A flawed but entertaining Stephen King property from the ’80s is turned into dimly lit, poorly written CGI capeshit.
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Jane Schoenbrun’s creepypasta opus is driven by an uncanny grasp of what makes the medium so effective, featuring two powerhouse performances and seamless transitions between found footage, Screenlife, and conventional filmmaking. It’s dynamite.
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The lack of a clear primary protagonist, poor integration of witchcraft elements, and a compromised would-be bombshell in the third act combine to limit the impact of the film’s important message and suitably oppressive mood.
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Buoyed by a pair of strong lead performances and a beguiling opening act, tonal issues nonetheless cause the film to stumble a bit as it builds toward and reaches its climax.
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While the film tries to grapple with important themes – the cyclical nature of violence and the hardships of the immigrant experience – an utter lack of suspense and a script allergic to subtext leave the whole endeavor dead on arrival.
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After nearly a decade away from the genre, Ti West still builds tension as well as anyone in the business, but old people having sex isn’t quite as repulsive as he wants it to be.
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Period creature-feature goodness and an interesting twist on the mechanics of lycanthropy are diminshed by pacing issues, a sometimes-drab color palette, and some questionable choices about the film’s Roma pseudo-antagonists.
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Leatherface’s mask not actually being leather is only like the 17th-worst thing about this movie, which gives you an idea of how thumb-fingered it is.
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Ben Wheatley’s best film since Kill List is a trippy folk horror nightmare, with strong performances all around.
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The latest entry in the long-running franchise is not entirely without merit, but enduring all of the “requel” discourse is about as much fun as watching Reddit projected onscreen for 114 minutes.
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