Alfred Meneses

Unapologetically weird; unapologetically gross; and unapologetically batsh*t crazy insane. The Substance is not subtle about what it’s trying to say about Hollywood ageism, beauty standards, and ozempic/Goop/magic pill/fountain of youth elixir culture; and it gives no f*cks about the over-the-top grotesque lengths it’ll go to frame its commentary; and it is amazing because of it. Demi Moore gives an absolutely tour de force performance, and Coralie Fargeat’s vision and direction perfectly homages body horror yesteryears without being a copycat. Instead, we get the most original, unique, sensorial f*ck-mainstream-Hollywood movie you’ll see this year.

While the key words “American Remake” and “Blumhouse” may send a sliver of cringe down your spine, Speak No Evil (2024) starring James Mcavoy more than not, accomplishes a pleasant and rare feat in the horror genre. Sure, some line delivery that’s supposed to mirror the original script feels clunky (but what’s new for a Blumhouse film?), but the cinematography is beautiful and first two acts successfully hold the slow brewing uneasy and discomfort with touches of dark comedy as the original. The performances all around are great; Mcavoy and McKenzie Davis are the standouts and play their roles convincingly. The biggest change (and it should be no surprise), the third act, is completely different. Some may find the change from bleak and dark to standard action packed cat-and-mouse fair a copout. But what makes the difference for me as a viewer is that while our main couple in the original were frustratingly and unbelievably useless, in the remake we’re given smart characters whose smarter decisions make them worth buying in and rooting for. The results then, are all the more entertaining, thrilling, and cathartic.

Strange Darling is a Tarantino-esque thrill ride that takes the classic cat-and-mouse killer vs final girl trope, but updates it with a devilishly fresh spin. Shot on 35 mm film, this film is visually gorgeous with a vintage feel punctuated by a stellar score, soundtrack, and sound design. Our two leads, Kyle Gallner and Willa Fitzgerald deliver their absolute best in roles that ask for so much nuance and shades to be convincing. There are some moments of lull in the pacing despite the shorter runtime, and the choice to show the story out of order may be a negative for some casual movie goers. But for me, those two qualms are immediately made up for with intense and gripping chase sequences, some of the best twists and turns of the year, and in my opinion, the best mid-movie reveal I’ve seen in a movie since Barbarian in 2022. Two of my favorite movie techniques have always been a story that present itself as one thing and but reveals itself as another, and the effective use of Chekov’s gun; and Strange Darling definitely stands among one of the best examples of both concepts in a film I’ve seen.

Oddity is a straightforward yet effectively done modern horror film with a classic haunted house feel and atmosphere. All the technical elements as well as the performances from the small cast are woven together beautifully, and the pace is perfect within a tight and compact run time. But what impressed me most is that the film contains some of the better crafted and executed scares I’ve seen recently. You could wait to see this on Shudder, but if you can definitely try seeing it in theaters.

Don’t believe the hype, but do see this movie. While it’s not “the scariest movie of the decade” as the posters claimed, there’s no denying that Longlegs is one of the better slow burn films to come out recently. Will it be a general crowd pleaser and meet the expectations of someone looking for a standard popcorn jump scare laden horror? No it will not. But there’s an undercurrent of dread that looms beneath the mysterious intrigue of its True Crime premise; a beat that slowly thumps its way to a heart pounding final scene. More classic in formula than modern. Nicolas Cage gives one of his better creepy roles with a balanced tone that never gets too silly or obnoxious, but over the top enough to give you a nervous chuckle. The biggest strength is in the score, sound design, camera angles, framing, shot composition, and stylistic choices with aspect ratios. All contribute to create a tone and atmosphere that grates on your nerves and never lets you have a moment to put down your guard. Many have compared this to Silence of the Lambs or Se7en, but I felt the film had a more spiritual connection with Sinister. Now, my one big negative is that there’s an important turn in the film where we get a massive exposition dump of sorts where everything is explained in a single monologue. For me, this big reveal took away from the overall mystique that the film builds throughout, and I felt that all the clues that this monologue attempts to tie up could’ve been better shown and uncovered throughout the first two thirds of the film. So should you believe the hype and take what the critics are saying at face value? No. But should you see this movie? Yes, but adjust your expectations accordingly and just sit back to take it in and enjoy.

While it’s aesthetic and ode to 80’s Hollywood is brimming with style and nostalgia; and while Mia Goth once again kills it and shines as our titular heroine, Maxxxine unfortunately falls flat in conveying originality or a clear direction or message. Aside from some decent practical effects, Maxxxine presents itself more as a Mystery/Crime Thriller with a black gloved killer. But even whodunnits have something in common with true horror that this one lacked: intrigue, suspense, and a reveal that ties up all the loose ends and clues you picked up throughout its runtime. Its obsession with trying to give you the 80’s vibe ultimately distracts from what should be its first priority: to be a competent slasher that concludes an overarching storyline within a trilogy.

While A Quiet Place: Day One has all the ingredients to make a great sci-fi action thriller, for me it felt like it was lacking that special secret sauce. I just felt it didn’t take full advantage of its new bigger setting. But for all its missed opportunities, it unexpectedly made up for in a surprisingly touching and human story line, which is further backed by the amazing performances of Lupita Nyong’o, Joseph Quin, and the cat.

With strong performances, dynamic camerawork, snappy and quick-fire dialogue, an interesting story structure, and an exhilarating soundtrack, “Challengers” takes a familiar love triangle entanglement story and tennis, then throws them in a pressure-cooker of palpable chemistry and passionate angst that captivates you and backhand strokes you from one side of the court to the other. It’s relentless, sexy, and fun. A game, set, and match of a film.

4.5/5 - Civil War (2024) is going to be a controversial and divisive film, but not for the reasons you think. In fact, the movie will definitely not be what you think it is. Despite its premise promising a cautionary tale that could spark political and social conversation, you’ll be naive to think that A24 would release something that easy to peg. Sure, the action sequences are thrilling, the sound design is riveting, and there are scenes that will strike fear because of how real and close to home it feels. Ultimately however, this is not a film about War, but more about the people who put themselves on the front lines to capture war. It’s a film about journalism and a commentary on the lengths a journalist will have to go to “get the money shot”, and how they must reduce their own humanity in order to get the shot that’ll convey so much feeling and emotion. Alex Garland knows what he’s doing here. He knows that a film with this type of premise will get the general movie goers riled up, ready to see an action packed spectacle, only to be disappointed and disinterested in what the film really has to say. It’s a bait and switch in the best way. At least for a movie goer like me. I’ll admit half way through, I had to do some adjusting of my own expectations. But once I let go of what I thought I was originally going to see, I just let the movie be and reveal itself. And what I found was still just as thought provoking and affecting.

Dune, Part 2 Review ~ 5/5 Second time seeing Dune, Partie Deux and it definitely hit differently. First off, this movie is a technical work of art. Everything from the cinematography to the effects to the sound design is all carefully crafted and placed. The grand scale of everything isn’t just for show and spectacle, but there’s an deep intention behind every decision behind the lens to highlight the details and nuance of the story and the world building. For me where Part 2 shines over Part 1, is that while Part 1 did a great job transferring this world from words to visuals and establishing the universe and characters, Part 2 fully immerses you in the story and takes you behind the veil. Part 1 gets you acquainted and familiar with the surroundings, characters, and the scheming plot lines, but Part 2 delivers in making you feel the emotional weight behind its story and how the plots and motivations unravel before you. Story wise, what I come to appreciate even more about Part 2 the second time around is that Denis’s adaptation subverts the hero’s journey storyline and unfolds as a modern day Greek tragedy. Denis is able to emotionally capture the essence of Herbert’s intention of this being a cautionary tale of the corpution of power within Politics and religion. [SPOILER] In comparison to the book, the ending change in Chani’s character arc really worked for me. Not gonna lie, the final scene of Paul and Feyd-Rautha up till Paul’s ascension to the throne hit me emotionally. In part 1, we invest and cheer for Paul in his potential heroic rise, and in Part 2, we witness his rise, but there’s an emotional conflict in watching because we know that he has fallen victim to all the political scheming and extreme religious fanaticism around him, especially of the Bene Gesserit and Paul’s mother; and in consequence through Chani’s eyes, we experience the betrayal and heartbreak of realizing that the Paul we have been rooting for, has devolved fully into the Bene Gesserit’s grand political play. It’s gonna be a while before an inevitable Dune Messiah comes out, but so far, Denis’s Dune Parts 1 & 2 have joined the cannon of great epics adapted to the screen; and just like what the original Star Wars Trilogy and the Lord of the Rings did for their time periods, Dune is a sign that Hollywood can move on from the Marvel movie plague and get back to true storytelling on screen.