An island that has the power to grant your greatest wish, welcomes a group of people who have no idea what they signed up for.
I’ll start with the good news: I didn’t know what to expect so, you would never guess… I had no expectations! Now, for the opposite of good news: The amazing story behind Fantasy Island is inundated with nothing but American clinches, that ruin the aforementioned amazing story.
The American cliches include, but are not limited to: stereotypical characters, stereotypical punchlines, stereotypical resolutions and revelations, and stereotypical editing and redirecting. Hands down, the dramatic fantasy that stands out is Maggie Q’s (Gwen) who, by the way, is a brilliant actress and an astonishing woman. But the genres are too mixed and so are the viewer’s feelings towards everything that’s happening. It is not a disservice to the Fantasy Island (1977) series but it has nothing much to do with it either. If you want to watch a great blend of such genres, The Cabin in the Woods (2011) is what you need to watch!
A real shame as Fantasy Island stresses two important facts of life:
Careful what you wish for!
Your so-called liberties in life have a limit; where your fellow human beings’ begin…
Twelve strangers wake up in a picturesque, bucolic setting only to be hunted down by unknown people.
Hollywood is an entity. A living, breathing, evolving and devolving, existentially confused entity. Universal, one of the major limbs of this entity, has a long-standing reputation of daring, challenging genders and races. The Hunt is not an original concept but it’s a brilliant concoction of funny lines, vulgar language, and insults of all kinds, surrounded by gore! IMDb forgot to add comedy to the genres which purely is beyond me. The Hunt has the ability to keep on the edge of your seat while making you laugh. Extreme violence that does not disappoint.
Unfortunately, it was never meant to take off. Fate, destiny, goddamn bad luck? I don’t know and it doesn’t really matter anyway. Producer Jason Blum funds the amazing indie director Craig Zobel, who collaborates once more with writer Damon Lindelof in a one of a kind provocative, low budget, highly entertaining action/horror that caused significant reactions. It tried to come out last September but the mass shootings in the US prevented from doing so. Then, it was meant to come out a fortnight ago but the pandemic this time prevented from doing so. Universal released it on a DVD and on-demand anyway and we, the audience, are so glad about their decision.
Sit back, relax, try to forget for an hour and a half the tragic reality we are currently facing and… I dare you to guess who is the protagonist / who’s gonna make it out alive when they all gather in the field.
A man is released from prison after many years and while trying to figure out how the modern world works, he stumbles upon a baby dumped in the trash.
I’ll start with the fact that this is a drama from Blumhouse – the king of low budget-that always-turns-a-profit horrors. A quite insightful and existential I might add, surprising in the nicest possible way. My next stop is Logan Marshall-Green, who put on, for the first time, the director’s hat after having penned the script as well. Did that come as a surprise? Not at all. Why? Because the guy is a natural. Marshall-Green is one of Hollywood’s most underrated actors – now turned director/screenwriter. His talent needs to be finally acknowledged and get the spotlight he deserves. Then, Ethan Hawke… is something else. Always has been, always will be. He’s one of Hollywood’s most versatile actors and a man who very thoroughly chooses his next project. Since Dead Poet’s Society (1989), he hasn’t stopped to amaze. Last stop, the sound department where its work in this instance stands out for its perfection. From the opening sequence’s ‘voices montage’ to the letter’s reading.
Not everyone is made for this modern world. The full of emoticons, fast-typing, communication, the online slang that ‘infiltrated’ our every-day vocabulary, the mass behaviour that, should one decides not to adopt will become a pariah, and so much more make people who step out of the crowds to develop case studies. Adopt a Highway looks life in the eye and gives us a bittersweet hope with a twist and says… ‘Through every dark night, there is a bright day after that’ – 2Pac.
Well, my heart goes out to the ones who only got to experience the darkness…
Years after a kid’s accidental death, four kids get trapped in a school and tortured by a sinister supernatural force.
I would like to be clear once more and I will be every time I am forced to make a review such as this. I never judge a film itself. I judge the intentions behind it. As with The Nun (2018), the ghost in The Gallows is nothing but a clichéd plot device that does whatever is convenient and wannabe impressive to just… I don’t know… take them out? Story and dialogues are horribly written and the camera work is plainly bad! The acting is mediocre (with Cassidy Gifford being the exception) and the VFX… plainly bad again.
I try to be lenient and I’m definitely holding my punches here but it is really difficult as there is nothing positive I can say about the film other than the semi-decent opening scene followed by a freefall to the rock bottom. The scariest thing is that Jason Blum jumped on board. What is even scarier is that there is a sequel out there and Blum is behind that too – The Gallows Act II (2019).
I’m an avid supporter of indie, low budget films and praise them every time they achieve what Hollywood blockbusters can’t. It’s admirable that two directors did everything they could to make this film but please, do not undermine your audience’s intelligence. And this is why the intentions behind The Gallows are not noble. And this is why my review is bitter.
P.S. The poster’s tagline: “Every school has its spirit”. No comment…
Bloodbath! Nine films after the original “Halloween” (1978), producers, actors, writers, and director managed to get it right. Ignoring all previous sequels and reboots, it pays homage to all of them. I know, right? Producer Jason Blum, writer Danny McBride and co-writer/director David Gordon Green wrote it, re-wrote it, shot it, re-shot it, re-re-shot it, Timothy Alverson re-re-re-edited it, so your visit to the cinema pays off. 40 years to the day after “Halloween”, you get a sequel with:
Soundtrack that still gives goosebumps.
DOP to remind you or get to know of the ’80s (depending on your age) well-crafted slashers.
And character-wise, the anticipation of highly respected original Laurie and Michael standing, once more, for the last time (?) toe to toe.
Gripping! Well written, well-directed, and well-acted, it is the showdown to clamour for. That said, the child inside me still wants to watch… Myers vs Voorhees! Mr. Blum, I hope you are reading.