With Escape from Tomorrow, one fears the story behind the movie would loom larger than the movie itself. Luckily, that is not the case. After all, it opens with a decapitation on Disney World’s Big Thunder Mountain Railroad roller coaster.
William Friedkin spends a lot of time in his 2013 memoir discussing why Sorcerer didn't click with critics and audiences even though he believes it to be better than his previous film, The Exorcist. Now that Warner Home Video has reissued Sorcerer on Blu-ray, we can see what Friedkin's fuss is all about.
Welcome to the coastal resort of Broadchurch, population … oh, who can keep track, what will all the corpses? Yes, Broadchurch is yet another British television procedural involving the search for a murderer in a quaint little town, just like the limited series The Fall and Top of the Lake.
Essentially part five in the ridiculously profitable horror franchise, Paranormal Activity: The Marked Ones continues the found-footage conceit of the other films. The difference is instead of the scares taking place in rich white suburbia, they do so in a junky apartment complex on a largely Latino side of Oxnard, Calif.
In general, I prefer the films of Guillermo del Toro that he doesn’t
direct (“The Orphanage,” “Splice”) to the ones he does (particularly
“Hellboy” and its sequel). That holds true for “Don’t Be Afraid of the
Dark,” which he only co-wrote and co-produced, ceding the director’s
chair to newcomer Troy Nixey.
But let’s give credit where credit is due: This is a remake of a fondly remembered, made-for-TV movie in 1973. Although effects have come a long, long way, baby, I still prefer the original.
Living underneath the new-to-them Rhode Island mansion of architect Alex (Guy Pearce, “Animal Kingdom”); interior-designer girlfriend Kim (Katie Holmes, TV’s “The Kennedys”); and his daughter, Sally (Bailee Madison, “Just Go with It”), are demons. Little, hairy demons who live for hundreds of years and crave children’s teeth.
In its first half, the movie is sufficiently creepy, holding two good jolts (albeit due to the increasingly lazy practice of really loud sounds on the soundtrack). But plot holes as large as the house keep it from being this season’s “Insidious.” To reveal minor but ultimately insignificant spoilers, at no time does Sally, who’s the only person — still alive, at least — to see these creatures, demand that adults look at her proof. She takes Polaroids of them she could shove into her father’s face, but doesn’t; she even kills one by smashing it between two bookshelves, yet fails to inform the room crowded with adults of the resulting mess, much less the disembodied appendage on the floor in front of them.
I also could have done without its drawn-out, pointless epilogue, thus neutering the balls of its climax. So toothless does it become that its title continually reminded me of Edgar Wright’s hilarious fake trailer, “Don’t!,” stuffed in the middle of “Grindhouse.”
The lone victor of the experience is young Madison. Now all of 11, she gives quite a grown-up performance, free of the amateurish tics of most child actors. But I was also distracted by how much she looks like Holmes, yet isn’t playing Holmes’ daughter. The resemblance is uncanny; that it’s yet another “duh” moment that del Toro and company missed is baffling. —Rod Lott