(2015) Insidious: Chapter 3

There’s a lot I love about this entry but there’s also a somewhat unappreciated silliness to it. I think it’s definitely the worst of the first three entries and I’d be surprised to hear anyone else think differently.

The film does a good job at putting the spotlight on Elise but the most important sequences for her characters development, also felt the cheesiest. There were several moments that reminded me of the ridiculousness of some of the later A¬†Nightmare on Elm Street¬†sequels. I’m also surprised it took me so long to mention that movie in regards to this franchise because “the further” really reminds me of Freddy’s dream world.

I also didn’t really appreciate the injection of modern teen tropes, the taking pictures of food, video chatting and really anything involving the social aspect of technology. I have no reasoning behind that, it’s just something that never sits well with me, maybe because it seems forced to appease a younger audience.

It’s a pretty good sequel but it has its issues.



(2010) Insidious

This movie is just plain scary. James Wan is a special breed and his style and aesthetic can be felt a mile away. Not to mention, Patrick Wilson is slowly becoming the face of modern horror.

I fucking love Insidious. No bullshit, at times it reminded me of The Sinners of Hell (Jigoku). Obviously it’s super modern and way past all that shit but yeah, very dark and in your face.

It’s a pretty fucking great horror film and a prime example of why jump scares aren’t cheap.


(1978) Beauty and the Beast

I can safely say, after hours of scouring the internet for this film as well as it having only ~700 reviews on iMDD, it’s fairly obscure. If you’re in the mood for some seriously odd but stylish Czech horror, I encourage you to hunt it down.

It’s basically a creative, gothic retelling of the classic story of, you guessed it, Beauty and the Beast. The film is delightfully rough and gritty, lending to these beautifully dark landscapes. Bold, theater worthy performances lend a whimsical balance and the whole package ends up being something really unique.

I really loved how ambiguity of the supernatural elements, to me it added a certain level of maturity and thoughtfulness to the simple messages that are typically relayed with classic tales.

That’s basically it, go seek this one out.


(1961) Mother Joan of the Angels

Mother Joan of the Angels is a Polish horror masterpiece and frankly, one of my favorite exorcism films I’ve seen to date.

From a horror standpoint, the film is legitimately unnerving. They utilize camerawork that oftentimes has the character seemingly speaking directly to the viewer POV style, but also shots that put the viewer right next to the protagonist. It’s impressively immersive and made so much of the film more intense. It works especially well during the exposition scenes at the beginning, as well as the ending climax.

There’s plenty of discussion to be had outside of the stylistic choices made and discussions in general that exorcism films inspire. I really felt after watching this film that it was somewhat exploitative to people both within the faith and those outside of it. The simple idea of a member of the church being possessed proposes a certain nature of distrust in the priest, the convent and faith in God himself.

It’s a truly excellent film and one that was instantly imprinted on me. I really look forward to discussing this one more in the future.


(2018) The Cloverfield Paradox

I’m just going to jump into this one with zero bullshit. I enjoyed the film, its surprise release was awesome and it’s a solid space horror.

The bad aspects include forced, mistimed humor. There’s also some poor CGI. Possibly the worst mistake they made was a fumbled, dumbed-down, over-explained moment of exposition. We’ve seen this in so many films that I’m convinced filmmakers think their core audience is mentally retarded.

The good aspects are, well, good. It’s loud, chaotic and paced incredibly well. Once shit is unleashed it’s a non-stop ride until the end. Unfortunately any deeper thought into the somewhat contrived plot can lead to some disappointment.

Just go into this with an open mind and don’t compare it to something incredible like 10 Cloverfield Lane.


(1975) Deep Red

There’s a strong argument to be made regarding Deep Red as possibly Argento’s finest film to date. Brimming with the complexity and misdirects needed for a true great mystery, Argento delivers us a film so stylistically unique, it’s no surprise it took a few decades to cement itself into the classic it exists as today.

From my limited research, the oddness of this films visuals and soundtrack aren’t just strange in retrospect but rather, a somewhat hard-to-swallow pill at its release. Just knowing that gives me so much respect for him as a director, taking the controversial aspects of this film and diving headfirst into an even deeper stylistic rabbit hole with Suspiria.

If you’re really looking to understand what Giallo films are all about, this is a great one to start with. It’s nearly perfect and I’m somewhat baffled at how a 2-hour long murder mystery could keep me so engaged.