Film Review: Scary Stories to Tell in the Dark

"Some People Believe If We Repeat Stories Often Enough They Become Real. They Make Us Who We Are. That Can Be Scary..."

Based upon the collection of short stories of the same name first published in 1981 and abstracted from the mind of American author, Alvin Schwartz, Scary Stories to Tell in the Dark is the long-awaited big screen adaptation of Schwartz's tales after first being picked up for production by CBS Films in 2013. Produced by horror and fantasy aficionado, Guillermo Del Toro, a filmmaker fresh after his Academy Award win for the strange if impressive, The Shape of Water, and the man first tipped to direct, the mantle instead falls to Norwegian filmmaker, Andre Øvredal, whose previous work on the likes of Trollhunter and The Autopsy of Jane Doe results in a slight step-up into the cinematic big time with an extensive wide release. Part Goosebumps inspired mystery, part portmanteau in the ilk of recent excellent examples such as V/H/S and its' impressive sequel, Scary Stories is a very familiar and well-worn ghost train of a ride, a well designed genre flick which takes very interesting ideas and creature concepts and produces them in a strangely lifeless fashion, a particularly irritating outcome considering both the talent and the gothic sensibility which for a horror fan such as myself, is always great fun to see on the big screen. 

With recent years seeing the "revival" of coming-of-age genre fiction being embraced by people across the globe, whether it be on television thanks to the success of Stranger Things or on the big screen with the likes of It and its' upcoming sequel, it's fair to say that Scary Stories works around an incredibly recognisable narrative structure, one which sees our central teen heroes, led by the rather impressive Zoe Colletti, attempt to tackle the forces of darkness after venturing into a particularly creepy household and stumbling across a mysterious book which continues to write stories by itself, tales of which soon spring to life and place the younglings at the clutches of a murderous spectre hell bent on revenge. With the movie then churning out set piece after set piece as it revels in the sight of throwing monster after monster at the audience in a similar fashion to Cabin in the Woods, it is clearly the individual acts which make the film rather entertaining, with fundamentally nightmarish ghouls designed within an inch of their life to scare the absolute pants off you the best aspect of the drama. Where the movie ultimately falls down is the rather dire central mystery itself and a sense that for a fifteen rated movie, it really isn't that overly threatening or scary, resulting in a picture that is too young for adults and too adult for the young and with such a crushing conflict at the heart of it, Scary Stories is neither a great movie or a guaranteed box office smash, two factors which means it will come and go like the snarly creeps at the heart of its' tale. 

Overall Score: 6/10

90th Academy Awards: Best Director

Oscars 2018: Best Director

With a trio of veteran filmmakers and a duo of directorial newcomers, this year's Best Director category is undoubtedly the tightest one to call, and whilst Guillermo del Toro seems to be the named favourite after picking up awards at both the BAFTA's and the Golden Globes, any of the five nominees stand a more than plausible chance at walking away with the top prize. Whilst del Toro himself more than deserves at least the slightest of Academy Award recognition after failing to win the Best Foreign Language gong for Pan's Labyrinth back in 2007, no one can seriously question the remarkable directorial skills of Christopher Nolan on Dunkirk, and whilst many may see Nolan's wartime masterpiece as more of an technical exercise than that of a classical historic drama, the chance for Nolan to finally win an award after being royally snubbed previously for the likes of Inception and The Dark Knight is a mistake that may indeed come full circle. Elsewhere, Paul Thomas Anderson is a equally prestigious and remarkable filmmaker who has seemingly bypassed the Oscar award fever, and whilst Phantom Thread is an outstanding work of melancholic brilliance, the chance to succeed may indeed seep by once again, but for the likes of Greta Gerwig and Jordan Peele for their work on Lady Bird and Get Out respectively, the Academy does deserve some form of applause for attempting to widen its' cinematic scope when it comes to choosing films worthy of such a prestigious award, and whilst snubs for the likes of Denis Villeneuve for Blade Runner 2049 and Darren Aronofsky for mother! prove that that they can't get it right all the time, at least the Academy are slowly catching up.

Winner - Guillermo del Toro (The Shape of Water)

Personal Favourite - Christopher Nolan (Dunkirk)

Nomination Snub - Denis Villeneuve (Blade Runner 2049)

Film Review: The Shape of Water

"He's Happy To See Me. Every Time. Everyday. Now, I Can Either Save Him Or Let Him Die..."

With 2015's Crimson Peak in retrospect coming over as somewhat of a major disappointment, Spanish director, Guillermo del Toro, returns this week with the Academy Award nominated, The Shape of Water, a fantastical romantic drama featuring the likes of Sally Hawkins (Paddington 2), Michael Shannon (12 Strong), and long term del Toro collaborator, Doug Jones (Hellboy) on staggering form and a release which poses as the director's best work since the masterful Pan's Labyrinth back in 2006. Built around a somewhat overly simplistic narrative with heavy influences of B-Movie cinema and underlying themes of Cold War paranoia, The Shape of Water, in fairy-tale like fashion, explores the radiant relationship between the charming mute figure of Sally Hawkins' Elisa Esposito and Doug Jones' remarkable, amphibian human hybrid who is captured by the US Government and kept in solitude at a high-security research facility under the watchful eye of Michael Shannon's vulgar Colonel Richard Strickland. With a blend of romance, fantasy and at times, exploitation violence, The Shape of Water is a stereotypical del Toro release through and through and with flashes of remarkable brilliance and a Sally Hawkins on fine, fine form, the Spanish director's latest is unlike anything you'll see throughout the remainder of this calendar year.

With a loving sense of cinematic tradition and a wild, twisting tornado sensibility which navigates the movie through a wide range of differing genres, The Shape of Water is a beautifully old-fashioned work of film, one with a larger than life digital print clouded with dark colours of emerald green and cold war inspired muskiness, and a film which utilises the widescreen format to staggering degree, resulting in the film, as a work of pure spectacle, simply gorgeous to breathe in and admire for its' detailing and slimy creature feature makeup and effects. Although The Shape of Water may not be as rewarding as del Toro's previous endeavours as an overall body of work, the feature is one which instead arguably boasts his most humanist cinematic venture to date, with the leading relationship between human and inhuman marvellously envisioned thanks to character building set pieces which are as eye-wateringly romantic as they are naturally subversive in nature and with the film's leading character having to rely on the usage of sign language due to her incapability to convey her emotions through speech, Sally Hawkins is truly spectacular, a performance both powerful and understated in equal measure and one which may indeed tip the boat for upcoming Oscar success. Whilst the movie's quest for award supremacy in each of its' respective nominated categories is admirable and actually quite brave considering the fundamental strangeness of the tale at the heart of it, the most obvious case would be for The Shape of Water being the movie which hands del Toro his long-awaited directing Oscar after being wrongly acquitted of it back in 2006, and whilst when up against the likes of Dunkirk and Phantom Thread the film does seem lesser in its' successes in comparison, del Toro's latest is still a wonderful and endlessly romantic drama of monstrous creativity which demands to be admired on the biggest screen possible.  

Overall Score: 8/10

Film Review: Crimson Peak

"Beware Of Crimson Peak..."

Sometimes a film can be so incredibly mouthwatering and exciting, whether it be a release from a new favourite director, a return to acting from an esteemed actor or actress, or even something as minute as a certain film featuring a song that you admire on the soundtrack, (take Muse on the World War Z soundtrack for instance; a mediocre movie but one that holds a place deep in my heart for the use of one Muse song) that no matter what the final result is in terms of the film's overall critical appeal, such a film is always set to be brilliant in the eyes of a small contingency of followers. In the case of Crimson Peak, the hype-train was well and truly boarded months back when I realised the core ingredients was made up of director and writer Guillermo Del Toro, the visionary mastermind behind the pretty-much perfect Pans Labyrinth and other horror pieces such as The Devils' Backbone and The Orphanage, if only on production duties, and the holy trinity of recent acting favourites of Mia Wasikowska (Stoker), Tom Hiddleston (The Avengers, Only Lovers Left Alive) and Jessica Chastain (Zero Dark Thirty, The Martian). Sound too good to be true? Indeed, with Crimson Peak not being a case of complete disappointment, but something that seemingly had all the tools to become a masterpiece on the same level as Pans Labyrinth yet ultimately, has failed to become so. 

After the idealistic young novelist Edith Cushing (Wasikowska) falls in love with the dashing, if rather mysterious Sir Thomas Sharpe (Hiddleston), much to the disdain of her father Carter Cushing (Jim Beaver), she decides to accept his hand in marriage and follow him to his place of residence, the rustic, ancient Allerdale Hall in Cumbria, England, home not only to Thomas but to his sister Lucille (Chastain) who is reluctant at the thought of her brothers' choice in marriage. Living in the screeching, clay-ridden confines of Sharpe's mansion, Edith begins to witness a wide range of activity from both the abnormal and paranormal, with her husband and newly proclaimed sister-in-law perhaps hiding their true intentions for Edith and her involvement in the prophetic notion of the cryptic and titular Crimson Peak. In terms of the films' successes, both costume and production design are enigmatic and entirely flawless, with the construction of the dying, decomposing Allerdale Hall being a sight to behold and arguably being the star of the show, with the design being made to within an inch of its' life and surely bringing with it a well-deserved Oscar nod and hopefully, win.

Within the success of the production, it's a shame that Del Toro couldn't have as much time on the script, with the plot to Crimson Peak being rather cliched and wholly un-original, something of which made the surprises not entirely surprising and the creepy, if rather obvious foreshadowing. rather plodding, resulting in a conclusion that was quite inevitable, something of which I can't can't quite comprehend from the director and writer of the wonderfully complex and deliciously dark Pans Labyrinth. Even with the minimal plot in hand, each of the three leads make the most of the script they are given and fully embrace the Gothic romantic nature of the film's tone, with Wasikowska and Hiddleston being undeniably perfect in their casting, albeit if sometimes the chemistry between the two did seem rather off, perhaps due to the ambiguous nature of Sharpe's true intentions. Pans Labyrinth it is not, but Crimson Peak remains a rather gorgeous experience in terms of its' visual presentation yet suffers from a rather underwhelming script, resulting in a flawed but fun piece of cinema that manages to explore the heavily-examined Gothic theme in the hands of Del Toro. 

Overall Score: 7/10

Pacific Rim - Review -SPOILERS-

If you have been following me on Twitter, you are sure to have noticed my excitement over this film. If you haven't been following my Twitter, go ahead and follow, Its free!
Here is a collection of reasons why I fan girled over this movie:
1) Giant monsters
2) Idris Elba
3) Carnage
4) Massive fights

A general overview of the story is an alien invasion via the Pacific ocean by an alien race using giant monsters. We spend most of the time in Hong Kong, which isn't a surprise after the whole Godzilla incident.  To defend against the incoming assaults, the human race bands together to fight the ugly bastards. So looking at the basics of the story, we can find it to be a little simplistic or basic yet it follows a few little sub stories throughout. One is the research team, which takes you onto the streets of Hong Kong and into its dark underworld ruled by Hannibal Chau (Ron Perlman). Another is the story behind the damaged Mako Mori (Rinko Kikuchi) which explains her connection to Idris' Stacker Pentecost. The little stories inevitably collide and aid the final event, but it is nice that it jumps between them and doesn't overplay the action scenes.

Speaking of actors and the action, both were brilliantly executed. The crazy researchers were both irritable but comedic in their own style which makes their performances stick out vividly in my mind, but the main man for me was Idris Elba, whose ability to switch between anger to a calm silence

which makes you shiver in anticipation for his next move. As you see in the trailer, Idris has a prominent speech to raise morale. A well written speech, well performed with a vigour that makes his character even more believable. I do have a couple of bones to pick with acting though. A scene which entails a young Mako Mori is disturbing and wrong on so many levels. Good child actors are hard to come across, but when she moans like she's in an Asian porn movie on repeat, it turns a few heads and should have been toned down to avoid such incidents.

As one of the only giant monster movies in recent years, its safe to say that it has enough to compensate for the years the genre has been non existent. In true Hellboy fashion, monsters are big, stunning to look at and violence is plentiful, splashed with wisps of humour. The action and fight scenes were incredible and great fun to watch. Shots are erratic and hard to track but immerses you into the settings while disorientating you like our heroes. If you are anything like me, you would have been giggling and laughing like a little kid at the sheer carnage and the severe beatings that were being rained down by both sides.

Just looking at the scenes, it is obvious that the film had a huge budget and FX specialists worked day and night to create some of the best visual effects that I have ever seen.  Everything looked real; the scales on the beasts, water rippling at every move, glass twinkling in the Hong Kong's neon and the general scenery which was flawless all the way though. Even set pieces were gorgeous. The blending of so many colours, lights and debris was stunning and is the perfect example of what the area would look like. We also have the costumes which were a mix of many different style. From a Sci-fi white to a badass carbon fibre armour, the suits are simplistic, yet elegant. It's also nice to see that the women aren't sexualised throughout with skimpy armour and little clothing. You will also notice Hannibal's distinctive golden armour plated shoes which are just crazy and would fit well in my collect, so if you know where I can find them, be sure to comment below!

I'm still pumped from seeing it and want to get my hands on anything and everything in relation to the movie (Already got the soundtrack!), which will most likely be a badass poster and maybe my first collectable statue. But anyway, the movie is a must see blockbuster hit. Certainly one of my favourite films of this year and is a good summer smasher, so this movie shall be getting a 8/10 simply for its generic story and a few little niggly bits throughout.