UNWELCOME horror movie review

Whimsical and creepy. Jon Wright’s Unwelcome is a dark fantasy steeped in Irish folklore, but with a sinister spin. While the first act is a bit clunky, after the intense prologue that is, once the second act kicks into gear, the movie delivers on thrills and kills—and cheers for practical effects!! Fellow Trekkies will also enjoy the cameo from Star Trek’s Chief O’Brien.

A couple escape their urban nightmare to the tranquility of rural Ireland, only to hear stories of mysterious creatures who live in the gnarled, ancient woods at the foot of their garden. As warned by their new neighbors, the creatures come when called to help souls in dire need of rescue, but it’s crucial to remember that there’s always a dear price to pay for their aid.

Unwelcome draws audiences in with its immersive atmosphere and chilling mythos, but falters in pacing. After a gripping prologue, the first act struggles to find its footing to keep the pacing suitable for the rest of the setup. Often times this screenwriting problem occurs when the writer and/or director attempts to add greater gravitas to the story than is required or needed. Moreover, there is time spent with side characters and establishing setting that delays the transition to the development stage of the story, which would have benefitted the overall pacing of this quasi-methodical horror film. Once audiences are launched into the second act, the remainder of the film unfolds nicely.

Even though this is in-part a dark fantasy, when the kills hit, they hit! Wright (along with cowriter Mark Stay) strike a fantastic balance between horror and fantasy, simultaneously satisfying the expectations for both. While the kills may not be inordinately creative, they are sufficiently entertaining. By relying on practical effects, the experience of the film increases in dimension significantly. And I’m not just talking about the kills, but the excellent puppetry, makeup effects, and prosthetics of the little people. Over all, Unwelcome is a decent horror film that deserves a watch if you enjoy folklore-based stories that are familiar yet still find ways of surprising you.

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

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THE BANSHEES OF INISHERIN film mini-review

Thoughtful exterior, vapid soul. A gorgeous-looking film that fails to deliver any substantive meaning or motivation behind anything that occurs in this ominous snoozefest. The Banshees of Inisherin is another 2020s cinema example of what happens when filmmakers fail to follow screenwriting conventions like a clearly defined external goal for the central character, supported by an internal need or motivation, and clearly defined opposition to the external goal. Furthermore, “a [day] in the life of…” is neither a plot nor a goal. The first act of the film holds hostage nearly half the screentime. And when something finally happens, the motivation behind it lacks any logic or rational reasoning. The outside/action story is nearly non-existent. Filmmakers should remember that a film can have depth, dimension, and deeper meaning BUT those layers should never take the place of a clearly defined linear or nonlinear plot map. Diegetic accessibility is important, even in more thoughtful films. Undoubtedly, this will become one of those films that pretentious cinephiles defend by the cliche “you just didn’t get it.” While the film looks gorgeous and the attempt to parallel the civil war between two (former) friends to the real-world Irish Civil War of the 1920s is intriguing, writer-director Martin McDonagh struggles to establish a plot to support the story he wants to tell. None of the characters are likable nor are the performances exceptional. Extreme/manic behavior does not a compelling character make. In many ways, this film reminds me of a more coherent The Lighthouse. So, if you enjoyed The Lighthouse, then you may enjoy this movie. The Banshees of Inisherin feels like a vanity project that means something to the filmmaker, but holds little value or meaning for the audience. Contrary to the accolade associated with this film, it is one of the most boring break-up movies ever made.

Ryan teaches Film Studies and Screenwriting at the University of Tampa and is a member of the Critics Association of Central Florida. 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