FIVE NIGHTS AT FREDDY’S horror movie review

Fun-filled and creepy! Blumhouse’s Five Nights at Freddy’s is surprisingly good! From the unnerving atmosphere to the practical effects, it’s entertaining and even thoughtful with its exploration of childhood trauma. However, for everything I liked about the movie, I do feel that it should have leaned a little more heavily into Gremlins or Chopping Mall territory because it is a little too serious at times. All in all, the movie is smartly written, with just the right amount of suspension of disbelief. There are even influences of Nightmare on Elm Street and Freddy Krueger’s MO in this movie. If you’re looking for a entertaining time to spend at the cinema on this weekend before Halloween, then you can’t go wrong with Five Nights. After watching the movie, I will now be anticipating Universal Orlando & Hollywood to feature this house at next year’s Halloween Horror Nights.

A troubled security guard begins working at Freddy Fazbear’s Pizzeria. While spending his first night on the job, he realizes the late shift at Freddy’s won’t be so easy to make it through.

I had no idea what to expect since I knew very little about the game. In fact, when I first heard of the game many years ago, I thought it was about the Freddy–Freddy Krueger. Nope. The game is about surviving an abandoned not Chuck-E-Cheese. It’s been probably twenty or more years since I’ve been to a Chuck-E-Cheese–come to think of it–I think the last time I went was when it was known as Showbiz Pizza. When I think of environments and settings that would be naturally creepy whether abandoned or not, Chuck-E-Cheese is one of them. I would imagine that on any given Tuesday night, a Chuck-E-Cheese is unnerving, let alone if it was haunted.

Since I’ve never played the game, I will not be commenting on the translation from interactive media to cinema, but from what I have learned, there is a lot of lore in the game, so I hope that lore is what was brought into the movie version.

Five Nights at Freddy’s benefits from a small cast and few locations. Furthermore, what the movie lacks in the screenwriting department, it makes up for in Emma Tammi’s directing. That’s not to suggest that it is poorly written–quite the contrary–I like how well it was written, given that it’s adapted from a video game and written for (primarily) teens that played the game as kids. Reminds me of a more mature version of Are You Afraid of the Dark? or Goosebumps. As much fun as I had with the movie, I feel that it could’ve used a little more camp in the storytelling–the movie would have benefitted from channeling Gremlins or Chopping Mall to bump up the dark humor and playfulness. The plot is simple and our central character is complex–the recipe for solid cinematic storytelling!

Our central character of Mike (Josh Hutcherson) is relatable, and his behavior feels natural considering the trauma of his younger brother being kidnapped when they were kids. The devastation of the loss of his brother, and later mother and father, has gravely impacted his ability to manage his own life and younger sister (and this is where the movie should’ve made her his daughter because a 20+ year age difference is a little hard to buy). Facing the loss of custody of his little sister to his overbearing, condescending aunt (played by Fried Green Tomatoes‘ Mary Stuart-Masterson), he must survive nights as a security guard at Freddy’s to prove he can care for his little sister. Within the first few minutes of the movie, we have our central character, their external goal, and opposition to the goal. I love when I witness established screenwriting conventions followed–because they work!

While the movie depicts very little on-screen violence and little to no gore, it successfully transfers that fear from the screen into the mind of the audience. That which is suggested in image association or shadow is more terrifying than witnessing it plainly on screen. By keeping most of the violence, death, and gore off-screen, and the adult language to a minimum, this movie works as a gateway horror for older kids and teens that are considering diving into the genre.

The setting is fantastic! I don’t know whether this was an abandoned Showbiz Pizza or Chuck-E-Cheese in real life or not–hope it was–but the setting is ominous and creepy! And because it’s representative of places in real life, it’s easy to imagine ourselves in the same environment. Perhaps it’s not as unnerving as being stalked in your own home like in Halloween or When a Stranger Calls, but there is definitely something naturally scary about being trapped with kids’ toys and animatronic characters at night in a setting haunted by ghosts of its glory days.

I also appreciate the practical effects, puppetry, and character performer costuming in the movie. While I imagine that it’s a combination of CGI and practical, I kept studying the animatronic characters to determine whether it was character performers in costume or of it was exceptionally good CGI–so much so I feel that I could reach out and touch the fur. Had the CGI been overt, then the scares would’ve been far less terrifying as CGI rarely packs the same punch as actors reacting to real props, costuming, and effects.

You’ll not be disappointed if you chose to watch Five Nights at Freddy’s this weekend. Go in with an open mind, and just enjoy a fun horror movie! Don’t overthink it, just be entertained by it!

Ryan teaches Film Studies and Screenwriting at the University of Tampa and is a member of the Critics Association of Central Florida and Indie Film Critics of America. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter. If you’re ever in Tampa or Orlando, feel free to catch a movie with him.

Follow him on Twitter: RLTerry1 and LetterBoxd: RLTerry

THE KILLER (2023) movie mini-review

The sleeper. David Fincher’s The Killer is lethargic and uninteresting. It’s an uninspired and predictable deconstruction of a hitman that is self-indulgent, lacking any concern for the audience experience.

After a fateful near-miss, an assassin battles his employers, and himself, on an international manhunt he insists isn’t personal.

From the opening credits that are reminiscent of a 1990s movie-of-the-week (MOW) to the exhaustive voiceover narration from beginning to end, this is one movie that you neither want to see in cinemas nor allocate time for at home to watch on Netflix. I am reminded of Fox and FX’s Deliberate Intent (2000), which was a MOW about a first amendment scholar whom is recruited by an attorney to sue Paladin Press after a hit man commits a triple murder by allegedly following a its how-to manual titles Hitman. The deconstruction of the book and hitman contained therein was far more engaging than this sleep-inducing character study by Fincher. Seems hard to believe that a movie about a hitman could lack less dimension and interesting qualities than sheet of cardboard. I kept waiting for the first act to transition into the second, but it’s nearly two hours of a first act and a very rushed third. Anticlimactic best describes the conclusion to this sleep-inducing character study.

Ryan teaches Film Studies and Screenwriting at the University of Tampa and is a member of the Critics Association of Central Florida and Indie Film Critics of America. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter. If you’re ever in Tampa or Orlando, feel free to catch a movie with him.

Follow him on Twitter: RLTerry1 and LetterBoxd: RLTerry

KILLERS OF THE FLOWER MOOON film review

Killers of the tension: an important story in desperate need of a better screenplay and editor. It’s a 3.5hr film that feels every bit of 3.5hrs. I’ve nothing against long run times per se; however, the run time needs to be justified dramatically. But unfortunately, the screenplay mechanics and editing (or lack thereof) hold this otherwise compelling story back from the great potential it demonstrably had. Lacking in any significant tension, this film had me looking at my watch after the first hour and a half. I kept waiting for it to kick into gear, but it never truly managed to amp up the tension. Furthermore, all the individual narrative elements never develop strong connective tissue. Even the performative dimension is good, but there lacks any singular performance that truly stands out. While cinema knows no run time, some stories are best told in 90 or 120mins, and this is definitely one of them.

In the 1920s, members of the Osage Native American tribe of Osage County, Oklahoma, are murdered after oil is found on their land, and the FBI decides to investigate.

One of the most highly anticipated films of the year over-promises and under-delivers. Which is a real shame because it depicts such an important story. While many will fixate on the run time alone, that would be unfair as it’s not the run time that is to blame for the lackluster narrative nature of this film. Rather, it is the screenplay mechanics and lack of precision editing.

As I have written many times previously, most directors are not writers. Are some? Well, sure. But most are not equally gifted in both areas. However, many writer-directors allow their ego to get in the way of excellence in writing because they feel it’s the only way to be a true auteur. Scorsese has nothing to prove to solidify him as an auteur, He is inarguably one of the greatest directors of all time. Scorsese’s Taxi Driver is one of the greatest films of all time and it’s under 120mins (2hrs). However, between The Irishman and now Killers of the Flower Moon, it’s as if he feels compelled to intentionally create films with prodigious run times to separate them from streaming content. Cinema knows no run time. Cinema is an experience, and that experience can be had in 90mins as well as 180mins. Like Nicole Kidman says, cinema is where we come together to experience the same film at the same time on a giant screen. Stories that have both plots and characters that are larger than life or incredibly intimate encounters. But I digress.

When a director is writing the screenplay, or has a significant role in the screenplay, then there lacks adequate checks and balances for screenwriting structure and mechanics. The long and short of it is that the story, ethos and all, may make sense in the director’s mind, but that doesn’t mean that it makes sense for the audience. Whereas when the screenwriter and directors are separate individuals, the screenwriter is able to focus solely on the pages in front of him or her without interference from a director. Killers of the Flower Moon strikes me as the type of story that would’ve benefitted from the director not being involved in the actual process. Because of all the nuance of the story and relationships between characters, perhaps this is a situation in which author David Grann writes the first draft and another more established screenwirter comes in from behind and shapes it into its film form (on page, anyway). We saw this with Jurassic Park, in which Crichton’s original screenplay was too novely and David Koepp was responsible for the final screen version.

Even though the screenplay is partly responsible for the improper pacing and lack of dramatic tension in the film, it shares the blame with the film editing (or dramatic montage). Alfred Hitchcock stated that writers and directors should “start each scene as close to the end of the scene as possible” What this means is that each and every scene should be lean and mean, only leaving room for that which advances either plot or character in a dramatic direction. The editing issue that plagues Killers of the Flower Moon is that scenes were either started too early or weren’t cut off in dramatic time. There is almost too much information in each scene that the lack of meaningful, precise editing acts as an anchor, dragging the film’s pacing. Contrary to popular belief, there is no too fast or too slow when it comes to the cadence of a film; but, there is such a thing as proper pacing. It’s the ideal pacing for the dramatic elements in the story.

Killers of the Flower Moon will make you want to read the book or simply look up information on the murders and investigation thereof. The film looks gorgeous and the performative dimension is solid, but as a total package, the film is underwhelming.

Ryan teaches Film Studies and Screenwriting at the University of Tampa and is a member of the Critics Association of Central Florida and Indie Film Critics of America. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter. If you’re ever in Tampa or Orlando, feel free to catch a movie with him.

Follow him on Twitter: RLTerry1 and LetterBoxd: RLTerry

THE EXORCIST: BELIEVER horror movie review

The Exorcist: Caricature. Believer? How’s about unBelievably bonkers. The soulless derivative sequel to the original Friedkin masterpiece manages to be everything and nothing simultaneously. It’s a bastardization of the source material that demonstrates a gross lack of understanding on so many narrative and theological levels. Honestly, this movie could easily be Scary Movie 6.66 because of how unintentionally laughable it is. The characters are flat, the plot is all over the place, the tone is criminally uneven, and it’s disrespectful of the thoughtfulness of the original at every chance it gets. Representation matters. If David Gordon Green did not have plans to respectfully (albeit creatively) represent spiritual warfare and demonic possession, then he should’ve chosen another property to destroy.

When his daughter, Angela, and her friend Katherine, show signs of demonic possession, it unleashes a chain of events that forces single father Victor Fielding to confront the nadir of evil. Terrified and desperate, he seeks out Chris MacNeil, the only person alive who’s witnessed anything like it before.

I saw a comment on Twitter today calling for a petition to keep Green away form the horror genre, and I concur. Other than his surprisingly good Halloween H40, he has proven to be inept when helming a legacy horror project. William Friedkin’s The Exorcist remains the definitive possession film. While Friedkin was critical of the new religious right in the 1970s, he was still respectful of the rite of exorcism; he crafted a cinematic story about loss of innocence, crisis of faith, overcoming fear, the limitations of science, and the obstacles of religious bureaucracy. But at the end of the day, the film was grounded in Christianity wherein we find the rite of exorcism. Similar practices may be observed in other cultures and religions, but if you’re going to depict the rite of exorcism specifically, then the story needs to be respectful of and grounded in Christianity–not become a mockery of.

Ellen Burstyn is completely wasted in this film, and her character is in no way connected to the Chris MacNeil in the original. Last we say her, she underwent a journey of faith, going from someone mostly agnostic to someone that believed in the existence and power of God after the events of the original Exorcist. Now, she has no belief system and is rather laissez fair about faith, exorcism, and the like. She is a character without any conviction, therefore she has no drive and lacks spiritual grounding in any real sense of truth. If what you believe doesn’t matter, then there is no urgency to believe or batter personal demons in order to battle the real demon in the possessed girls. Furthermore, if it really doesn’t matter what one believes than it devalues all belief systems. Just because you don’t believe doesn’t mean it’s any less true. Besides the hodgepodge of MacNeil’s worldview, her character is greatly lacking in any dimension that would even help to hint at some modicum of compelling character.

When a movie tries to be everything to everyone, then it becomes about nothing and is for no one.

The cardboard character profile isn’t limited to Chris MacNeil, all the characters in this movie are lacking in anything that would make them compelling for the audience. I cared not whether any of the characters lived or died. Personally, I would have preferred the demon win and kill all the useless, lifeless characters. Although, that would only interest the nameless demon if the characters (or this film) had a soul. As it stands, the film and characters therein are soulless. Speaking of the demon being nameless, this is in direct conflict with the rite of exorcism. Whether one chooses to believe the demon possession (is incredibly rare but) real, the demon always has to be named, because having the demon’s name gives the exorcist power over the demon. The least Green could have done is give the demon a name. We are led to believe that it may be Pazuzu, because it recognizes MacNeil, but the name is never uttered by any character.

I found the movie unintentionally funny. With a few tweaks, it could have easily been Scary Movie 6.66. The plot and characters are just so unrealistic and ridiculous that the story and experience plays out at comedic proportions. Moments that were supposed to be scary were funny, moments that were supposed to be empowering were ludicrous, and the showdown was something straight out of Avengers: End Game. The Exorcist: Believer is Avengers meets The Rite meets a SyFy Channel original movie. The only meaningful connection this movie has to the original is the name, Ellen Burstyn, and a brief vomit-inducing cameo by Linda Blair. I’ve seen many other possession films that were way more interesting, entertaining, and thoughtful than this one.

Do yourself a favor, and if choose to watch this travesty, you should rewatch the original to cleanse your cinematic spirit of the demon that this movie will force upon you. While I suspected Halloween Horror Nights at Universal Orlando featured the The Exorcist: Believer house as a means to get people interested in the movie, clearly it was a move to compensate for how bad this movie really is. If it wasn’t for the house, I imagine far fewer people would want to see this abysmal use of a legacy intellectual property.

Ryan teaches Film Studies and Screenwriting at the University of Tampa and is a member of the Critics Association of Central Florida and Indie Film Critics of America. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter. If you’re ever in Tampa or Orlando, feel free to catch a movie with him.

Follow him on Twitter: RLTerry1 and LetterBoxd: RLTerry

A HAUNTING IN VENICE murder-mystery movie mini review

Starts well, but finishes sloppily. The creepy atmosphere and surprisingly good scares aren’t enough to save A Haunting in Venice from mediocrity. I applaud and even praise Kenneth Branagh for attempting to revive the classic Hollywood murder-mystery movie, but perhaps Christie’s works have been adapted and served as inspiration so many times, that it is nearly impossible to adapt them for the screen–and hope to deliver something new or refreshing. Compared to Branagh’s two previous Christie adaptations, this one excels in atmosphere and character, but the story is underwhelming. Moreover, most of the clues are for the audience and not for Poirot. There is little earned by Poirot in this movie; and what he does discover, often makes little sense logically. At the end of the movie, the audience is left wondering how and why what Poirot learned actually led him to the big reveal.

Probably the shortest review I have ever written. But with this past week being a combination of my birthday and dealing with a personal matter, I am unable to focus intently on this movie. Of course, it doesn’t help that it was neither good nor bad enough to be truly memorable.

Ryan teaches Film Studies and Screenwriting at the University of Tampa and is a member of the Critics Association of Central Florida and Indie Film Critics of America. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter. If you’re ever in Tampa or Orlando, feel free to catch a movie with him.

Follow him on Twitter: RLTerry1 and LetterBoxd: RLTerry