but a lot of it is awfully video. Based on what your tolerance is it may have a great effect on your view of the film. Some of the CG is surprisingly good some tries to do things beyond the capabilities of the film and is comedic, at times intentionally.

In this film, there is also an awesome dovetail into Diary of the Dead as one of the minor characters carries over and we see where their stories intertwine. It is a great and fascinating storytelling technique not employed often enough in film. The fact that Romero chose to do it and executed it so well is the mark of a true auteur.

Another thing this film has going in its favor is an open ending- to an extent. Open endings are very hit and miss. Some work brilliantly and some make you wish they had sewn it up. Considering the narrative that proceeded the climax a neat ending just wouldn’t have worked at all. The reason the openness of the ending is qualified is because while it does give you a verdict on whose assumption about the undead was correct, Muldoon or O’Flynn, it puts a twist on it that you’re left thinking about. All this is done visually reinforcing the more subtle nature of this work as opposed to his others.

Survival of the Dead is definitely Romero taking his series in a different direction and if he can keep it this interesting I am definitely all for him continuing the series, as he has stated he intends to.

8/10

61 Days of Halloween- The Haunting in Connecticut

Posted on September 20, 2012 by bernardovillela

It happens rarely but every once in a while a film will come along that not only has a great trailer, but lives up to the potential that its trailer promises. Such is the case of The Haunting in Connecticut, which is one of the best horror films I’ve seen in quite a long time. It may seem strange to begin the analysis of a film with its trailer; however, films more so than any other art form are inexorably linked to their marketing. Before the work itself can be discussed, a few more pieces of marketing must be quickly touched upon. First, the film’s MPAA rating, PG-13, which is generally the kiss of death in the horror genre. Just knowing a horror movie is rated PG-13 has deterred me from viewing the film. Fear not – blood and gore wouldn’t make this film better, it flat out works brilliantly without need for the violence, vulgarity, gore and gratuitous sexual content we come to expect from lesser works in the genre. Second, the film is “based on a true story.” If you know anything of that true story, as I do, please don’t expect a documentary, or even a faithful re-telling based on fact. I always take the assertion “based on a true story” with a grain of salt. The truths in this film are the circumstances surrounding the family’s life, their rental of a house that formerly served as a funeral home, and some of their supernatural experiences. However, the true story doesn’t allow for a tidy ending or a very linear plot, so liberties have been taken. Many things have been embellished or created, and all brilliantly executed.

Haunting is a film that excels on many levels. Most importantly it never forgets that drama is the foundation of all other genres and thus you must build characters and make the audience care about their problems. Not that these are the most complex or dynamic characters ever created, but they are developed enough such that we can engage and have an interest in their plight.

Another manner in which Haunting excels is its utilization of all the techniques at its disposal to create a chilling tale. Many weaker efforts in the genre only achieve scares with overly-loud effects. The entire soundtrack of Haunting is subtle and beautifully mixed allowing you to hear voices, footsteps, and rustling in parts of the house unseen. The sound levels are great. Sometimes you could barely hear what was going on, making your anxiety greater. The score is solid and highlights the fright. The editing not only allows for great jolts but also tells the story in a fascinating way cutting from the present to the past, seen and unseen, using L-Cuts (dialogue continuing from scene which is no longer being shown) to move the story along and quick cuts to black. There was a wonderful sense of symmetry, as several situations repeat themselves with different results, like the game of hide and seek for example.

Perhaps the best thing about the film is its relentlessness. It hardly if ever seeks to cut the tension but seeks to keep the baseline pretty high, leaving the audience anticipating the next jolt. And the jolts are fantastic. One was done with the clever use of misdirection. There appears to be a bird under the bed that we can’t see and as it is to be revealed the jolt comes from elsewhere, and it is purely visual. The film is very visual and uses its dialogue wisely.

The performances are spot on. Elias Koteas has never been better. It’s also Virginia Madsen’s best turn in the genre. I can’t say that Madsen’s performance in Candyman excels over Haunting because I understood this character better. Kyle Gallner is cast properly and plays his character perfectly.

I personally judge each movie on its own merit and take it for what it is, for example I will never say “Well, this was no Casablanca or Citizen Kane so I can’t give it such and such a grade” – that’s bunk. The Haunting in Connecticut makes no pretensions about what it is, and does its job incredibly well. It was the most transfixing horror movie experience from the beginning to end that I’ve had since The Exorcist re-release in 2000 so having said that I give The Haunting in Connecticut a score of 10/10.

61 Days of Halloween: Zombieland

Posted on September 19, 2012 by bernardovillela

The facile comparison, and also the attention-grabber, when discussing Zombieland is to try and compare it to Shaun of the Dead. The impulse is understandable but an errant one. There is a major but subtle difference between the two, Shaun of the Dead, like the subsequent Wright/Pegg project, Hot Fuzz, is a spoof which about midway through metamorphoses into the genre spoofed. Meanwhile, Zombieland is a tongue-in-cheek zombie story which is much less self-conscious.

The most self-conscious aspect of it serves a very valuable function, which is the list of rules for survival which the protagonist, referred to as Columbus, develops. The rules serve very good comedic effect, if at times becoming too prominent a part of the story by appearing on screen as a graphic, but at the very least the filmmakers have fun with it.

What is most surprising about Zombieland is that in being consistently funny, and remaining myopically focused on four central characters, it manages to become a more complete experience than most zombie films can be. There are actually a few real scares including Columbus’s first encounter with the undead, and what’s impressive is that it tries less often than a traditional horror film but succeeds more frequently.

Conversely, the rare dramatic/serious scenes also work quite well, again because the characters are well established, their conundrum is easily recognizable and we can identify with their plight, as surreal as it may seem.

What Zombieland proves is that when well done, people are always ready for a new twist on an old hat genre. The zombie is undoubtedly the hot commodity in the horror genre, sorry vampires. The reason for this is because they offer the perfect vehicle for social commentary, even when you’re not trying very hard. Even though Zombieland tries a little too hard at the end; it’s forgivable. Just having the living dead roaming about makes reference to both our humanity and inhumanity; either we are walking through the world in a daze or we are savagely mistreating people and killing off our own kind; any attempts to expound on this imagery only furthers the concept.

Zombieland always stays, first and foremost, a comedy with very funny dialogue and hilarious performances by all those involved. Perhaps the funniest being a very unexpected but welcome “as himself” appearance towards the end, which will be left as a surprise.

The film moves briskly, with great fun and has some of the creative and artistic use of slow-motion that has been seen in some time. The narration, while ever present, never seems to get in the way even though you never learn what causes such omniscience you laugh anyway at things like the cutaway to the Zombie Kill of the Week.

In the landscape of the horror genre that is so full of sludge that people latch on to anything halfway decent as if it’s gold, it’s great to see a film come along, even though mostly comedic, that both doesn’t misrepresent the genre but enhances it. The makeup is very good and these zombies didn’t try to re-invent the wheel like the first fast ones a few years ago did.

It is a very enjoyable movie-going experience that you’ll likely want to see again.

9/10

61 Days of Halloween: Devil

Posted on September 17, 2012 by bernardovillela

One thing you will not get in this particular review is citations of other reviews and rebuttals in defense of M. Night Shyamalan. While I stand by the opinion ultimately expounded in my review of The Last Airbender, I would’ve altered my approach if I had to do it over again (Thus, it has not been re-posted yet – and may remain so). As for this film, it’s the first of what is being referred to as the Night Chronicles Trilogy. His impact on this film is a story credit alone so mention of him will be minimal, aside from saying that his stamp can definitely be felt on this story regardless of the level of involvement he actually had. This is a thriller which hearkens back to some of his earlier films and oddly one where you’re not necessarily waiting for a twist, but you get it anyway and it does not color the whole film.

The film starts with inverted shots of the Philadelphia skyline. They are shots whose significance is not immediately made known, and not overtly explained. They set the tone for a film where something is slightly amiss throughout.  The film does well to keep its tale confined to the elevator as much as it possibly can. Granted to investigate and to try to get to the bottom of the mystery it is necessary to go outside on occasion; the fact that so much of the film is contained to that cramped space definitely is a boon to the narrative and aids its effectiveness.

When dealing with a film that is so confined such that its part-absurdist chamber drama it is crucial that your cast be capable of carrying the film and this cast is definitely capable. The core of the cast being: Logan Marshall-Green, Jenny O’Hara, Bokeem Woodbine, Geoffrey Arend and Bojana Novakovic. What is most compelling about not only the story but also their respective portrayals is that at one moment or another they all lead you to believe that they, in fact, are the devil in the elevator car.

The film also employs a narrator, who acts as storyteller. A technique it seems that is a bit on the rebound in film. However, in this case this narrator does not get into the fray too much but merely fills in a few blanks and acts, essentially as the glue binding this tale together. It is this voice that gives a little reason to the tale. Whereas without this narrator it might just send a chill or two up your spine with the narrator there is a point made and something to reflect upon.

With the combination of the opening montage and the narrator setting the stage the tension level in this film is ratcheted up pretty early and rarely if ever dissipates throughout out. There is a consistent feeling of dread which is pounced upon at opportune times and while there are peaks and valleys the highs are high enough to sustain a significant level of interest.

The only things that can be questioned are very minor points which could’ve been addressed by more judicious editing of the footage and story itself. One concern is that while most believe the elevator is malfunctioning due to possibilities that are terrestrial we follow around a janitor. He vanishes from the story for too long. Pieces of his journey to the roof and basement could’ve been spliced in real quick so he wouldn’t disappear for so long after having been a significant player in the early going. The characters also don’t think to use their cell phones as flashlights during the temporary blackouts for far too long. The introduction of the religious element of the film is a bit clumsy and lastly our protagonist, Detective Bowden (Chris Messina) does a Sherlock Holmes impersonation in deducing the circumstances surrounding a suicide early on that is not only a bit extraneous but also a little hard to swallow.

However, Devil is still a highly effective and well-crafted tale that is an edge-of-your-seat kind of film that is well worth your time.

8/10

61 Days of Halloween: Case 39

Posted on September 16, 2012 by bernardovillela

Case 39 is a film with tons of squandered potential that earns the rare distinction of Film Most Deserving of a Remake Due to Lack of Execution. Unlike others in the past like Captivity it does not, however, come even close to being good for a number of reasons. It should also be noted that this film was in the can for two years and likely to remain undistributed- not that something like that always matters (Blue Sky) but it should be taken into consideration.

To borrow a journalism term this film buries the lead, which is to say that it does not tell the most compelling story it has to offer. It decides to tell the tale of a well-meaning social worker who thinks she is doing this child a favor and saving her from abuse. As time goes by it turns out the girl is demonic. The more compelling tale would be to follow this girl’s life with her “parents” then the scene in which she is taken away has an added layer of emotion and becomes even more poignant, frightening and impactful. However, you cannot punish a film for what it should’ve done. What it did do wasn’t that great either.

It gets off on the wrong foot right away by trying to introduce too many things in the early going. There is Emily (Renée Zellweger) and her work, then we see a little about her personal life and meet Doug (Bradley Cooper); we see her working one of her other cases which comes into the mix later, Diego (Alexander Conti) and there are a few meetings with Lilith’s (Jodelle Ferland, who is rather good in this part) family when there could be fewer. Edward’s, Lilith’s father, tight-lipped attitude prompts Emily to contact Detective Barron (Ian McShane) to try and look into their history. All this before Lilith is taken out of their custody, which would not be an issue if the film had measured its pace.

Instead once Emily has custody of Lilith she starts to jump to the supernatural conclusion far too soon and the only reason that would happen is because there is a concern about running time. While strange things had occurred things hadn’t gotten to a supernatural state just yet. Either the build had to be more consistent while bringing these people in or there needs to be a slower escalation of the Emily-Lilith conflict.

So it all becomes a question of reaction, or rather overreaction. A similar thing happens when Doug, a psychologist, has a session with Lilith. It is a disconcerting and somewhat cloying standard horror scene. As an audience, we can read between the lines and see she’s messing with him but Doug walks out of the encounter saying he feels “shaken” but he looks like he saw her head spin around the reaction is far too big for the scene we just witnessed. The only function it serves is to fuel Emily’s fears.

Then Emily’s approach to the final confrontation is all wrong. She is told that Lilith can only be killed in her sleep, which she hardly does at all. What that factoid is based on is beyond me. Her first approach is very hands-off and then although we get some very good intercut flashbacks what finally does it ends up being too easy a solution especially after having seen examples of her strength not moments before.

The concept this film tries to prey upon is that you are never safe from this demon if you are on her radar as she doesn’t actually kill you but rather makes circumstances more conducive to your death. It doesn’t quite succeed in that regard either. There is the aftermath of a gruesome scene which isn’t shot to its potential. The most effective onscreen kill is likely the hornets, however, their CG-ness is rather apparent throughout.

Inconsistency abounds in this film from pace to logic to effectiveness and even the performances aren’t immune, most of the times they are victimized by the script though. Case 39 has promise in many areas but never comes close to realizing it in anyway shape or form and ends up being a wasteful disappointment.

4/10 