I think this third Annabelle movie was trying to keep the cycle of Conjuverse going, and somehow, it successfully did. The attention to detail through design, the cinematography, and the film score makes the movie look and feels very much retro, and the effort with it, is paid-off. It also emphasize the theme about facing-your-fears, the compassion of friendship, and the subtle message of obidience. However, this sort of emphasis makes the natural essence of turmoil within the movie's concept blurry, unheavy and inconsequential. The most things it failed to do is to keep the viewers' engagement with the characters. Some of these characters is lacking strong qualities of dimention in their traits.
Instead of focusing on giving the story a dept altogether with much darker themes and combining it with the feeling of helplessness and isolation that includes interesting character arcs; the movie suffers from focusing on too much cheap scares (as expected), and it's getting way too rusty at this point – for short, it is not scary.
It did not deliver the scare factor, and if it did, the execution is not strong enough. Imagine a war without any explosion, no damage dealt, and no one have gotten into a serious war shock after the climatic commotions – this is how I felt watching this movie. In this third Annabelle movie's case, the potential of its story is wasted because of continuous cheap scare-centric. But the question is, is Annabelle Comes Home a waste of time? No. Quite frankly, it is entertaining on the first watch. First watch only tho.
The thing about the Insidious Chapter 4 is that the depth of Lin Shaye's character is on point, but the sense of distinct thrill that the original gave were absent. That balance between dread build-up while developing the character's dynamics with it as the story progresses were not present. The jump scares is all what it could offer, and what might be an engaging tense field scene of the film were poorly executed. The Last Key is a decent enough entry for the installment that delivers quite effective character build-up with Lin Shaye's character (Elise) but if they wanted the franchise to shine once more, they've got to give something different with it than to give a flat humor and almost flat storyline that were only held up effortly with Lin's performance and character build-up.
A cold-hearted movie that aims not to please anyone who watches it. It is in fact, a down to the bone emotional and mentally horrific experience that will leave the viewers in dread. It is not a typical film you would see everyday but if you take "It Comes At Night" a shot, it will latch into you.
Though director Aronofsky is widely know for his deep metaphors in his approach to his films, this one delivered a more straight-forward approach when it comes to its theme. The film showcased a strong subtle horror about humanity and may potentially offend anyone's religious belief and theology, while the build-up is a jolting madness that ended with a thought provoking conclusion. Here, Jennifer Lawrence gives an Oscar worthy performance and she basically showcased how talented and charismatic she is as an artist. Yet, indeed, this is the type of film that casual viewers will either give a thumbs up or give it up. Mother! Is a 4 1/2 out of 5
For a reviewer that I am, I never once read the book of "Stephen King's It", but I did watched the 1990 miniseries. If I were to asked on which is which to recommend between the miniseries and the 2017 adaptation, I would say the latter. This new adaptation brandishes a humurous; legit; firmly developed; more focused eyes on its characters that was given on the cast that shows incredible devotion on their role with well-deserved applause to their pro-acting skills.
Bill Skarsgård shows a subtle, more ominous potrayal of Pennywise. You gotta give it to him, he is down-right terrifying! He definetely deserves his own crown for it. In general, the movie sums up all the characters - which were the main heart of the movie - pretty sufficient. Each one has diversity and distinct personality and attitudes that never hinders to bloom a chemistry that created them an appealing bond that is somehow, realistic and relatable enough for the audience to connect.
All in all, the movie delivered an more polished visual adaptation to Stephen King's iconic novel (heard the guy liked it as well). If Andrés Muschietti messed this up, this movie would crumble to pieces and its decoded message would not be emphasized to its audience. It (2017) deserves a 4 1/2 out 5