Connect with us

Movie Reviews

UNTIL DAWN Review

Published

on

UNTIL DAWN Review
UNTIL DAWN is a horror movie based on a video game about a group of friends who find themselves trapped in a time loop, reliving the same night repeatedly with increasingly terrifying, fatal threats. One year after her sister Melanie vanished without a trace, Clover and her friends look to find more information about her disappearance. Clues lead them to an abandoned mining town implied to be in Pennsylvania. This place of unimaginable horrors traps them all in a horrifying time loop where they’re murdered again and again. They must work together to survive without losing themselves in the never-ending time loop of gruesome murder.

UNTIL DAWN is nicely shot and paced well, with believable performances. However, the movie has a strong humanist worldview featuring gruesome violence, lots of strong foul language, and excessive gore. The violence includes psychopathic killers, people spontaneously exploding, stabbings, kidnapping, demonic possession, and more. The frequent dying over and over in the plot of UNTIL DAWN puts the sanctity of life into question. It forces the characters to conduct abhorrent and unacceptable immoral actions for survival.

(HH, Pa, C, O, Ho, LLL, VVV, S, M):

Dominant Worldview and Other Worldview Content/Elements:

Strong humanist worldview that twists the concept of modern psychology into a supernatural hellscape with unexplained time loops and reoccurring nightmarish horror filled with excessive violence and gore, but with unexplained pagan supernatural elements (such as a storm circling a house, the appearance of more buildings, the time loop itself, and many more), the time loop perverts the laws of mortality and implies that the consequences of violence, murder, suicide, etc., don’t apply, the psychologist controlling the time loop discusses the situation with modern psychology in vague circles meant to confuse and disorient the nature of the reality in which the victims are trapped, religion or God is not explicitly discussed, but there’s an unexplained cross in front of a house that isn’t explained and a character references the belief that a possessed person cannot become possessed through contact but rather weakness of faith, and some occult content where one woman is a self-described psychic and is into “woo-woo” stuff as another character describes it, she tries to amplify her psychic abilities with help from the others by holding hands and meditation, and she often has strong feelings and seems to have a sense the others do not have, but no worship or symbols are shown, plus a girl dating a guy is said to have previously dated a girl as well as other men;

Advertisement

Foul Language:

At least 101 obscenities (including 62 “f” words), two strong profanities mentioning the name of Jesus, and four light profanities;

Violence:

Very severe violence and gratuitous blood and gore throughout including but not limited to dead bodies, monsters, scarred masked psychopath, stabbing, beating, and people spontaneously exploding;

Sex:

Advertisement

No sex shown, but a person puts on a VHS tape and a pornographic movie is heard playing briefly but not shown, and a woman is said to date a lot of people and one time dated another woman;

Nudity:

No nudity;

Alcohol Use:

No alcohol use;

Advertisement

Smoking and/or Drug Use and Abuse:

No smoking or drugs; and,

Miscellaneous Immorality:

A psychologist is a callous antagonist whose motives are relatively unknown beyond having a morbid curiosity that led to awful experiments and playing games with other people, he purposely keeps people trapped for no known reason other than his sick and twisted observations that end in gruesome murder and unnecessary torture.

UNTIL DAWN is a horror movie based on a video game about a group of friends who find themselves trapped in a time loop, reliving the same night repeatedly with increasingly terrifying, fatal threats.
Advertisement

One year after her sister Melanie vanished without a trace, Clover and her friends look to find more information about her disappearance. Clues lead them to an abandoned mining town. This place of unimaginable horrors traps them all in a horrifying time loop where they will be murdered again and again.

UNTIL DAWN is nicely shot and paced well, with believable performances, but it has a strong humanist worldview overall with some occult elements is filled with gruesome violence, gore, lots of strong foul language, and a time loop that leads to an increasing amount of horrific murder and unacceptable immoral actions for survival.

The movie begins with a woman named Melanie clawing her way through the dirt with an unknown monster chasing after her. Digging her way out, she looks up to a masked psychopath standing over her with a scythe. She begs him, “No! Please not again. I can’t!” He fatally stabs her without a thought. It cuts to the main title, and an hourglass is shown with a ticking clock sound and unsettling music.

Cut to a group pf people in a red car driving up a winding mountain, an obvious nod to THE SHINING. It’s been one year after Clover’s sister Melanie vanished without a trace. The group consists of Max, Nina, Megan, Abe, and Clover. Shortly after their mother died, Melanie had decided to start a new life in New York. Clover decided to stay, which created tension between the sisters before Melanie left.

Clover and her friends are looking for more information about her disappearance. Their last stop is the last place she was seen in a video message taken in front of a middle-of-nowhere gas station. Megan, a proclaimed psychic, wants to join hands outside and see if they can feel any mystical energy regarding Melanie. Their attempt is cut short when an RV blares its horn and almost hits them, scaring them all.

Advertisement

Clover goes inside the gas station for a cup of coffee while the others talk outside. Clover asks the man behind the register if he worked here last year. After confirming he’s been working there for years, she shows him a picture of Melanie from the video. He asks if she was missing and clarifies saying that Clover is not the first to come asking. When she asks if many people around here go missing, he says people “get in trouble” in Glore Valley. As their only lead, the group decides to go there and stick together.

Nervously driving to the valley in an increasingly dangerous storm, the group begins to question what they are doing. Suddenly the storm stops but is still raging behind them. They park in front of a house with a “Welcome Center” sign, with the storm circling around the area but leaving the house dry. Confused, they get out of the car and look around. Nina decides to see if there’s anyone inside so they can come up with a plan. Everyone goes in except Clover, who walks up to the strange rain wall.

Inside the house, they find a dated and dusty interior. The power and water don’t work, and they conclude that they are the first people to come there in years. There is a strange hourglass with a skull on the wall. Checking the guest book, Nina finds Melanie’s name signed multiple times, with increasingly shaky handwriting. In another room, Abe finds many missing posters with faces on a bulletin board and finds poster with Melanie’s face.

Outside, Clover thinks she sees a person in the rain. She also hears Melanie’s voice and runs after it. Concerned, Max calls after her and he pulls her back in. As Nina signs the guestbook, the sun suddenly sets and the clock starts ticking.

Inside the house now with the hourglass turned over, they try to understand what’s happening. The car is out in the rain now with someone revving the engine threateningly. Some of them go to the dark basement, where the lights don’t work. There is an eerie sense of dread as Abe goes to check out a noise, and Nina finds a scarred and masked psychopath standing in a room as the top half of Abe’s body falls to the ground.

Advertisement

Hearing the commotion upstairs, the others go to see what happened and Max spots the killer. They run to hide, and the apparently invincible psychopath horrifically stabs each of them as they try to fight back. The sand in the hourglass runs back, as each character returns to where they were when Nina originally signed the book (she now signs it a second time). They remember what had just taken place, and how they were all murdered. Clearly stuck in this time loop escape room situation, they will now have to figure out how to escape this terrifying hellscape as the situations get worse with every loop.

UNTIL DAWN is nicely shot and paced well, with believable performances. However, the movie has a strong humanist worldview featuring gruesome violence, lots of strong foul language, and excessive gore. The violence includes psychopathic killers, people spontaneously exploding, stabbings, kidnapping, demonic possession, and more. The frequent dying over and over in the plot puts the sanctity of life into question. It forces the characters to conduct abhorrent and unacceptable immoral actions for survival.

Continue Reading
Click to comment

Leave a Reply

Your email address will not be published. Required fields are marked *

This site uses Akismet to reduce spam. Learn how your comment data is processed.

Movie Reviews

Assi Movie Review: Hard-hitting, horrifying, and heartfelt, this courtroom drama is impossible to ignore

Published

on

Assi Movie Review: Hard-hitting, horrifying, and heartfelt, this courtroom drama is impossible to ignore

Story: The courtroom drama follows a teacher, Parima (Kani Kusruti), who is brutally gang raped while returning home, and her lawyer Raavi’s (Taapsee Pannu) fight for justice. Beyond the horrific crime, it explores themes such as vigilantism, patriarchy, systemic corruption, and societal apathy that normalises sexual assault and crimes against women.Review: Director Anubhav Sinha’s title denotes the approximate number of rapes that take place each day in India — around 80. The film does not allow the viewer to sit comfortably with this statistic. Every 20 minutes, a reminder flashes on screen that another assault has occurred somewhere in the country during the film’s runtime. Alongside the alarming figure, the legal drama unsettles with its unflinching portrayal of how cruel society can be toward survivors.After Parima is violated, her male students joke about it in WhatsApp groups, while her husband Vinay (Zeeshan Ayyub) is pressured by his family to drop the case to “save honour.” Police corruption sabotages the investigation, victim-blaming becomes routine, and the accused display chilling apathy. They turn the crime into a game, with the loser buying beer; two of the four swap scarves in court to match their outfits, and one heads to a disco to party. Each culprit has a sister, girlfriend, or daughter — an irony the narrative quietly underscores.Parallelly, the story examines vigilantism through the rise of a ‘Chhatri Man,’ who begins targeting these rapists when the system fails. The film logically dissects the dangers of trial by media and mob justice. One of its most powerful moments sees Raavi’s face smeared with black ink by an irate supporter after she publicly speaks against vigilante justice. The success of any courtroom drama rests on the strength of its arguments and verbal sparring, and writer Gaurav Solanki delivers some of the sharpest exchanges through Raavi. Among the most heartrending sequences are her impassioned references to real cases, from infants assaulted to minors abusing an 80-year-old woman.Though hard-hitting, the narrative resists melodrama, making it more thought-provoking than sensational. It adopts a forward-looking stance through the children who appear during the proceedings, suggesting the need to sensitise the next generation. This is portrayed through the moving relationship between Vinay and his son, Dhruv. When Dhruv visits Parima in the hospital, Vinay quietly admits that the aftermath will follow them home anyway; there is no shielding a child from such a reality. Besides the legal battle, the narrative also has plot twists that will shake you to the core.Taapsee Pannu leads from the front here, embodying frustration, empathy, and even dry humour with finesse. Kani Kusruti is outstanding as a survivor attempting to rebuild her life. Revathy brings gravitas as the presiding judge, while Kumud Mishra leaves a mark with his layered performance. Zeeshan Ayyub’s restraint is moving.For its poignant storytelling, hard-hitting narrative, and fine performances, and to fully absorb the message it delivers, Assi deserves to be experienced in a theatre.

Continue Reading

Movie Reviews

“Crime 101” Is an Enjoyably Moody Exercise in Michael Mann Lite

Published

on

“Crime 101” Is an Enjoyably Moody Exercise in Michael Mann Lite

Those qualities bind him, in a spiritual sense, to Lou, who can’t suppress a quiet admiration for the criminal he’s pursuing, and also to Sharon, the insurance broker, who is unwittingly drawn into both men’s orbits. She’s investigating a claim filed by Sammy Kassem (Payman Maadi), a jewelry-store proprietor who was robbed by Davis, and soon she’s sparring verbally with Lou over the specifics of the crime. Later, Sharon and Lou will have a friendlier run-in at a yoga studio—a cautiously deployed SoCal cliché and a rare coincidence in a plot where connections and entanglements are otherwise quite plausibly mapped out. One way to read “Crime 101” is as a savvy, moderately sardonic corrective to Paul Haggis’s “Crash” (2005), in which various Angelenos are forever crossing and recrossing paths in ludicrously contrived fashion, and every fender bender is a cry of rebellion against the loneliness of life behind the wheel. “We crash into each other just to feel something,” someone says in “Crash,” and “Crime 101” comes close to redeeming even that heavy-handed sentiment. An accidental rear-end collision is what brings Davis and Maya together in the first place—and their ensuing relationship, though not without its bumps, sends the story on some of its more pleasurable curves.

Watching Davis and Maya gradually open up to each other—their first date begins at a chichi restaurant, which they quickly abandon for street tacos—you might be reminded of the characters played by James Caan and Tuesday Weld in “Thief,” Michael Mann’s Chicago-set thriller from 1981. Layton draws even more visual and narrative inspiration from “Heat” (1995) and “Collateral” (2004), the two exhilarating crime dramas that cemented Mann’s reputation as the reigning poet of nocturnal Los Angeles. More than once, “Crime 101,” shot by the director of photography Erik Alexander Wilson, grooves on the transfixing image of a freeway at night, backed up in both directions: two slow-moving rivers of light, one white and one red. It’s an obvious homage, but it works. The vistas are hypnotic to the point of drugginess.

There are other aesthetic Mann-erisms on display: in the gunmetal gleam of Wilson’s images; in the score, composed by Blanck Mass, which supplies an endless, infectious line of jittery propulsion; and in the car chases, which are unfailingly realistic and, as a consequence, astoundingly forceful. (When a car flips over mid-pursuit, your response will likely be not a whoop but a sharp intake of breath.) Yet the film’s greatest debts are less stylistic than philosophical: “Crime 101” is, like many a Mann movie, about the satisfactions and dissatisfactions of work. Davis, Lou, and Sharon all turn out to be detectives of a sort, each with a gift for quick-study discernment; they take an unmistakable pride in doing their jobs well and react defiantly when their employers fall short. Sharon, who’s spent years waiting to be made a partner at her firm, is repeatedly sidelined by corporate ageism and sexism. Lou is stymied by the matter-of-fact corruption of the Los Angeles Police Department, to the point of not even being able to trust his partner (Corey Hawkins). And Davis’s integrity puts him at odds with his longtime fence, Money (Nick Nolte, nice and growly as ever), who responds by enlisting the services of Ormon (Barry Keoghan), a platinum-blond thug on a motorcycle. Keoghan, with his flinty stare and wiry physique, is reliably cast as agents of chaos, and as Ormon he unleashes a level of violence that nearly tears a hole in the picture. You want him to die the moment he appears. Ormon’s rage isn’t just scary; it’s messy, unhinged, an affront to the smooth professionalism and sneaky compassion that Davis, Lou, and Sharon evince. For Keoghan, the role represents both a homecoming and a reversal: he starred in Layton’s previous feature, the docudrama “American Animals” (2018), in which he played an amateur crook of a rather more cautious, morally conflicted temperament.

Continue Reading

Movie Reviews

‘Pennum Porattum’ movie review: An absurdist satire that just escapes getting lost in its chaos

Published

on

‘Pennum Porattum’ movie review:  An absurdist satire that just escapes getting lost in its chaos

A still from Pennum Porattum.
| Photo Credit: SPECIAL ARRANGEMENT

Much like an out-of-control car hurtling down a crowded pathway, leaving utter chaos in its wake, there is really no moment at which actor Rajesh Madhavan’s debut directorial Pennum Porattum pauses to ponder. It occasionally takes detours to keep us abreast of the two parallel tracks through which the film conveys the same idea, but the pandemonium does not ease whichever path it takes.

Drawing its spirit from the subaltern, satirical art form of Porattu Nadakam, the movie attempts to put human behaviour under the lens in a fictional village somewhere in Palakkad. The lens it uses initially is that of an animal, the pet dog Suttu, who slowly realises some painful existential truths.

Pennum Porattum (Malayalam)

Director: Rajesh Madhavan

Cast: Raina Radhakrishnan, Rajesh Madhavan, Subhash Chandran, Shanooj Alanallur, Satheesh Pulikka

Runtime: 120 minutes

Advertisement

Storyline:A young woman and a pet dog turn victims of public rage in a village following unsubstantiated rumours.

The screenplay written by Ravi Sankar deals with how the entire village reacts to a very private communication between two individuals. A young man makes a proposition, which Charulata (Raina Radhakrishnan) promptly rejects. However, word gets to the villagers, and promptly a mob casts its judgmental eyes on the woman. Another mob is out to hunt the pet dog, following rumours of it being rabies-infected

In its setting and the subject that it handles, Pennum Porattum is reminiscent of Senna Hegde’s Avihitham and Thinkalazhcha Nishchayam. But this movie is a different beast, infused with manic energy. Absurd situations follow one another, with heightened humour. Exaggerated antics further wind up the quirkiness quotient.

In a confounding series of events inside a house where a celebration is taking place, two groups violently attack each other, only for them to arrive at an understanding leading to yet another bout of frenzied celebration. Just that the only one who can see through the absurdity of the whole drama is the woman at the centre of it all. Most of the fresh set of actors put up commendable performances.

ALSO READ: ‘Valathu Vashathe Kallan’ movie review: Jeethu Joseph’s film gets lost in a maze of its own creation

Advertisement

As we seen in experimental films, Rajesh Madhavan does falter once in a while when the attempts to create or maintain chaos become repetitive. Sequences stretch out beyond bearable limits, or things are done just for the sake of absurdity. But he manages to neatly tie it together in the end, so that what he intends to say through the film is not lost in the din.

Through the prologue and the closing sequences, he explicitly states the film’s politics by painting contrasting images of human and animal nature. With these borderline preachy sequences, the film hints at the universal themes that it is reaching for in its hyper-local setting. Rajesh Madhavan is successful to an extent in that endeavour, even though the film briefly loses its way.

Pennum Porattum is currently running in cinemas

Continue Reading

Trending