The Fountain of Youth? No desire to get there. Going through all that crap again?
(it’s the same as the eternal life thing. Honestly, would anyone be capable to stand more than, say, 127 years of all this rubbish? Always good to know that it’s going to end one day 
)
If you’re still trying to achieve this, don’t forget: “Only the penitent man may pass!” 
Researching for a possible haunted hause project I saw a rather popular film for the first time, somehow thinking it would be a boring and frankly bad movie.
I was pleasantly surprised.
The Amityville Horror (1979)
Director Stuart Rosenberg who a year later would direct the great prison drama “Brubaker” tells this story very effectively because he focuses on the characters and makes us care about them so everything which happens to them builds to an emotional climax. As Stephen King said about the film, this is about the economic downfall of a family, with no help in sight. Rosenberg even shows that the Catholic Church rather stays out of it instead of offering help, despite clearly having a supernatural threat manifest itself. The secular, former psychotherapist turned priest who experiences the threat is chastised and abandoned, even when he continues to physically deteriorate. The courage to put that storyline into a blockbuster made by a big studio was possible in 1979 - but I’m sure today nobody would want to go there.
James Brolin and Margot Kidder (before she became “Lois Lane”) are magnificent as the couple who only recently married and bring their children from former relationships under one roof. Lalo Schifrin´s score (Oscar nominated) is hauntingly chilling (and became a template for Elliot Goldenthal´s wonderful score for “Pet Sematery”).
Interestingly, the threat of a possessed (and also economically ruined) father killing his family with an axe was depicted here one year before Kubrick did the same in “The Shining”, and the tree crashing through a window of the children’s bedroom was also a fresh idea here, predating the still marvelous “Poltergeist” in 1982.
Still, “The Amityville Horror” seems to be snickered at these days, and I don’t see why. It is an absolutely well-made film which holds and escalates the tension for its two hour running time, even the dated visual effects do not detract from it.
In fact, the economically depressed family is a trope which these days should regain importance in contemporary horror.
Did she film Amityville (1979) before Superman (1978)? If so, I was unaware of the release being shelved for awhile.
My mistake, but also I don’t know. She looks younger in „The Amityville Horror“, also more, dare I say it, voluptous. In any event, she plays the character totally differently and is brilliant. Such a tragedy what happened to her.
So true. I remember seeing Black Christmas and thinking she should have been the star of that movie. So much charisma and sex appeal (or as you dared to say it, voluptuous).
And you were right:
„After completing filming for Superman , Kidder starred as Kathy Lutz in the supernatural horror film The Amityville Horror (1979), which further cemented her status as one of Hollywood’s leading ladies. The Amityville Horror was a major commercial success, grossing over $86 million in the United States, but it received mixed reviews from critics.[[45]]“(Margot Kidder - Wikipedia)
I haven’t seen The Amityville Horror since it was released. I saw in the theater on a first date with my first serious girlfriend (we dated nearly 3 years—a completely frivolous detail to be sure). I liked but didn’t love it at the time. My mom had read the book and was perhaps guilty of overhyping it to me. I recently acquired an old library hardcover copy of it. I think I will rewatch the movie very soon based on your assessment.
Smile 2 (2024)
Naomi Scott, Rosmarie DeWitt
Dir. Parker Finn
It’s the rare sequel that comes along and completely outdoes the original that preceded. Taking the original premise and expanding it further in the way a good sequel should, Smile 2 manages to be both a logical expansion of the universe set out in the original film while at the same time feeling like something that is completely its own thing that can be enjoyed without having had to see the original to fully understand it.
Whereas Smile followed the descent into madness of a psychiatric therapist, Smile 2 manages to, while being a direct continuation of the first film, go off in a completely different direction by directing its attention on troubled pop star Skye Riley (Naomi Scott). Riley is attempting to make a comeback to touring and public life after a car accident killed her boyfriend (portrayed by Ray Nicholson - Jack’s son) and left her badly injured, both physically and psychologically. Smile 2 is about how she deals with (or, as is more often the case, doesn’t) the pressures of carrying not only her own future career prospects but also the livelihoods of all those people working to help make her tour come to life on her still shaky shoulders, but then having to figure out how to move forward once the Smile demon marks her to become its latest victim.
Even though Smile 2 ends up feeling like something quite different from its predecessor, a lot of that comes down to how writer/director Parker Finn both plays with our expectations from the first film as well as our sense of reality. There are large stretches of Smile 2 that can be difficult to discern whether or not they actually happened within the confines of the film’s narrative or if they only occurred in Skye Riley’s mind. This is not a style of storytelling that I usually enjoy, but it is done really well here. Finn’s use of cinematography, music, jump scares, and subversion of audience expectation makes the tenuous grip on reality that the film’s narrative has actually work to its advantage. It’s not necessary for the audience to know whether or not the events that are unfolding on screen are actually real because, whether or not they are physically happening is completely beside the point.
A large part of what makes now both of the films in this franchise work is how they are metaphors for how we, both on an individual level as well as a societal level, deal with issues surrounding mental health. Smile 2, at its core, is about a mentally damaged young woman trying to pick herself back up from a life shattering event and reclaim her future, all while dealing with her incredibly heightened anxiety and inner demons, all of which are cranked up to 11 thanks to the Smile monster. Much like the first film, Smile 2 also works as a commentary on how we as a society deal with issues of mental health and mental illness, as the people immediately surrounding a person suffering from these issues tend not to see what is going on and try to assure the afflicted that everything is fine (hence, the smiles) not knowing that what they’re actually doing is only making things worse for that person, no matter how much that person tries to reach out and make themselves heard.
This is where Smile 2 is at its strongest. With all things being equal, Skye Riley would be someone who would be the polar opposite of being someone who is isolated, but yet that’s the state she finds herself in for much of the film. She’s surrounded by people, all of whom are there, ostensibly, for her benefit, but it never feels that way. And, with that, it must be said, that the single biggest asset that Smile 2 has working for it is Naomi Scott. Hers is a brilliant performance that should stand alongside the very best the horror genre has to offer. Once the opening sequence of the film is over, she is in practically every single frame for the rest of the way, and she completely owns it. She not only plays Skye Riley, she inhabits the character with an ability that audiences don’t often see, especially not in the horror genre. While the film is off making the audience question whether or not what is happening is actually happening, eventually you find yourself not really caring because you know that it is happening, to some degree, in the mind of Skye Riley, and Naomi Scott so completely and totally sells Skye’s mental anguish and desperation to the audience that you can’t help but take the events that are unfolding on the screen at face value. There is a scene in a hospital room prior to the film reaching its climax where Scott manages to run the gamut of emotions that Skye has been subjected to throughout the film in one minute-plus stretch of film in a completely compelling way. It’s a scene that is completely bonkers on the one hand yet, at the same time, is grounded and quite emotional thanks to her performance.
Making the performance even more impressive is the fact that Naomi Scott also performs the songs on the film’s soundtrack and had a big hand in the development and performance of the film’s choreography. There are a few moments in the film where we see Skye rehearsing for the upcoming tour, thus necessitating actual pop songs, which Scott performs superbly. The studio actually put out an EP of songs for the film, a couple of which, “Blood on White Satin” and “Grieved You”, are actually quite good and are better than a lot of the pop music you hear on the radio today. Scott’s voice is incredible and she makes for an absolutely convincing pop star, which further helps the audience’s immersion into the world of the film.
This is not to say that this is a perfect film. There are points where it feels a bit repetitive of the first film. The ending also poses a unique challenge for the film, as well. Once you know that Smile 2 is about a pop star, you know how it’s going to end. Given just how adept the rest of the film was at either subverting expectations or finding clever ways to play around with those expectations, the ending is exactly what you think it would be. But, with that said, it almost has to be that, or otherwise it would be a massive missed opportunity to set up for an inevitable Smile 3.
As sequels go, and especially those in the horror genre, you’d be hard pressed to come up with something that both builds upon the original while also forging its own path as well as Smile 2 does.
Harry Potter marathon on E today. Watching our pal Robbie Coltrane in a series I grew up with. Still can’t believe he’s gone…
INVASION OF THE BODY SNATCHERS (1978)
Philip Kaufman´s version remains one of the most effective horror films ever. Such perfect framing and staging (all the background actors from the very early scenes onwards adding that disturbing quality of a world slowly descending into madness). Nobody can be trusted, everybody tries to hold on to the thinnest thread that everything is okay - and then it´s not, and even your friends have already changed and try to change you, too.
Paranoia gone reality. Maybe we are already living another version of it right now.
As for my last watched movie, Ballerina (2025). It was fun mindless action and violence. Ana de Armas is a joy to watch. She in a way gets her Paloma spinoff. Keanu Reeves does his usual acting performance. But, I imagine that he gave his salary for helping others, so no one complains. Gabriel Byrne is underrated, I’m surprised that he didn’t get a bigger career. Lance Reddick will be missed in more ways than one. It makes me want Bond to use a flamethrower some time soon. Even as part of the gunbarrel sequence.
F1
Does exactly what it says on the tin. Handsomely shot, well edited (though I did find it dragged for a couple of short spells) and with a cool score from Zimmer, this was the best moviegoing experience I’ve had all year. A delight in IMAX.
A complete unknown
A complete pleasure. Mangold directs magnificently, Chalamet is perfect as Dylan, the whole cast hits the right notes, and the chosen part of Dylan‘s life (the rising star destroying expectations he never wanted to fulfill, daring to free himself for his next phase at the Newport Festival) makes for a compelling drama.
One of the best films of 2024, should have won all major Oscars.
One thing that I will give James Mangold credit for is trying different genres, akin to Richard Donner. Those two don’t get enough credit for experimenting into different genres. That’s one thing a “master” director like James Cameron can’t say. I want to hope that James Mangold gets a chance to get his Star Wars Dawn of the Jedi movie made. I think it has the ability to be unique, for everyone on the filmmaking side and the general public side.
Black Bag
Great reviews, flop at the box office. The tenor: if such a smart film for adults cannot get those to the cinema, it´s over for this kind of mid-range budget films.
Well, despite the great cast (Michael Fassbender once again perfect - such a wasted chance, he could have been a terrific Bond 10 years ago), Koepp´ s tight script and Soderbergh´s intelligent directing, this film disappointed me.
The story has nothing fresh, it is rather slight, really. Too much dialogue, even if it is well written. And it´s emotionally distancing, for my taste. It lacks the passion which the central relationship could have needed to make me care about the proceedings.
There is one killer scene, though, and it centers on Pierce Brosnan in the role of the agency head - he has aged into this kind of character work wonderfully, and he delivers the barely contained contempt with delicious fury.
Once again: the critics were wrong, it´s no wonder why this film did not connect with audiences.
The Other
Terrific 1972 horror film, no gore, „just“ psychologically devestating, about a young boy dealing with loss and death in a most dangerous way. The peaceful summer setting evoking youthful summers of playing outside until the darkness comes, the great performances, and the absolutely gorgeous score by Jerry Goldsmith conspire to make this an experience one won‘t forget.
Barry Lyndon.
Art. Coldest, coldest art, but art nonetheless.
Jurassic World Rebirth (2025). Cheap horror entertainment. Predictable. One thing that I do find good about the Jurassic series is similar to Bond. When Spielberg and the Jurassic crew are in doubt, go back to Michael Crichton. When the movies use one of his two Jurassic books as scenes and influences, they’re usually the better scenes. There’s still a lot to adapt from his work! The actors were more or less on autopilot. Scarlett Johansson still doesn’t have many facial expressions. If Jonathan Bailey becomes the DCU Batman, (like some fans want), I would give him a chance, based on this. It seems while Spielberg is the Cubby Broccoli of the Jurassic series, David Koepp is basically the Richard Maibaum or Purvis and Wade of it. He’s always helping out with ideas, it seems. So while I enjoyed it, I will say follow your gut feeling (or your wallet, I’ll be honest) if you really want to watch it. Also, I think one of the locations that they filmed at was Scaramanga’s lair in The Man with the Golden Gun. If they make another Jurassic movie, great. If they don’t, great. I could go either way on seeing it.
