“MA” Horror Movie Review

A delightfully disturbing and thought-provoking Carrie meets Misery horror movie. Oscar-winner Octavia Spencer delivers an outstanding performance; however, the movie is unfortunately hampered by a weak screenplay with flat characters. In short, the reason to watch this movie is for the terrifying performance by Spencer, solid world-building, and commentary on high school bullying and teen sexual assault. Tonally, MA is a throwback to 70s and 80s slasher horror complete with the slow-burn windup, off-beat comedic schticks, and a descent into gnarly violence. Not all the kills cause you to wince as the screen holds your eyes hostage in the pleasurable unpleasure, one of the kills will leave you cheering–no seriously, it will. Built upon the premise of the sins of the parents will be visited upon the children, the screenplay does not hold back when taking us to some very dark places that fester with anger, fear, and resentment. With so much going for it, it’s unfortunate that the movie suffers from on-the-nose dialogue, leaving little room for subtext. Furthermore, most of the characters lack significant dimension that could have propped up this movie. Some interesting relationship dynamics and backstory are touched on, but never followed through in a meaningful way. While Spencer is truly the glue holding this movie together, there are some highlights worth discussing.

A lonely middle-aged woman befriends some teenagers and decides to let them party in the basement of her home. But there are some house rules: One of the kids has to stay sober, don’t take the Lord’s name in vain, and never go upstairs. They must also refer to her as Ma. But as Ma’s hospitality starts to curdle into obsession, what began as a teenage dream turns into a terrorizing nightmare, and Ma’s place goes from the best place in town to the worst place on Earth. (IMDb)

While most of the characters lack any true dimension (except Ma), the ensemble cast is comprised of some highly relatable characters. At the forefront of the cast is our title character of Sue Ann (or Ma). If you are coming to this movie as a single individual over 30, then you will likely identify with her by empathizing with her backstory and understanding what it’s like to feel that life is a parade passing as you wave it by. Furthermore, Sue Ann suffered repeated bullying, rejection, and even teen sexual assault that left a lasting psychological trauma. Or maybe you are the former popular high school Erica who moved away from her jerkwater town to Los Angeles, lived a wealthy life, just to wind up a divorcee and back in your hometown as a cocktail waitress. Perhaps you are the new girl at school Maggie, who grew up in Los Angeles but now is back in dismal Ohio during your junior or senior year of high school because your dad left your mom (Erica) for another woman. You could be the Regina of your group of friends, the dude bro, or the all American boy with a touch of geek. Whatever your high school experience or how it affected your adulthood, there is likely a character with whom you can identify.

Although the film could have commented more on the PTSD associated with high school bullying in a more meaningful way, and derived even more horror from it, it does serve as an exploration of the real, lasting effects on the psyche. A brief character analysis of Sue Ann reveals someone who is trying to capture that which evaded her in high school: the parties, the romance, the care-free friends. Because of the abominable treatment of Sue Ann by many of her classmates in high school, she suffered a trauma that mitigated her ability to socialize properly and psychologically mature. Therefore, as she grew older, she was constantly reminded of that which she could not experience in high school. So, when she saw a moment to reconnect with her youthful self in being needed by the group of teens outside of the gas station to buy alcohol, she seized the opportunity. Of course, the fact that our all American boy Andy is the son of the guy she crushed on in high school, definitely helped her make the decision to help. Unfortunately, her high school crush was responsible for the sexual assault she endured. A sin for which both father and son would pay. It doesn’t take long for the teens to see the cracks in Sue Ann’s fragile veneer. While the teens enjoyed Sue Ann’s party house and the charismatic Ma, things were fine. When they rejected her, things took a grave turn for the worst. And just like that, she was reminded of the torment from their parents in high school and began to plot her revenge on both the teens and their parents. In this respect, she is a little like Freddy Krueger because in A Nightmare on Elm Street we have the concept of the sins of the parents will be visited upon the children.

If you went or are going into Ma with the desire to see a terrifying horror movie from start to finish, then I need to warn you that this is a slow burn horror movie. Not, that slow burn is without its intrigue and suspense, after all, this is where the world and relationship building happens. However, this movie does not reach its horror status until the third act. But once the horror hits, it hits hard–gnarly even. Even the kills/tortures that you saw in the trailer still pack a powerful punch. Most of kills are nightmarishly real. Very little visual effects here; you get the benefit of some highly authentic practical effects. Yes, even the lip sewing scene. Probably one of the most disturbing torture and kills involves animal blood; this moment is nice homage to both Misery and Carrie, but not a copy of either. There is a poetry to the tortures and kills. No one is targeted out of sheer happenstance, but targeted because of whom or what they represent. The sins by which Sue Ann judges the teens or parents are directly connect to or represented in the manner in which they meet their demise. More than the creativity in the actions of Sue Ann, the reasons why she feels the way she does are the most interesting. Even though we should be disgusted at the actions of Sue Ann, we cannot help but empathize with her because of her troubled history and past trauma. She wants what any of us want: to love, have our love returned, and be accepted.

Is it a great horror movie? No. But is is a solidly good one? Yes. If for no other reason, you watch Ma for the outstanding performance by Octavia Spencer! She is absolutely captivating and will leave you with many WTF moments. Interestingly, this is not Spencer’s first time in a horror movie; she was in Rob Zombie’s Halloween II. I hope that we get to see her in more horror movies in the future because she did such a fantastic job with this one. If you’re looking for a fun, popcorn horror movie that–to its credit–does have some thought-provoking content, then you’ll enjoy Ma.

You can catch Ryan most weeks at Studio Movie Grill Tampa, so if you’re in the area, let him know and you can join him at the cinema.

Ryan teaches screenwriting at the University of Tampa. 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!

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“Us” full horror film review

The high speed hype train begins to slow down. Returning to horror once again, Writer-Director Jordan Peele’s Us hits theatres nationwide this weekend. The highly anticipated followup to the horror masterpiece Get Out ultimately falls short of the bar set by its predecessor. But don’t worry, there is still plenty to like about this intense film. Whereas Get Out was a horror film built upon compelling, thoughtful social-commentary on the uncredited, forced appropriation of one ethnic group by another, Us plays as a straight forward horror film, complete with all the thrills for which you hope to experience. There is certainly an attempt by Peele to comment on class, MAGA, and other important social topics, but the film tries to do too much, and winds up not accomplishing what it so desperately wants to do. Keep your eyes peeled for details, because you are going to need them in order to best appreciate the ending. With Peele’s revival of The Twilight Zone, it is clear that his adoration of that series (which is regarded as the best written series of all time by the WGA) played a roll in the development of Us. Specifically, this movie feels inspired by the After Hours and Mirror Image episodes. Peele delivers audiences an incredibly fun horror movie that is certain to do well over its run in the cinemas. Many of the film’s elements work exceptionally well; but unfortunately, the film is held back from its full potential by weak writing and average directing. Even though Peele’s Get Out, in my opinion, is the superior film, there is still a lot to enjoy in Us. I’ve no doubt that if you’re a horror fan, that you will have a great time! Let Us cut deeper into this film.

IMDb summary. Accompanied by her husband, son and daughter, Adelaide Wilson returns to the beachfront home where she grew up as a child. Haunted by a traumatic experience from the past, Adelaide grows increasingly concerned that something bad is going to happen. Her worst fears soon become a reality when four  strangers descend upon the house, forcing the Wilsons into a fight for survival. The family is horrified to learn that each attacker takes the appearance of one of them,

My biggest takeaway from this movie is that I am convinced more than ever than Jordan Peele should be able to pull off a successful, meaningful revival of The Twilight Zone. The problem with the writing and directing in Us is that it tried to do too much. In an effort to create a deep, rich, cinematic experience that was both horrifying and thought-provoking, the plot is all over the place. Even to the point that it contradicts itself. It’s as if the idea for this movie began as one of the episodes of the upcoming Twilight Zone revival but Peele decided that he wanted to turn it into a feature length movie. Evidence of this can be found in the similarities it shares with the aforementioned After Hours and Mirror Image episode. There are enough differences that it is clearly not an adaptation of the episode, but I can see how it inspired this movie. Further evidence can be witnessed in that it’s produced, written, and directed by Peele. When a storyteller wears that many hats, there is little room for checks and balances. Us feels like a feature length horror movie that would’ve been better off as a half hour or hour long installment in an anthology series. Starting off moderately strong, then very strong in the second act, the third act feels like it was from another movie idea altogether and forced to fit into this one. Too many ideas. All good individually, but convolute the plot when mashed together. The plot is too complex. What Us tries to do is ultimately too vast for what this movie is capable of delivering to audiences.

Without getting into spoilers, I’d like to visit why the plot doesn’t work as well as it demonstrably shows it had the potential to have worked. We are clearly explained a particular relationship as having a one-way transference; however, there is a plot twist that completely contradicts this relationship. A best practice of screenwriting is to not introduce significantly new material, in the third act, that directly affects the present plot, which was not foreshadowed or setup in the previous two acts; this movie introduces lots of new plot elements in the third act that further complicate versus tying up. For most of the movie, the plot lives in a believable reality, but then it takes a turn that takes it from something terrifyingly possible to nearly unbelievable. And the power of a movie such as this is that it feels possible within the world that’s created on screen. If the characters are making a statement, they run out of people to receive that statement through the course of events. Perhaps if there was a greater supernatural element in the screenplay that it would have worked much better, because the supernatural could have explained how and why much better than the science-fiction approach. What is lacking here is a singular vision.

Now that I have gotten all the things that I didn’t care for out of the way, I want to finish this article with what works brilliantly! The performances are outstanding, the score is excellent, and even the cinematography is noteworthy. Of all the stellar performances, Lupita’s is the one that stood out to me the most. As an Oscar winner, I expect her to deliver an impeccable performance, and she does precisely that! I felt what she was feeling, I empathized with her greatly, and she held my attention for the duration of the movie. I’m careful not to project an Oscar nom out of this because I thought Toni Collette’s performance in Hereditary was Oscar and Golden Globe worthy, and we all know what happened with that. Love this score! The classic orchestral approach fit this movie exceptionally well. The score worked so well that it almost felt like a character in and of itself. A well-composed score should be a diegetic extension of the story, the emotional beats, and action; and this one is all those things! Cinematography should never be overlooked as greatly contributing to how a story is being told. It is the element that places us in objective or subjective points of view or prompts us to interpret a scene in a particular way. There are some beautiful shots in this movie that are framed with precision. All throughout the movie, the cinematography plays a strong role in crafting the full experience of Us.

Regardless if you like or love this movie, you are definitely in for a fun time! Perhaps I have issues with the writing and directing (two important elements in the crafting of a movie) but I still enjoyed myself and am confident that you will too. I don’t think it will become a classic in the way that Get Out will be one day, but it’s one to watch anyhow. Lots of great concepts here, but Peele doesn’t strongly deliver any one of them.

You can join Ryan at the cinema most weeks at Studio Movie Grill Tampa.

Ryan teaches screenwriting at the University of Tampa. 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!

Follow him!

Twitter: RLTerry1

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Halloween (2018) Full Horror Film Review

Happy Halloween Michael! David Gordon Green’s Halloween truly is the sequel that we have been waiting for in the Halloween franchise. Green set out to direct a Halloween movie that he desired to work both as an homage to the original whilst crafting an original story that could do more than be a great horror film, but be a great film period. And suffice it to say, he delivered in spades (or knives, as it were haha). Words cannot even begin to capture the energy of the auditorium last night. From screen to entrance Studio Movie Grill Tampa (my regular cinema) was filled with a level of energy that I’ve only ever witnessed at JurassicAvengers, and Star Wars movies. Twitter is all a’buzz this morning with those who saw it at pre-screenings and those of us who saw it at 7 o’clock last night. When I’ve been asked what I think, I am quick to respond that you need to throw out the rule book because Michael is writing this story. From echoes of the original (and some of Halloween 2) it still succeeds in providing longtime fans and those newly discovering the franchise with an original story that will hook you from the very beginning when you realize that all bets are off because no one is safe. It’s thrilling, engaging, and fun. It may lack Dean Cundey’s brilliant cinematography from the original (he was also the cinematographer for Jurassic Park, Carpenter’s The Thing and Back to the Future), but visually the film has those quintessential moments that act as a throwback to Carpenter’s original groundbreaking slasher. From the vintage opening title sequence accompanied by that iconic score to the showdown, Blum House’s Halloween is a brilliant addition to the franchise and is destined to be a future classic.

For my conversation about Halloween with the guys across the pond at the Movie Drone Podcast, be sure to watch for that episode dropping on Sunday wherever you get your pods.

It’s been 40 years to the day that Michael Myers (James Jude Courtney), the boogeyman, committed the infamous Haddonfield Halloween murders and 55 years since Judith Myers was stabbed to death. On Halloween night, Michael escapes from a bus that was transferring him from Smith Grove to a maximum security prison when the transfer goes horribly wrong. News of this escape puts Laurie Strode (Jamie Lee Curtis) on high alert as she knows he is heading for Haddonfield. Only this time, she is ready for him. Laurie is challenged with protecting herself while also protecting her daughter’s family. More than protecting herself and her family, Laurie is out for blood. With it being so long since the infamous murders, the town has largely let its guard down. History has faded into myth. But Laurie knew that Michael would be back one day, and she is fully prepared to face-off with the real-life boogeyman.

From the moment the film cuts to the vintage titles and the smashed jack-o-lantern becoming whole again, after the prologue, I knew that I was in for a real treat. That music is so incredibly iconic; those familiar chords are enough to strike fear in those who listen. Although many in the general audience may overlook the power of an opening title sequence, the typeface, transitions, music, and jack-o-lantern work together in order to communicate to the audience that David Gordon Green recognizes and respects the original and knows that you will love this installment that goes back to what made the first one work so well. It’s as if he is stating to the audience “I’ve heard you and I love the original too.” Instead of falling in line with current trends in horror films, Green is communicating to the audience that he is taking this franchise back to the roots. and back to the roots, he did. For fans of the franchise, you will undoubtedly recognize some easter eggs and other moments in the plot and kills that are nods to the original. Nods with a slight twist. I love the moments that connected me to the original. Same may call it shallow fan service, but I call that branding. Branding is important to a franchise, because those are the moments that are quintessential to the experience. And these moments in the film, that I see as branding, connect us to the original. Holding back on that branding would inhibit the nostalgia from shining briefly here and there. So much of Michael and Laurie’s identities are connected to those branding moments. However, don’t allow the return to channeling what made the first one work so well lead you to believe that you have it all figured out. While the soul of the original is there, the plot is full of twists and turns because just as Laurie was ready for Michael, he was ready for all of us sitting out there in the dark.

Written by Green, Danny McBride, and Jeff Fragley, this installment in the Halloween franchise was written to be a true continuation of the original story, ignoring everything that came after it. On that note, I like Halloween 2 and Halloween H20 but I am also equally pleased that this one essentially takes all the sequels and chalks them up to fan fiction. Could H2 and H20 have been included and the film still play out just as original and powerful? I think so, but at the same time, I did not find myself missing those installments. By placing this story 40 years after the original, it was able to remove all the absurdities of most of the others and start afresh. Missing from many of the other sequels was the playful nature of the original. Horror movies are supposed to be fun! Scary but fun. Even though there is murder and mayhem in a horror movie, that does not mean that it should be without those humorous moments. Fortunately for Green’s Halloween, the screenplay provides us with a simple revenge plot with a fantastically complex cast of principal characters. There is this refreshing exuberance I felt in the experience of this film. It was almost the same feeling that I got when I watched the original Halloween for the first time. The reason horror is used in events like Halloween Horror Nights and Howl-O-Scream is because there is a high level of amusement in it. And the screenplay of this film has perfect levels of horror and humor to keep you hooked and entertained for the whole time. Beyond the excellent direction Green provided, Jamie Lee looks so incredibly satisfying reprising her breakout role, we get a throwback Michael, and more. The key to the success of this film is the solid screenwriting. Moreover, this is not only a fantastic horror movie, it’s a solid film with no clarifier needed.

Before getting into content that requires me to talk spoilers, I want to explore the characters of Michael and Laurie specifically. Entire theses could be written on this subject, but let’s look at some of the main points. You may have asked yourself “what makes Michael tick?” The short answer: we do not know enough about his psychology, sociology, or physiology to know for sure. And that is a good thing! Why? Because if we knew too much about his mind and body, he would cease to be the boogeyman. And being the boogeyman is so important to, not only this franchise, but horror in general. That little bit of mystery and fantasy allow him to remain a monster to be feared and never truly understood. You see what happens to people in the film who seek to understand Michael better–hint–it’s not good. But since we are voyeurs who are obsessed with knowing, here is the long and short of what we know. According to Casandra Dodge (Ph.D. in criminology candidate at the University of South Florida), Michael likely suffers from and displays signs of a combination of antisocial personality disorder, schizophrenia, and obsessive compulsive disorder. We do not know enough to draw these conclusions, but there are signs of a combination of these psycho-social disorders.

Laurie is even more fascinating in this film than she was in the original. In many ways, she takes on some of the characteristics of Dr. Loomis from the first movie. He warned everyone about Michael’s violent behavior and would not be swayed into thinking that he could be rehabilitated. He was ready to kill Michael at every turn. Like Michael likely suffers from OCD, Laurie and Dr. Loomis also show signs of this disorder. Moreover, Laurie also displays signs of being a psychopath herself. Loomis, Laurie, and Michael could all be psychopaths. But contrary to popular belief, very few psychopaths are violent. In fact, careers for people that could be classified as psychopaths include: lawyers, surgeons, law enforcement, professors, artists, and more. Albeit I am overly simplifying, psychopathy means that you are predisposed to thrill-seeking behaviors and tend to be self-centered (among other characteristics). Laurie is less the final girl in this movie than she was in the original because she is very masculine and protective from the very beginning. There is no one defining moment that she sheds her (heteronormatively speaking) feminine self and takes on the traditional role of a man in stories to save the day and ultimately survive the killer. She is out for revenge the whole movie. I also appreciate how her character provides commentary on the realness of PTSD, and and the affects it has upon the whole body. On the note of revenge, the plot of this film aligns more closely with a revenge plot than a morality play. No mistaking it, Laurie Strode is back, and more phenomenal than ever! I love her character.

(spoilers ahead)

Substance and commentary. The original slashers such as HalloweenFriday the 13thA Nightmare on Elm Street, and other horror films (that do not fall into the slasher genre) hold up so incredibly well because there is a high degree of subtext that provides a solid foundation upon which to build the more superficial elements of the plot. At its core, the traditional slasher and is a morality play. And this morality goes beyond have casual sex and die or do drugs and die. But the aforementioned are recurring themes in these films. What I appreciate about the new Halloween is not following that approach–at least, not in the same way. It would be all too easy to pick-out the murders based upon that theoretical framework, and Michael is not about to have that. Characters you think will die do not, and other characters that you may not think will die, wind up another Haddonfield victim. The best example of this abandonment of the more traditional approach to slashers is the first kills. One of the past tropes of horror films is that if you are a kid or gay (or queer) you don’t die. Guess again, the 12yo boy who happens upon Michael’s transport bus who prefers dancing to hunting (tipping the hand to the fact he is likely gay) becomes one of Michael’s first victims. This is an indicator that all bets are off–no one is safe. Furthermore, the babysitter that is killed is someone whom is rather likable. She’s a good babysitter–loves her kid–and even when with her boyfriend comes over to the house, they do not engage in anything beyond “dry humping” and some weed smoking. No sex or hardcore drug usage here. Such a great approach because we like the babysitter; however, she winds up a victim anyhow. And Allison’s (Laurie’s grand-daughter) boyfriend kisses another girl at the school dance, but he does not wind up a victim. Although I would have preferred that he died, I like the fact that the rule book is thrown out.

The film also toys around with the idea of the Final Girl by playing around with the hard definition that we’ve recognized for all these years. And it pays off! Furthermore, we have some excellent commentary on and foreshadowing of the role Allison will play later on in the film. She and her boyfriend go to the high school Halloween dance as Bonnie and Clyde–with a twist! They gender bent the costumes. Showing Allison in the pants, foreshadows that she has that same androgynous image that Laurie had in the first film, tipping the hat that she is our final girl. However, she is not the only final girl. We have final girls in this movie. But this concept runs deeper than just the simple fact that we have a trifecta of female heroines. There is pattern established in the movie that when one faces Michael alone that he cannot be defeated. While the journalists at the beginning may seem like mere plot devices through which Michael gets his mask returned, they are so much more. They start the pattern because by themselves, they cannot defeat Michael, and die. The babysitter couldn’t defeat him alone, and her boyfriend died trying to protect his girlfriend. All of them on their own. Even Laurie, though being a solid match for Michael, cannot defeat him on her own either. It’s only when Laurie teams up with her daughter and grand-daughter that Michael can be taken down. Love this!

We also have some poetic justice kills. Loomis’ protege who seeks to use Michael for his own personal gain in the fields of science and academia. He is so incredibly prideful in the capabilities of his brain that his kill is symbolic that Michael will not be used to further his pretentious intellect. He stomps on his head like a pumpkin and the brain matter explodes like pumpkin seeds n a flash on screen (note: this is the most graphic kill). Likewise, the journalists who were using Michael to further their own careers by attempting to be smarter than Michael and even patronizing, wind up dead with primarily injuries to the head. Incredibly symbolic! Furthermore, there are other kills that serve purposes to comment on behavior and intention as well. In addition to symbolic kills and homages to the original, there is a recurring pumpkin and jack-o-lantern motif in the film. I need to watch again, but I believe we have a jack-o-lantern in nearly every scene like we do in the original. In fact, two of the heads of victims are turned into jack-o-lanterns with a flashlight shining out through the decapitated heads. While much of what I have described sounds grossly violent, there is far more violence off screen than what we actually see. Even the kills that are on the screen do not linger. This is important because lingering violence detracts from the narrative and becomes shallow spectacle. Green has a nice balance between narrative and spectacle. He truly showcases he art of storytelling all through Halloween.

Do yourself a favor and go see this movie! It was everything that I wanted it to be. Not only is it a great horror film, it’s a great film period. From the writing to the direction, production design, music and more. It is destined to be a future horror classic worthy of many rewatches.

Ryan is a screenwriting professor at the University of Tampa. If you like this article, check out the others and FOLLOW this blog!

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Blumhouse’s “Upgrade” movie review

Black Mirror on crack. That is precisely what Blumhouse’s Upgrade can be likened to. Outstanding commentary on the convergence of humanity and technology that provides many thought-provoking moments. Best known for its horror, this action thriller from Blumhouse will have you on the edge of your seat the entire time. Rooted in classic science-fiction, this thriller will also deliver a healthy dose of dark comedy, heart-pounding action, and acutely shockingly violent scenes. Writer-director Leigh Whannel crafts a brilliant motion picture that is one part vigilante Robocop and another part Dr. Frankenstein’s Monster. On the surface, Whannel’s thriller comes across as a B-movie done well, but it contains prolific content that will likely inspire conversations about the relationship between humanity and technology. Perhaps it was not the intention of Whannel (co-creator of Insidious and Saw) to write a motion picture steeped with commentary on the human condition and a harbinger against allowing technology to fuse with our minds and bodies, but there is certainly material here to discuss those deeper topics. Bumhouse’s Upgrade is certainly a big screen experience, so catch it while it is there!

Set in the not-so-distant future, cars drive themselves, pizzas can be printed at home, and Alexa is built into your house. After dropping off a completely rebuilt 1980s Firebird Trans-Am at a client’s hosue, Grey Trace (Logan Marshall-Green) is left a quadriplegic following a brutal car accident and mugging that also leaves his wife dead. While recovering in the hospital, Grey is approached by a major tech company owner about an experimental surgery that is theorized to enable Grey to regain his motor skills. It worked! Only now, Grey’s realized that he has cat-like agility and reflexes as well as increased strength. With his newfound abilities, Grey seeks to assassinate those he blames for his wife’s death.

Better have an iron stomach in order to watch this thriller, because Whannel prefers shocking moments in abundance. Whereas this film is certainly not a horror–as the intent of the film is NOT to horrify audiences–it certainly contains elements borrowed from horror films in order in increase the level of threat. A director friend of mine from Germany characterized the film has having tones of a John Carpenter movie combined with Drive by Nicholas Winding Refn. Though set in a possible near-future, the cinematography, score, and lighting are quintessential 1980s. No surprise as 80s is en vogue in our movies and TV shows. Grey’s “everyman” character archetype enables audiences to identify with him quickly, thus root for him as he takes the law into his own hands to avenge the brutal death of his beloved wife. It’s the simple revenge plot that enables Whannel to build a complex character delivering dark humor and visceral violence.

Definitely an entertaining science-fiction thriller! If you enjoy TV shows like Netflix’ Black Mirror and movies like DriveHalloween, Frankenstein, and Robocop, then you’ll certainly like Blumhouse’s Upgrade.