Movie Reviews
Creeping Death – Review | Screambox Halloween Slasher | Heaven of Horror
![Creeping Death – Review | Screambox Halloween Slasher | Heaven of Horror Creeping Death – Review | Screambox Halloween Slasher | Heaven of Horror](https://www.heavenofhorror.com/wp-content/uploads/2024/09/Creeping-Death-Screambox-Review.jpg)
Watch Creeping Death on Screambox
Creeping Death comes from writer-director Matt Sampere who makes his feature debut with this Halloween horror movie. As mentioned earlier, it’s based on his short film of the same name.
The cast works well overall and the design and practical effects for the Celtic spirit Aos Si are all impressive. With the one big and unfortunate exception of the writer-director himself who plays Tim.
As good as he is at directing the rest of the cast, he does not work in front of the camera for me. Not at all. In fact, the movie only works briefly for me, when he isn’t on screen.
I love when a movie is made with passion, but it must be accompanied by talent. For this movie, there is passion and also talent, but someone needs to come in and “kill the darlings” because Matt Sampere isn’t quite able to do this himself.
This may sound harsh, but my intention is an honest and heartfelt recommendation. I think he could make solid horror movies as a writer and director, but not with himself in front of the camera.
Creeping Death is out on SCREAMBOX on September 10, 2024.
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Movie Reviews
Movie review: Say ‘Beetlejuice’ twice and an unnecessary sequel appears
![Movie review: Say ‘Beetlejuice’ twice and an unnecessary sequel appears Movie review: Say ‘Beetlejuice’ twice and an unnecessary sequel appears](https://www.thelantern.com/files/2024/09/ENTER-MOVIE-VENICE-REPORT-2-MCT.jpg)
Michael Keaton as Beetlejuice in “Beetlejuice Beetlejuice.” Credit: Parisa Taghizadeh/Warner Bros. via TNS
When one hears “Beetlejuice,” the 1988 Halloween classic often comes to mind, conjuring up memories of over-the-top campiness, oddball characters, zany horror and everything out-of-the-ordinary that is to be expected from a Tim Burton project.
The 2024 sequel “Beetlejuice Beetlejuice,” despite having twice the title, possesses half of the spooky charm as its 36-year-old predecessor.
In “Beetlejuice Beetlejuice,” Winona Ryder reprises her role as Lydia Deetz; only this time around, Lydia isn’t the teenage daughter of a couple being haunted by the demon Beetlejuice. Instead, she’s the middle-aged star of a paranormal talk show — titled “Ghost House” — during which she provides families consultations on their haunted houses à la “Ghostbusters.”
Jenna Ortega steps into the cynical teenager role as Lydia’s daughter Astrid, who is skeptical of her mother’s profession and questionable new relationship with her business partner following the death of her father.
“Beetlejuice Beetlejuice” is primarily preoccupied with resituating the classic Halloween story in a modern context, and perhaps that’s the main reason why the original’s charm feels beyond saving. It’s hard to feel cozy and spooky watching a Burton film when the characters drive luxury sports cars and whip out their iPhone-esque cellphones with possessed vigor.
Beyond the natural growing pains of moving into the 21st century, “Beetlejuice Beetlejuice” lacks the first film’s eye-popping gothic chic. The campy, unrealistic practical effects and costumes are thrown out and substituted with air-brushed counterparts that strip the sequel of authenticity.
Though to be fair, complaints about the corporate-washed soul of the film could be excused if the story didn’t feel like it was vomited out by a trick-or-treater who had too much Halloween candy.
It’s undeniably true that the plot of the original “Beetlejuice” didn’t follow the most cohesive structure, but it never felt boring or convoluted. The same can’t be said for its sequel, which can’t seem to figure out if it wants to spend more time resurrecting characters from the first film or introducing half-baked new ones.
This dilemma is seen in Lydia’s new partner Rory (Justin Theroux), who overstays his welcome both in the world of the film and in screen time.
Additionally, Ortega is once again typecast as a grumpy, dark-humored teenager whose presence is made infinitely less interesting by a cringe-worthy romance subplot.
“Beetlejuice Beetlejuice” still recaptures some of the original’s wacky exuberance, particularly when Michael Keaton gets to shine as the titular character, enabling his morbid charisma to — once again — be the film’s standout factor.
Unfortunately, Keaton is drastically underutilized, particularly in the film’s first two acts, during which it feels as though his character is given the bare minimum amount of screen time that still allows the film to be titled after him.
If you’re craving the spooky whimsy of “Beetlejuice,” you’d be better off relishing the original’s tricks and treats than going to see “Beetlejuice Beetlejuice,” a ghost of its precursor that didn’t deserve to be resurrected.
Rating: 2/5
Movie Reviews
The Juice Is Loose: ‘BEETLEJUICE BEETLEJUICE’ (2024) – Movie Review – PopHorror
![The Juice Is Loose: ‘BEETLEJUICE BEETLEJUICE’ (2024) – Movie Review – PopHorror The Juice Is Loose: ‘BEETLEJUICE BEETLEJUICE’ (2024) – Movie Review – PopHorror](https://pophorror.com/wp-content/uploads/2024/09/MV5BMWI4YTg5Y2MtMzI3OS00YzUwLWE2ZTQtMGMyYTY2YTc0YWEwXkEyXkFqcGdeQVRoaXJkUGFydHlJbmdlc3Rpb25Xb3JrZmxvdw@@._V1_QL75_UX500_CR00500281_.jpg)
Beetlejuice is an important movie for me. “Nice fucking model” was the first time I heard an F bomb. It was my introduction to Tim Burton and my first goth girl crush, in Lydia Deetz. I’ve revisited the film many times over the years and it’s still a favorite of mine and I thought a sequel would never happen. When Beetlejuice Beetlejuice was announced I was cautiously optimistic. My girlfriend and I are huge Tim Burton fans so we went to see the film on opening day with her son.
Here’s my thoughts on Beetlejuice Beetlejuice.
Synopsis
After a family tragedy, three generations of the Deetz family return home to Winter River. Still haunted by Beetlejuice, Lydia’s life is turned upside down when her teenage daughter, Astrid, accidentally opens the portal to the Afterlife.
Beetlejuice Beetlejuice was directed by Tim Burton (Beetlejuice) from a script by Al Gough and Miles Millar (Wednesday) based on a story by Gough, Millar and Seth Graham-Smith (Pride and Prejudice and Zombies). The film stars Michael Keaton (Beetlejuice), Winona Ryder (Edward Scissorhands), Catherine O’Hara (Nightmare Before Christmas), Jenna Ortega (X), Justin Theroux (Your Highness), Willem Dafoe (Poor Things) and Monica Bellucci (Irreversible).
It was an absolute pleasure to see Keaton, Ryder and O’Hara back on screen together after all these years. Keaton’s Beetlejuice is still a manipulative sleazeball, but is infinitely more likable. Ryder’s Lydia is still the lovable goth girl we know and love, though haunted by a lifetime of trauma and has to rediscover herself. O’Hara Delia is still loud and brash, but has grown into a loving stepmom and grandmother. Ortega’s Astrid is a welcome addition to the cast, sharing some traits of Lydia while very much being her father’s daughter.
Beetlejuice Beetlejuice is far from a rehash of the first film. It feels more grown up, darker, dirtier and quite a bit gorier, while still being funny as hell. The film pulls influence from Gothic horror films, specifically the films of Mario Bava, who is a actually referenced in the film. Bellucci’s Delores feels like a character Barbara Steele would have played in the 60’s. The make up and special effects are very old school, using traditional makeup effects and stop motion animation. The production design is gorgeous. We get to see more of the other side, which was a nice change of pace. The story gives everyone their part to play and everything coalesces into an absolutely grand finale.
Final Thoughts
Beetlejuice Beetlejuice is a sequel that honors what came before but is bigger, bolder and bloodier than what came before. The new additions to the cast liven things up and up the stakes. The film was an absolute blast to watch in theaters. My girlfriend, her son and I all loved it! Highly recommend.
Movie Reviews
‘Without Blood’ Review: Salma Hayek Pinault and Demián Bichir in Angelina Jolie’s Overly Cautious War Parable
![‘Without Blood’ Review: Salma Hayek Pinault and Demián Bichir in Angelina Jolie’s Overly Cautious War Parable ‘Without Blood’ Review: Salma Hayek Pinault and Demián Bichir in Angelina Jolie’s Overly Cautious War Parable](https://www.hollywoodreporter.com/wp-content/uploads/2024/09/2.jpg?crop=0px%2C0px%2C5457px%2C3054px&resize=1440%2C810)
A woman (Salma Hayek Pinault) walks into a plaza sparsely occupied by patrons enjoying an afternoon coffee and a magazine and lottery ticket kiosk. She approaches the booth and fingers a stack of newspapers before asking the attendant (Demián Bichir), an older man with rounded shoulders and reading glasses perched on his nose, a question. Her delivery is studied, as if a more natural cadence battles against an inherent severity. She begs the man to close up the shop and have a drink with her. Her mannered sweetness becomes more urgent with his refusal. This is a command, not a request.
Premiering at the Toronto Film Festival, Without Blood is Angelina Jolie’s latest foray into directing. The actress, who is making waves this festival season with her performance in Pablo Larrain’s Maria, adapted this thinly plotted parable from the novella of the same name by the Italian writer Alessandro Baricco. Without Blood obliquely investigates the psychological and generational toll of war.
Without Blood
The Bottom Line Plays it safe.
Venue: Toronto International Film Festival (Special Presentations)
Cast: Salma Hayek Pinault, Demián Bichir, Juan Minujin
Director: Angelina Jolie
Screenwriter: Angelina Jolie, Alessandro Baricco
1 hour 31 minutes
Jolie treads familiar ground here: A handful of her previous directorial efforts, including In the Land of Blood and Honey, Unbroken and First They Killed My Father, set their action against the distressing backdrop of war. Whereas these other films grounded themselves with the details of real conflicts like the Bosnian War or the Khmer Rouge regime in Cambodia, Without Blood claims no land or era. This lack of specificity may have worked in the hands of a more risk-taking helmer, but Jolie’s approach to direction can be as stiff as the woman’s initial encounter with the kiosk attendant. Despite bursts of intelligence, especially when it comes to conveying the fractured quality of trauma narratives, Without Blood’s vagueness ends up blunting many of its lessons.
An uneasy tension hangs in the air as the man and woman settle into a nearby restaurant. She begins to tell her story, parts of which Jolie shows early in a confidently staged scene. Her name is Nina, and when she was a young girl, three men broke into her house and executed her father (Alfredo Herrera) and brother (Alessandro D’Antuono). While her father’s screams overwhelmed the bungalow and her brother’s blood dripped onto her ankle, Nina hid silently in a burrow beneath some floorboards.
Her fate became lore in this unnamed country where a years-long battle brewed between two factions. Whether that conflict is regional or political is never made clear and, in Jolie’s estimation, is not relevant. Without Blood is more concerned with how all war wounds people, from its youngest victims to its oldest perpetrators. Most of the film takes place in a cafe, where Nina and the man, whose name we later learn is Tito, exchange different versions of her fate. In Nina’s telling, she is adopted by a pharmacist (Pedro Hernández), who gambles her off to a count (Luis Alberti). She ends up married at 14 and bearing the wealthy baron three sons. As Tito tells it, Nina’s union was a botched assassination turned marital arrangement: The count fell in love instead of killing her. The truth lies somewhere between Nina’s scarred memories and Tito’s vague recollections. In between these exchanges, the pair offer platitudes about the dangers (but never the details) of war.
The conversation between Nina and Tito swings between gripping moments and duller ones that are helped along by Hayek Pinault and Bichir’s tense banter. Their chemistry is defined by mutual recognition and shared trauma. Hayek Pinault hones in on understated motions — tears welling up in the eyes, tightening the grip on her spoon or pursing her lips — to convey the depth of her character’s pain. Bichir nails the subtle shifts required from his character, whose innocence becomes less black-and-white over the film’s brisk 90-minute runtime.
Still, Jolie’s overly cautious visual language limits the impact of the drama. Flashbacks to the pair’s past offer some dynamic moments, like bird’s-eye-view shots that suggest Tito has been watching Nina over the years, gesturing at their linked fates. There’s beauty here, too, as Jolie captures the vividness of the ochre landscape. For the most part, though, she relies on close-ups, toggling between the two diners’ faces in straightforward edits by Xavier Box and Joel Cox.
That innocent people suffer from conflict is not a provocative stance. But it seems like the only point Without Blood can make when it’s not focused — more interestingly — on observing how trauma lives in the body and shapes the mind. Despite flashes of power, the story ultimately seems too thin to bear the weight of its themes.
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