When Disney released Halloweentown in 1998, it’s safe to say no one imagined how believed the Disney Channel Original Movie would be over twenty years later. It wasn’t a spooky film, and sometimes the acting was subpar, but there was something charming about the film and the inclusion of the iconic Debbie Reynolds as a witch didn’t hurt, either. A town with a supernatural secret. And an evil determined to take over the world if a young girl and her family don’t do something to stop it. Simple enough plot, right? Sure, but it was a charming movie that continues to delight even now. And Netflix’s latest movie, The Curse of Bridge Hollow feels like it could become the streaming giant’s Halloweentown.
The Curse of Bridge Hollow focuses on Sydney and her family as they move from Brooklyn to a small town called Bridge Hollow. It’s a safe small town, which Syd’s mother adores. For Sydney, though, she quickly finds herself enthralled by the town’s love of Halloween, especially as her father has always refused to let the family celebrate it. After hearing a rumor that her new house is hunted, Syd sets out to find the truth and ends up unleashing chaos upon the small little town.
Here’s the thing, there’s nothing super special about The Curse of Bridge Hollow. The plot is simple, the acting is sometimes so-so, and the writing can leave something to be desired. But! It’s a delight that families are sure to eat up. A charming tale of a daughter and her father as they uncover supernatural secrets of their new town? Perhaps it’s not the easiest of sells, especially when that father despises Halloween, but Marlon Wayans and Priah Ferguson are a dynamic duo. The movie’s tone feels reminiscent of Halloweentown, and that’s far from a bad thing. In fact, like that Disney movie, Bridge Hollow isn’t trying to be a masterpiece, it’s simply trying to entertain, and it does so with ease. Those looking for a spooky Halloween title will be disappointed, but those in search of something more light-hearted with an occasional thrill with delight in Bridge Hollow.
The Curse of Bridge Hollow knows what it wants to be and thrives on its willingness to let loose. It doesn’t try to take itself seriously, and it’s a refreshing change of pace. There are some legitimately creepy character designs – let’s just say Clowns – but most of the haunted decorations are family-friendly. Kids will adore this Halloween movie that feels like a classic in the making. It’s far from perfect, but the occasional hiccup is acceptable with a movie that understands how to have fun.
Those with children should definitely give The Curse of Bridge Hollow a watch as Halloween nears.
Back in June 2009, the Slender Man seemed to be everywhere. Social media. The local news. Schools. It was the big thing for parents to focus on, and it unfortunately gained life outside of the internet when some students took it too far. Hollywood being Hollywood sought to turn the internet meme into a film almost nine years later, and it wasn’t the hit Screen Gems had hoped it to be earning just $51.7 million at the worldwide box office. Fast forward to 2022. While Slender Man seems to be a thing of the past, Grimcutty seems eager to take its place – for better or worse. The latest horror offering from Hulu is what happens when social media memes and YouTube fads are tossed into a blender in the hopes of making something halfway decent only to leave behind a horrible tasting mess.
Grimcutty, like Slender Man, centers on an online story that quickly becomes a meme. There’s no real explanation as to what caused the Grimcutty, but it’s clear that the parents are terrified of it and willing to do whatever is necessary to protect their kids – even if it (up until that point) hadn’t been an actual issue. Like in real life, the story is driven by hysteria. Parents are terrified of what their kids might do themselves as part of the Grimcutty challenge, something even the kids seem to be unaware of, and quickly begin circulating the story amongst themselves and coming up with a plan to make use of a detox box thanks to a mommy blogger. Because if there’s one way to stop an internet monster, it is to stash all electronics in the detox box… but only if they belong to the kids. As ridiculous as it is, Grimcutty does a pretty bang-up job at capturing the way stories spread online can result in mass hysteria. Nonsensical? Absolutely. But believable? Oh, very much so.
The problem is, though, is that Grimcutty fails on pretty much every other aspect. It tries to be smart; it tries to be witty, and it tries to make its monster terrifying. But Grimcutty is a CGI mess that isn’t any more terrifying than Jack Skellington. It’s hard not to laugh when there’s a computer-generated mess zombie walking toward its victims with a knife in tow. If the script is weak, at least ensure the monster is terrifying enough to make it worthwhile. At least then Grimcutty might’ve been a halfway decent horror movie about social media consumption and learning not to believe in everything posted online. The internet is where kids spend a lot of time these days thanks to school, YouTube, video games, etc. so it makes sense to use the internet as the springboard for the lore. It really does. But then it goes off course, really fast.
Because this is a movie meant to tackle social media and the internet… it was apparently determined it wouldn’t be complete without incorporating ASMR videos into it because, well, internet. Perhaps the most frustrating part of Grimcutty is that it tries to tackle too much regarding trends instead of attempting to build a solid lore concerning its big bad. That’s one thing the film fails miserably at. Grimcutty doesn’t have a solid story foundation. It simply becomes a picture spread around online and, only after hysteria and internet searches regarding it, does the character appear with a knife. What caused it? Who created it? Why is it only visible to some? Is it only impacting a local area or is it worldwide? These are all basic questions that, had they been addressed properly on screen, would’ve made Grimcutty a far more enjoyable film. As it stands, though, Grimcutty is an utter mess that fails to scare or thrill.
Some of the worst horror films often go on to have a cult following. Grimcutty will not be one of those films. There’s bad, but enjoyable, and then bad and unwatchable. Grimcutty falls into the latter category. Those looking for something mindless to keep on in the background might be willing to give it a shot. Otherwise, turn away. Go watch the excellent Hellraiser reboot instead.
There are few stories known as worldwide as that of Romeo and Juliet. The story of star-crossed lovers has been adapted countless times and referenced even more, and yet, despite the age-old story being so familiar, Hollywood still seems keen to try and find new ways to tell it. Enter Rosaline. Inspired by the book When You Were Mine by author Rebecca Serie, Rosaline offers a new spin on the romantic classic. This time around, it’s not Romeo and Juliet that take centerstage, but rather Juliet’s cousin, Rosaline – Romeo’s former lover.
Rosaline, which is a comedic retelling with modern influences, stars the excellent Kaitlyn Dever as the titular character. Despite their warring families, Rosaline has found herself falling for Romeo Montague, although she knows her family can never know of their love. Little does she know, though, that her love has found himself smitten with someone else: her cousin, Juliet. And it’s not just puppy love, either. Gone are Romeo’s playboy ways as he spends his days chasing after Juliet and only Juliet. Eager to win back Romeo, Rosaline seeks to ruin things between Juliet and Romeo resulting in a chaotic love story that proves love is capable of driving us all a little mad.
When it comes to Rosaline, Dever is easily the best part of the film and it’s clear she’s having a blast as the mischievous Rosaline. And while her on-screen chemistry with Romeo (Kyle Allen) is nearly non-existent, Dever is electric alongside Sean Teale‘s Dario. Every moment the duo share on screen is captivating; their dynamic is excellent and complements the less impressive relationship between Romeo (Allen) and Juliet (Isabela Merced). It’s hard to buy these two as Romeo and Juliet; they lack any kind of spark. Thankfully, even with sometimes stilted performance, what truly sells this take on the classic story is that the cast – or rather, most of the cast – is so willing to lean into the material. It takes more than simply adding modern bits to make something unique. Without a cast committed to the material, Rosaline would not have worked.
While set in the renaissance era, Rosaline is very modern – from the language to the behaviors of its characters and the social standards, this isn’t the Romeo and Juliet story viewers are used to. Driven by modern music and a leading lady unwilling to give into society’s expectations of her, Rosaline is a delight to watch. Even more impressive, though, is that while Romeo and Juliet are featured in the film – the story we’ve come to know isn’t the story that plays out here. It’s far more realistic and entertaining, and it ultimately helps to drive Rosaline’s story forward.
All in all, Rosaline is a breath of fresh air. It’s emotional, romantic and simply fun. Those eager for a fresh new take on the Romeo and Juliet lore will want to check out Rosaline. Dever delivers a hell of a performance as the titular character and Karen Maine (Yes, God, Yes) is a director to watch.
Editor’s Note: Luckiest Girl Alive features many triggering topics, including sexual assault and gun violence.
When a book becomes a best-seller these days, it’s often followed by news that it has been optioned for film or television. So, it wasn’t too surprising then when the 2015 New York Times Bestseller Luckiest Girl Alive was optioned for film. Unfortunately, though, not every book is meant to be adapted in other forms of media. Luckiest Girl Alive seems to be one of those titles.
Luckiest Girl Alive is based on the novel of the same name by author Jessica Knoll. It tells the story of TifAni “Ani” FaNelli and her mysterious past at the prestigious Bradley School. After being bullied and humiliated during high school, Ani sought to reinvent herself in adulthood, crafting a perfect life with a notable job, an expensive wardrobe, and a handsome bluebloods fiancé. Except, she has a big secret that could easily destroy it all. In the Netflix adaptation of Luckiest Girl Alive, Mila Kunis stars as adult Ani and Chiara Aurelia (Cruel Summer) as young Ani. The movie switches back and forth between past and present as viewers slowly begin to learn more about the secret(s) that Ani is hiding from those around her.
Luckiest Girl Alive isn’t a film for everyone. The constant switching between past and present can be rather frustrating, and the narration isn’t much better. And it’s at no fault because of the cast – they do their best with the material provided to them, especially when it comes to Kunis. From anger to charm, Kunis perfects Ani’s character. Although Ani is often insufferable, Kunis is great and makes the film watchable. While the first hour admittedly drags, the final forty minutes or so manages to redeem itself. It’s not an easy watch given the subject matter. Sexual assault is something that occurs daily in our world and is often ignored despite victims coming forward. If there’s one thing Luckiest Girl Alive does correctly is it tries to capture the harsh reality victims often face.
The decision to have Knoll pen the screenplay for the film was probably both good and bad. Knoll knows her characters, and she knows Ani’s story better than anyone. Unfortunately, though, the movie does often feel bogged down. It’s one of those instances where having Knoll work with a more experienced screenwriter could’ve been beneficial. Director Mike Barker, who has directed episodes of The Handmaid’s Tale and Broadchurch, does a good job directing Luckiest Girl Alive, although there were some questionable choices made when it came to lingering on some of the more graphic scenes.
While Luckiest Girl Alive isn’t necessarily a bad film, it’s not exactly great either. Kunis deserves plenty of praise for her performance. She’s excellent in a role that could’ve otherwise been one note. The problem is Kunis can only carry the project so far; the script is uneven and the constant switching between past and present is frustrating. While it’s vital to understand Ani’s past before we can truly understand her as an adult, the transitions were not handled all that well and it often felt like a bad case of whiplash. Those that loved the book? Luckiest Girl Alive is a faithful adaptation thanks to Knoll. Those unfamiliar with the novel, however, might struggle to retain interest.
The original Hellraiser movie is easily one of the best horror movies of all time. It’s a terrifying concept that focuses on a mysterious box and sadistic creatures known as cenobites. On paper, the concept of Hellraiser is a simple one, a mysterious box that opens a portal to hell. And yet, it’s so much more than that. It’s ultimately about the sacrifices we’re willing to make in order to achieve our own hopes and desires. What made the film the excellent horror movie that it truly was, though, was Doug Bradley‘s Pinhead who managed to be hauntingly captivating. He’s terrifying, and yet, commands every second he’s on the screen. So, how does Hulu’s Hellraiser reboot stack up against the original? It’ll never be able to replace the original movie, but Hulu’s Hellraiser reboot is a reboot done right.
At a time when it has become normal to see countless reboots of classic horror movies, it’s exciting to see one done properly. From a tight and emotional story to an excellent cast, this Hellraiser delivers on all fronts, especially when it comes to the casting of Jamie Clayton. For those only familiar with Clayton from Sense 8, they might be cautious regarding her casting. Worry not, though, Clayton is absolutely terrifying as The Priest. From her tone to her movements and her expressions, Clayton stuns.
This new take on Hellraiser starts off with a meeting between an older woman and a seemingly lost male, as they meet in a private location to finalize a deal they’d made. As we soon find out, however, the male was meant to be sacrificed and the woman knowingly led him to his fate at the hands of the cenobites. (It is of note that none of this is really a spoiler.) The film then jumps forward in time and, we get to meet the film’s true protagonist, Odessa A’zion‘s Riley. Having made mistakes in her life, Riley is trying to get back on course and right her wrongs. Unfortunately for her, though, not everyone around her is so sure she’s capable of doing so. In her drive to do better, Riley will soon find herself face-to-face with a mysterious puzzle box that will change her life forever.
A’zion is a star in the making. She plays off of Clayton’s Priest perfectly. The moments they are on screen together are terrifying and will keep audience members glued to the edge of their seats. The rage, the anger, the pain — Riley goes on such an emotional journey throughout Hellraiser and A’zion rises to the challenge with ease. A’zion is an actor to keep a close eye on going forward.
Hellraiser is easily David Bruckner‘s biggest title to date, and one can only hope he earns more chances to tackle other horror stories in the future. There’s a sense of honor and appreciation of the Hellraiser films before it, which ultimately helps to sell a film that would’ve otherwise seemed unnecessary. Did Hellraiser need a reboot? Probably not. Is Hulu’s Hellraiser worth a watch? Abso-freaking-lutely.
One final note: For those unwilling to accept Clayton as Pinhead, aka The Priest, it is of note that in the books the films are based on, Pinhead is described as having a girlish voice. So, yes, while the character is mainly described as androgynous, there are bits that suggest The Priest is female. “Its voice, unlike that of its companion, was light and breathy—the voice of an excited girl. Every inch of its head had been tattooed with an intricate grid, and at every intersection of horizontal and vertical axes a jeweled pin driven through to the bone. Its tongue was similarly decorated.” Those avoiding the film simply because they’re unwilling to accept The Priest as being female? They’re only keeping themselves from enjoying a damn good reboot.
1993’s Hocus Pocus is a film that has unquestionably grown on people in the 29 years since its debut. Not well-received by critics at the time, audiences have come to embrace the film as an annual Halloween movie must-see. Whether its the over-the-top nature of Bette Midler’s performance, the quotability of it (“I smell children!), or simply the 90’s nostalgia dripping from the film, Millenials love it and have been pining for a sequel for the better part of three decades.
And after several starts and stops and rumors and failed attempts, Disney found the right time and the right place to unleash the Sanderson sisters once again in Hocus Pocus 2, a sequel that’s not only worth the wait but also a stronger film than the original. Directed by Anne Fletcher (27 Dresses, The Proposal) Hocus Pocus 2 smartly retains the loveable pieces of the first film’s DNA and upgrades it by telling a more coherent story that serves as both the heart of this film and retroactively makes the plot of Hocus Pocus a little more digestible.
Following in the footsteps of Hocus Pocus, the sequel opens in 17th-century Salem; however, in what turns out to be maybe the most important choice the creatives behind it made, the audience is introduced to Winifred, Sarah, and Mary as children, with Winifred acting as the guardian of her two sisters. And while the younger versions of the Sanderson sisters are already displaying their trademark traits, they’re not yet the monstrous, child-eating coven of witches they’ll turn out to be. Rather they are a group of young girls without parents who the town has grown to disapprove of, especially Winifred, whose family unit is threatened to be torn apart by the Reverend Traske. A distraction allows the young Sandersons to escape and leads them to the Forbidden Woods where they meet the Mother Witch who introduces them to Book and sets them on the path to becoming the witches hanged in Salem years later.
For all the laughs they gave audiences in the first film, the choice to go deeper into the past of the Sanderson sisters allows the audience to empathize with them, possibly for the first time and serves as an investment into an emotional arc that pays dividends in the film’s third act. The young Sanderson’s trip into the Forbidden Woods forges a bond between them and with the audience and interestingly deepens the mythology of what now looks like it might just be primed for a run as an expanding franchise.
The same Salem woods that serve to tell the true tale of the Sandersons also work as the primary setting of the present-day part of the tale. With the events of 1993 so far in the past, the true nature of them has been forgotten and the Sanderson sisters are looked at as a fun part of the local lore, with a Sanderson cosplay contest part of Salem’s Halloween celebration and a spooky store, run by Sam Richardson’s Gilbert, all coming into play over the course of the plot. Anchoring the events of the present are a trio of friends, Becca (Whitney Peak), Izzy (Belissa Escobedo), and Cassie (Lilia Buckingham) whose transition to high school has put a strain on their status as lifelong besties. Their struggles to stay close come to a head on Becca’s birthday, which happens to fall during a full moon on All Hallow’s Eve. Gilbert’s birthday gift to Becca sets the Sandersons free in Salem where they definitely want to hunt down more virgins and eat more kids, of course. However, the sisters also seek revenge on the Traske family who set them on their path to becoming monsters over 300 years ago.
And so the stage is set for another Halloween adventure, much like the events of the original Hocus Pocus, but whether it’s because it’s shiny and new or because it’s a more well-developed script, Hocus Pocus 2 plays as a much more charming, magical, heartfelt and easier-to-watch film than the original. The best fun, of course, comes from seeing Bette Midler, Sarah Jessica Parker and Kathy Najimy return as the Sanderson sisters, but it doesn’t come across as cheap fun and doesn’t seem to wear off as the film moves on. If fact, an argument can be made that the trio, especially Midler, bring something extra to the trio this time around. Yes, they revisit old jokes (when there aren’t enough brooms to fly, a Swiffer and some Roombas will do) and bust out a couple of musical numbers, but nothing here FEELS old or unearned. They even find enough for Doug Jones to do as Billy Butcherson to make his appearance more than just nostalgia for nostalgia’s sake
And ultimately, “more than just nostalgia for nostalgia’s sake” is probably the best way to describe what’s so wonderful about Hocus Pocus 2. Much like Top Gun: Maverick (settle down, I’m not comparing the quality of the movies here), Hocus Pocus 2 brings back familiar characters to a familiar setting to tell a somewhat familiar story, but also breaks new ground by choosing to spend a little more time developing the characters and drawing out what, in this case, probably should have always been the core of the story of this coven of witches: they are all each of them has. It seems that in taking its sweet time to deliver on the sequel, Disney stumbled into a Goldilocks goldmine in terms of timing: after Top Gun: Maverick and ahead of Avatar: The Way of Water. And while Hocus Pocus 2 won’t have a box office total and won’t be talked about as one of the best films of all time, its rewatchability is going to be pretty high and bring it back into the conversation every Spooky Season, just like its predecessor.
Hocus Pocus 2 will stream on Disney Plus beginning September 30th.
When we here at Murphy’s Multiverse exclusively revealed that Rob Zombie was working on a reboot of The Munsters, it’s safe to say hopes were high. After all, the reboot has long been a passion project for the musician and filmmaker. Unfortunately, there’s nothing redeeming regarding this reboot.
The Munsters, of course, focuses on the Munster family. Lily, a 150-year-old vampire, is eagerly looking for the man of her nightmares. While her father, The Count, has her idea of the type of man she should go for, Lily soon finds herself drawn to Herman, a seven-foot-tall, green experiment much to her father’s dismay. As the duo get to know one another, they quickly fall in love and seek to get married, they’ll soon encounter plenty of hijinks along the way. It’s a simple enough story, but one that doesn’t warrant a reboot.
It’s frustrating because Zombie has been trying to make The Munsters for some time now. His love of the original and his drive to make the film should’ve produced something of quality. Instead, fans are treated to a film that looks like it was crafted for television — it’s shot cheaply and there are moments when the cinematography is downright terrible. To put it in better terms: It looks like an episode of Doctor Who from ten years ago.
There are two areas in which The Munsters kind of succeeds. The set design is pretty great. There’s no denying the set is constructed to capture the campiness of the original television series. The film also does a great job of not forgoing the absurdity of the original series. Sadly, though, that’s about as interesting as this reboot manages to get during its 110-minute runtime. It often drags, lacking any sort of charm or true purpose. It doesn’t help, either, that Zombie insists on using the same core cast for most of his films. It’s unfortunate enough that the screenplay is weak, but to make matters worse, the cast is subpar. Sheri Moon Zombie and Jeff Daniel Phillips are both severely miscast.
Moon Zombie and Phillips admittedly both try to deliver good performances. The problem is they’re both simply out of their leagues on this one. They seemed to have been cast out of convenience rather than skill. And while it does work for some of Zombie’s other films, in this case, though, the filmmaker played it too close to the chest. This take on a classic like the Munsters could’ve benefited from someone else tackling the screenplay and an A-List cast.
The Munsters is meant to be light-hearted and campy. It’s meant to be exciting, keeping audiences on the edge of their seats. Sadly, Zombie’s The Munsters is simply a snooze fest that is best to avoid. You’ll be counting down the minutes, questioning what the purpose of this reboot truly was, all while growing frustrated you wasted the time to check it out.
A good psychological thriller can have audience members on the edge of their seat from the very beginning until the very end. The problem is, developing a good psychological thriller isn’t easy, especially when the story takes a bit to get going. The Infernal Machine isn’t a bad movie by any means, but it struggles to get going until well-beyond the midway point of the film.
The Infernal Machine stars the always great Guy Pearce as author Bruce Cogburn. Following the success of his one and only novel, Cogburn becomes a recluse after a controversial event involving his novel, The Infernal Machine. He’s no longer interested in being known as the famous author, and despite pleas for a follow-up, Cogburn seems to have nothing left in his to write another title. In the beginning, it’s a bit unclear what the controversy is that surrounds his book, but that seems to take a backseat to what appears to be an obsessive fan. Day after day, packages and letters show up at Cogburn’s residence, even though only a handful of people close to him know where to find him. The obsessive fan isn’t shown, but their presence is felt throughout the film. On one hand, the decision to forgo showing the fan is a smart one. On the other hand, however, it makes the ending all the more frustrating as it becomes rushed.
The movie is a slow burn. It’s in no rush to unravel truths and lies for audience members. Which wouldn’t be so bad, except it often feels like it is repeating itself. There are only so many times the film can focus on Cogburn in a telephone booth trying to reach the obsessive fan. It becomes tiresome after a while. It isn’t until Saul is introduced that the film seems to regain its footing. It’s frustrating because Pearce does deliver a hell of a performance. He captures the anxiety, fear and anger necessary to portray the role of Cogburn perfectly. But there’s only so much Pearce can do to carry an uneven story.
Like most indie films, the cast of The Infernal Machine is a small one. Pearce is, per usual, a highlight. Unfortunately, the same cannot be said for Alice Eve or Alex Pettyfer. Eve isn’t necessarily bad, but her character often feels underdeveloped. While Pettyfer simply feels miscast. His scenes with Pearce are startling because Pearce manages to act circles around the young actor. He simply did not have the skills needed to play the role of Dwight Tufford. The role isn’t a large one, but the moments Pettyfer pops up on screen seem to drag the film down a notch. He’s just not captivating enough to play such a morally corrupt character.
The ending is where The Infernal Machine shines. It’s a corrupt story that doesn’t shy away from ugly truths. Every moment of the third act is full of pulse-pounding moments. Is it perfect? No. Is it well-crafted? Yes. It’s only a shame the rest of the film couldn’t maintain this level of quality throughout.
For those looking for an action-packed thriller, The Infernal Machine is probably not the right type of film. However, those looking for a slow-burn with a surprising twist ending? Well, The Infernal Machine is worth a watch.
Allison Janney might’ve kicked off her career back in 1989, but her star has only continued to rise in recent years thanks to roles like Bonnie in Mom and Margaret Scully in Masters of Sex. And now, Netflix’s Lou looks to let Janney shine in brand new ways, turning the usually comedic actress into an action hero in her own right.
Lou tells the story of Janney’s Lou, a mysterious woman who spends her days with her dog, Jax, hunting in the nearby woods and renting out a nearby property to a single mom named Hannah (Jurnee Smollett). Very little is known about Lou at first. In fact, it isn’t about until the half-hour mark that the mysterious layers of Lou begin to be unraveled. She’s a tough as nails woman who doesn’t mince her words. Outside of Jax, she seems incapable of caring about anything or anyone, but when Hannah’s daughter mysteriously disappears during a major storm, Lou steps in to help without little to no questions asked. What soon unfolds is a story of troubled pasts and how far people are willing to go to right their wrongs.
Lou is a character that, had she been written poorly, could’ve easily been one-note, but Janney excels in tackling this multi-layered character. She’s flawed and doesn’t shy away from her mistakes, but she’s also driven by guilt and love. Her actions might be unorthodox, but she always succeeds in doing what is right, no matter the cost. Janney is perfect casting and her on-screen chemistry with Smollett is fascinating. The two characters could not be more difficult from one another, and yet, the moments they share on screen are some of the best in the film. More impressive is how well the ladies work off of Logan Marshall-Green, who delivers yet another terrifying performance as the mysterious Peter. It’s such a small cast for such a massive story, and the three actors help to sell this action flick with such ease. From the emotional moments to the big action moments, Janney, Smollett and Marshall-Green are a top-notch cast that deliver a hell of a film.
It’s honestly a bit frustrating that Lou is going straight to Netflix because this is the type of film that deserves to be seen on a large screen. It’s fast-paced and action-packed, and will surely keep viewers on the edge of their seats. Yet, despite the film being a blast, the cinematography in Lou is hit or miss. More often than not, it leaves something to be desired. While the island is meant to be dreary and dull, the imagery doesn’t always match the tone of what is occurring onscreen. Thankfully, this is a very minor problem and during the action sequences, the fights are shot with a skilled eye which makes them more enjoyable.
Honestly, the only bad thing about Lou is the film’s name. It’s not really memorable, nor does it really offer much intrigue for those unsure whether to give the film a chance. It’s all the more frustrating because this is clearly meant to be the start of a potential franchise. Lou isn’t a catchy name compared to the likes of John Wick or even Atomic Blonde.
All in all, Lou is a thrilling action movie that is worthy of a watch.
It’s hard to imagine, but before Thor: Love and Thunder, Jennifer Kaytin Robinson first made a name for herself with the MTV series, Sweet/Vicious. The short-lived series was critically acclaimed and focused on two girls named Jules and Ophelia who set out as wannabe vigilantes to make abusers on their college campus pay for what they’ve done. Robinson would then go on to direct a romantic comedy titled Somebody Great for Netflix which saw the film’s leading lady seek one last adventure with her best friends as she struggles to deal with a breakup. All of these projects have one central theme at hand: female friendships. It’s one of Robinson’s strongest abilities as a writer – it’s something that we even get to see in Love and Thunder with Jane and Valkyrie. However, Do Revenge might just be Robinson’s best effort yet.
If one were to judge Do Revenge simply by the film’s trailer, they’d more than likely bill it as yet another teenage drama. But that isn’t necessarily the case. It’s so much more than that. The film centers on Drea (Camila Mendes) and Eleanor (Maya Hawke), two students who seemingly have nothing in common but will soon find they’re all they have. Simple concept, right? Sure, but what Robinson manages to do with said concept is impressive. Drea is an IT girl – she’s dating the most popular guy at school, she has three friends who follow her every command and she’s on track to get into Yale. Unfortunately, just as things seem to be going perfectly for Drea, everything seemingly falls apart. Enter Eleanor. She’s the complete opposite of Drea. After a traumatic event, she struggles to fit in and make friends and she’s eager to try to move beyond her past. At least, until she meets Drea.
As the title would suggest, both girls are on a mission for revenge in the film. This is where Do Revenge begins to pull from Robinson’s work on both Sweet/Vicious and Someone Great. It shouldn’t work as well as it does, and yet, Do Revenge is a movie full of thrilling surprises. This isn’t just another teen movie. It’s about friendship, identity and growth. There are some serious issues addressed in Do Revenge, and while admittedly handled with a lighter tone than perhaps required, Robinson and Celeste Ballard (Sweet/Vicious) don’t shy away from the screwed-up way society responds to such screwed-up scenarios in the end.
Mendes and Hawke are fantastic in Do Revenge. They have such good chemistry on screen that it helps sell the relationship with ease. For those only familiar with Mendes from Riverdale, Do Revenge is proof that she’s capable of more than the CW series has shown her to be capable of doing. She’s great in the film overall, but she truly shines when it comes to the emotional moments. While Hawke steals the show from the moment she arrives on screen. Much like her father, the young actress has a magnetic presence on screen, and she slips into the role of Eleanor with skill. Of all the characters featured in the movie, it is Hawke’s Eleanor that goes on the most rewarding journey and it’s hard to imagine another young actress that could’ve successfully tackled the role as well as Hawke. She’s fantastic.
That isn’t to say the film isn’t without its faults. While a fun watch, sometimes, Do Revenge fails to properly handle the traumatic storylines it introduces. When the tone should be more serious, Do Revenge takes a more comedic approach. Thankfully, by the movie’s end, the film does get itself back on the right path, but those bumps in the third act? They are quite uncomfortable and hard to ignore while experiencing them.
Overall, Do Revenge is a good story about female friendships and the many issues women face in society. It’s campy at times, but in those moments when the film is sure of itself and its characters? It shines brightly. Revenge might not always be the answer, but in this case, it is best to Do Revenge.
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Name
Description
Duration
Cookie Preferences
This cookie is used to store the user's cookie consent preferences.
30 days
These cookies are needed for adding comments on this website.
Name
Description
Duration
comment_author_email
Used to track the user across multiple sessions.
Session
comment_author_url
Used to track the user across multiple sessions.
Session
comment_author
Used to track the user across multiple sessions.
Session
Statistics cookies collect information anonymously. This information helps us understand how visitors use our website.
Google Analytics is a powerful tool that tracks and analyzes website traffic for informed marketing decisions.
Contains information related to marketing campaigns of the user. These are shared with Google AdWords / Google Ads when the Google Ads and Google Analytics accounts are linked together.
90 days
__utma
ID used to identify users and sessions
2 years after last activity
__utmt
Used to monitor number of Google Analytics server requests
10 minutes
__utmb
Used to distinguish new sessions and visits. This cookie is set when the GA.js javascript library is loaded and there is no existing __utmb cookie. The cookie is updated every time data is sent to the Google Analytics server.
30 minutes after last activity
__utmc
Used only with old Urchin versions of Google Analytics and not with GA.js. Was used to distinguish between new sessions and visits at the end of a session.
End of session (browser)
__utmz
Contains information about the traffic source or campaign that directed user to the website. The cookie is set when the GA.js javascript is loaded and updated when data is sent to the Google Anaytics server
6 months after last activity
__utmv
Contains custom information set by the web developer via the _setCustomVar method in Google Analytics. This cookie is updated every time new data is sent to the Google Analytics server.
2 years after last activity
__utmx
Used to determine whether a user is included in an A / B or Multivariate test.
18 months
_ga
ID used to identify users
2 years
_gali
Used by Google Analytics to determine which links on a page are being clicked
30 seconds
_ga_
ID used to identify users
2 years
_gid
ID used to identify users for 24 hours after last activity
24 hours
_gat
Used to monitor number of Google Analytics server requests when using Google Tag Manager
1 minute
Marketing cookies are used to follow visitors to websites. The intention is to show ads that are relevant and engaging to the individual user.
Pinterest Tag is a web analytics service that tracks and reports website traffic.
