Just thought I’d pass this on…
It Chapter Two features moments of gleeful exuberance, and other moments that were just plain nice — but what little story exists is highly contrived, pat and predictable. Part 1 was a little more of an unexpected journey. Part 2 never exhibits any over-arching story to drive us along.
Chapter Two was never exactly thrilling, but neither did it ever really drag, which is impressive for a 3-hour movie. Certainly there were some very entertaining, even lovely sequences, and It moved a lot better than your average superhero movie, that’s for sure. 6/10
One scary story to tell in the dark would be pure awesomeness, more even better. But there’s nothing particularly scary here. In other words, yawn. I understand this may be directed towards yungin’s, but that doesn’t mean it has to be such a boring rehash.
What is with no starting titles? Are you so ashamed of your lead actors? Of the movie title? 2/10
By far the best thing about The Blackcoat’s Daughter, which I heard about during a brief theatrical appearance while I was in Grand Junction in 2017, is the poster above.
Haphazard nonsense mixed together by time shifts and flashbacks do not a good movie make. The Blackcoat’s Daughter serves as another case in point for the weakness of nonlinear storytelling. That weakness, more often than not: a very skimpy story at the film’s heart.
A CASE IN POINT FOR THE WEAKNESS OF NONLINEAR STORYTELLING
Lynch talked about the “language of cinema” — but in Lynch’s case, that language still paints a beautiful story. Lesser filmmakers, with little tale to tell, attempt to rely on that language, broken though it may be, to stand on its own. To compensate for lack of story. So I keep beating the drum: without the spine of story, no movie can stand.
Add The Blackcoat’s Daughter to the growing list of A24 films heavy on atmospherics, good acting, and little else. I admit it did mostly hold my attention; there were stretches of the film that were compelling in that what’s-going-to-happen-next kind of way — again, the formula of many A24 releases. 5/10
The biggest problem with Slender Man is that for large swathes not much happens, and when it does it’s rather gutless. Adam Graham, Detroit News:
It doesn’t add up to much more than a shoulder shrug. Perhaps that’s one way to kill off Slender Man: make his story so dull that no one cares.
For what should be a zippy 93-minute film, it sure drags. There is some minor entertainment value, and it’s certainly no worse than The Conjuring and its ilk that critics fell over each-other about. This movie did instruct me on a fantastic instrumental track from 1971, “Maggot Brain” by Funkadelic. But there’s not a lot going on here. Based on a web/urban legend, once again we see a failure to tap into readily available material, including its own poster.
I will say one thing: a movie like this makes you appreciate the genius of David Lynch all the more. Funkadelic and the beginning third raise Slender Man to 4/10.
You go into Hereditary thinking it’ll be some sort of wonderful all-out creepfest. There is a definite creepiness factor, but the film morphs into yet another fairly conventional haunted house/haunted spirit flick. For all of its careful consideration of factors such as visual design, Hereditary pays much less attention to presenting a strong compelling story.
Which is not to say it’s not compelling. Certainly not boring. But if you remove the miniatures, I doubt I’d recommend. An absent starting title for no reason doesn’t help. At least A24 didn’t revert back to the square frame on this one.
I’ve largely forgotten about this movie already, but in its immediate wake it did get under my skin a bit. So — a begrudging 7/10.
I’ll start with a side note. I saw the trailer for A Ghost Story about three times, I think two of which were at an AMC. And then the local AMCs collectively failed to ever show the film, or if they did it was for no more than a week or a day. When it was still showing in theaters outside my area, e.g. in LA, I went to one of the main AMCs to watch another film and was surprised to see a super-sized lobby cardboard poster display for the film. I inquired about it, and was told there were no plans to show the film.
A theater showing trailers and setting large promotional items on display for a movie seems only to make sense if said theater will at some point show the movie. But that’s indicative of numerous areas of mismanagement on the part of AMC. I went to a film lately and a couple of the seats had such a strong fecal odor I moved.
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I point out the AMC nonsense above because I felt like A Ghost Story, starring consummate actors Casey Affleck and Rooney Mara, was one of the more significant indies of the year, and given short shrift by the cinemas. Nonetheless, I was determined to watch it to consider among the films of 2017, so I did something that is rare for me these days: saw it at home.
The movie is intriguing, and certainly compelling — but falls short of providing that grand a-ha moment. In other words, I liked it despite a thin story. 7/10
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Note: This film is presented in a square (1.33:1) frame with rounded corners, for no particularly obvious or excellent reason. An affectation, perhaps, but in this case it does not distract from the movie — unlike in American Honey. I like a lot that A24 Films does, but the square frame trend I hope can be put to rest.