Texas Chainsaw Massacre (2022)

Texas Chainsaw Massacre

Dir: David Blue Garcia

Starring: Sarah Yarkin, Elsie Fisher, Jacob Latimore, Olwen Fouéré, Moe Dunford, Nell Hudson, Jessica Allain, and Mark Burnham

1h 21m

 

For nearly 50 years, Tobe Hooper's masterpiece of independent filmmaking, "The Texas Chainsaw Massacre," has populated every list detailing the most influential, greatest, scariest horror films of all time. And it justifiably deserves every single accolade in some way. 

 

The gruesome masked killer, Leatherface, has continued his rampage as any good scary movie villain should, with sequels, remakes, origin stories, and now, with David Blue Garcia's "Texas Chainsaw Massacre," a chance to communicate the massacre again in modern times. The result is an uneven mix of modernistic sentiments and simplified social commentary combined with the visceral driving force of a buzzing chainsaw, brutal gore, and unabashed violence for the sake of violence. 

 

A group of idealistic young people escapes the city for a new beginning in the rural town of Harlow. Melody (Sarah Yarkin) and her teenage sister Lila (Elsie Fisher) have short-lived peace as they disrupt the residence of deranged serial killer Leatherface, whose legacy of bloodshed continues to haunt the residents of the abandoned town. But a survivor from the 1973 massacre, Sally Hardesty (Olwen Fouéré), has been waiting for the opportunity to have her revenge.

 

The return to the saga started in 1973 brings an aged Leatherface, with shaggy grey hair, a noticeable limp, but still faster and more robust than any twenty-something young person in the film, face to face with modern times. Gen Z'ers are gentrifying a rundown town, driving electric cars, and all of them eager to live stream every aspect of their lives. As one social media-minded man brutally finds out, Leatherface doesn't have time for views and likes.

 

Director David Blue Garcia wastes zero time with "Texas Chainsaw Massacre," it's a quick trip down a familiar dusty road. Each iteration of the Texas Chainsaw killer gets progressively more violent and gory throughout the franchise history. Tobe Hooper's original film was relatively bloodless, with violence implied with camera framing and positioning. Garcia's vision doubles down on the gory carnage and sadistic mayhem, leaving nothing to the imagination. 

 

At a sweet-spot running time of 83 minutes, Garcia treats this film primarily as a buffet of bloodshed. It is an uncomplicated story that tries to flex a deeper underlying agenda about trauma and empowerment but never takes the time to explore it. It's the film's major fault and what ultimately makes it unmemorable after it's over. 

 

Survivor Sally Hardesty, played with ferocity by Olwen Fouéré, returns to exact some justice after all these years. The past torments Sally's character; she carries a picture of her friends and displays a demeanor of a hunter waiting for their prey. This character examination arrives with thought-provoking potential but is completely underutilized. Instead of creating a dynamic between Sally and the monster who ruined her life, the narrative build-up for Sally's character only supports Leatherface's one-note backstory. "Texas Chainsaw Massacre" is seldom committed to anything more than the surface level carnage and gore. 

 

Ricardo Diaz's cinematography heightens the looming threat of Leatherface's return. The appearance of the chainsaw-wielding killer in a field of sunflowers followed by a wide shot of him lumbering towards his hometown with an on-coming storm in the distance is striking. The highlight, however, is seeing the iconic monster highlighted with blue lights on a party bus, which is just the beginning of a fun scene for the franchise character. 

 

"Texas Chainsaw Massacre" delivers on everything its title could promise; director David Blue Garcia takes you to Texas for a brutal, gory chainsaw massacre. Everything left on the ground after the chainsaw stops turning composes the remainder of this film.

 

Monte's Rating

2.25 out of 5.00

Death on the Nile Review

Death on the Nile

Dir: Kenneth Branagh

Starring: Kenneth Branagh, Gal Gadot, Armie Hammer, Annette Bening, Rose Leslie, Letitia Wright, Sophie Okonedo, Ali Fazal, Emma Mackey, Dawn French, Tom Bateman, Jennifer Saunders, and Russell Brand

2h 7m

 

Cinema has produced no shortage of brilliant detectives solving all manner of devious deeds, but one of the greatest delivered to novels, television, and film is Hercule Poirot. The Belgian investigator with a mustache that could be a character all by itself was created by Agatha Christie and has appeared in numerous novels, short stories, and various movies/television shows played by prestigious actors. Austin Trevor in 1931s “Alibi” and Tony Randall in 1965s “The Alphabet Murders” played the role of the famous sleuth. Albert Finney received an Oscar nomination playing Poirot in 1974s “Murder on the Orient Express.” A few years later, Peter Ustinov donned the mustache in six different films, including “Death on the Nile” in 1978 and “Evil Under the Sun” in 1982. But the longest run playing the famed detective belongs to David Suchet, who portrayed Hercule from 1989-2014 in the British series “Agatha Christie’s Poirot.” 

 

Returning director/actor Kenneth Branagh remakes another Agatha Christie classic, “Death on the Nile,” and continues his charming, witty performance as the observant investigator Hercule Poirot. Steeped in a controversy surrounding sexual assault allegations for star Armie Hammer and release delays due to covid-19, “Death on the Nile” floats into theaters this week. The film, which boasts a talented cast and revamps the “whodunit” quality of the original movie with better thrills and suspense, struggles to maintain its messy momentum once it sets sail—leaving the film continuously on the verge of sinking before it reaches the harbors. 

Belgian detective Hercule Poirot (Kenneth Branagh) is on holiday abroad in Egypt. While gazing at a pyramid and enjoying a snack, Poirot is reacquainted with old friend Bouc (Tom Bateman) and invited to attend a Nile cruise to celebrate the marriage of Simon Doyle (Armie Hammer) to heiress Linnet Ridgeway (Gal Gadot). Poirot, initially reluctant but eventually intrigued by the devious, many times ruthless group of celebrators, boards the luxury boat. Linnet is relieved to be on the Nile and away from her former best friend Jacqueline de Bellefort (Emma Mackey), who has stalked the couple every step of their celebration. Linnet is terrified for her safety. She confides in Poirot, detailing the fears she experiences because of her wealth. After a night of revelry, which ends in a vengeful argument, events turn deadly as a
murder happens onboard the ship. 

 

Kenneth Branagh’s “Death on the Nile” does a fine job of maintaining, and in some places heightening, the suspense found in Christie’s novel. Writer Michael Green, who also wrote 2017s “Murder on the Orient Express,” labors over the tangled relationships of all the guests in the beginning half of the film, introducing red herrings and ulterior motives that emerge but are quickly dismissed once the mystery begins. And it takes some time to get to the actual mystery of the story. Green’s overabundant development never seems to add much to the plotting procedural that takes place once the crime occurs. However, once Poirot begins accusing everyone of murder, and the twists and turns start to find purpose, the film finds its footing.

 

Kenneth Branagh’s performance is, oddly, a highlight of the film. While the character often sways between calculated and comical, Branagh enjoys the time under the mustache. That makes all the difference when the film tries to be a serious whodunit. However, Gal Gadot and Armie Hammer are not having the same fun as their romance comes to life with little chemistry between the two actors. Emma Mackey, playing the jaded and vengeful Jacqueline, provides enough scorned craziness to make any scene with her enjoyable. For the most part, the talented cast is provided few scenes to develop their characters, but some are offered the occasional monologue to chew the scenery in amusing ways. 

 

Kenneth Branagh’s “Death on the Nile” updates Agatha Christie’s novel to make the mystery more suspenseful. Branagh’s portrayal of famed investigator Poirot is amusing in the best way possible. Still, even with an all-star cast and updated elements to enliven the mystery, “Death on the Nile” struggles to find its rhythm of storytelling. 

 

Monte’s Rating

3.25 out of 5.00

What the hell happened to Women in Horror Month?

If you follow The Coda on a consistent basis, and noticed it is already mid-February, you might be asking yourself - "What the hell happened to Women in Horror Month?"

Well, I am happy to fill you in.

Women in Horror Month (WiHM) started as a grassroots movement about 13 years ago with an organization behind it to help drive events and conversations. Unfortunately, like many other businesses, events, and movements, COVID brought about some challenges.

On March 1, 2021, the official WiHM organization announced they would be no more. 

But.....and this is a big BUT.

The announcement was not a resignation of the movement. It was a call to rally the troops for something bigger.

As stated on their website, WiHM "found that not only is there enough content, traffic, and engagement for one month, we believe there is enough to take celebrations year round." (See full statement at https://www.womeninhorrormonth.com/special-announcement/).

Now is not the time go silent but to roar.

Over the years I grabbed onto this movement and tried to do my part locally in Arizona, I have shared diverse female written/directed films at the Phx FilmBar to audiences hungry to celebrate these voices. I have wrote various pieces for The Coda hoping to spark something in others. I have joined BS Movies Podcast and Phoenix Fan Fusion for several discussions around Women in Horror. I have joined one of the most amazing groups of women EVER - The Film Brujas. 

And I don't intend to stop.

I may have slowed a bit due to other commitments but I'm as on fire as ever.

Watching 5 incredible women written/directed films at Sundance, and already seeing some get picked up, has been like celebrating Christmas morning as a child. 

It's a hopeful start to the year.

I plan to continue celebrating Women in Horror no matter the day, month, or year. It's a part of me for forever now. When you meet me for the first time, horror films or books, almost always come up in conversation. I sometimes stalk Reddit posts and share women voices among all the Stephen King and John Carpenter lovers. I will continue to write for The Coda and hopefully sometime in the future, I will help to share female filmmakers to Arizona audiences again.

Women in Horror Month is a phoenix. It will never die. It will only continue to rise.

Jackass Forever Review

Jackass Forever

Dir: Jeff Tremaine

Starring: Johnny Knoxville, Steve-O, Chris Pontius, Dave England, Ehren McGhehey, Preston Lacy, and Jason' Wee Man' Acuña

1h 36m

 

What started as a clip show on MTV called "Jackass," where a group of friends attempt crazy stunts, gleefully engage in gross-out humor, and treat each other to a variety of torturous antics, has turned into a more than a 20-year franchise. The group's ringleader, Johnny Knoxville, reunites the crew in "Jackass Forever" for more outlandish behavior with the help of some famous friends and new blood ripe for the challenge of impressing the almost/over 50-year-old "professionals." 

 

Directed by Jeff Tremaine, the often cruel-hearted filmmaking instigator looking for the perfect shot of the wild stunts wastes no time getting comfortable with this installment of the series. The whole team returns; extreme Steve-O, mostly naked Chris Pontius, always terrified Danger Ehren, reluctant Preston Lacy, smiling 'Wee Man,' and nervous Dave England. 

 

"Jackass Forever" is a performance art piece at its most primal state. A brand of mayhem and menace born of slapstick comedy, daredevils, and raunchy jokes come to reality. Before YouTube offered extreme stunts and practical jokes at the click of a few buttons, "Jackass" was the prototype for extreme behavior committed to video. When the first film made its way to theaters in 2002, it was audacious, ridiculous, and controversial. Still, the audience's response in front of the screen was rip-roaring laughter mixed with 'oohs' and 'ahhs.' It was a communal experience, one that made the event so much more entertaining than just sitting at home. 

 

Despite the crew's age and obvious reluctance towards going for bigger stunts, the segments in "Jackass Forever" are still hilariously amusing. The introduction is a Godzilla rip-off in the most inappropriately raunchy way possible. After that, a scorpion is used for beauty modification, a bear finds fresh salmon in a locked room, a marching band operates a supercharged treadmill, and an aggressive bull interrupts a magic show. It's childish, dangerous, demented, and surprisingly delightful.

 

New friends join the Jackass crew, a group of committed young people who seem inspired and influenced by the original team. Comedian Rachel Wolfson, the first lady of Jackass, stuntman Sean 'Poopies' McInerney, and actors Jasper Dolphin, Eric Manaka, and Zach Holmes all take the invitation to join without complaint. Part of the fun of this new film is the addition of these new people; they are excellent personalities, and it's enjoyable watching the old guard work alongside the new blood. 

 

"Jackass Forever" relishes in pushing the boundaries of good taste, safety, and awkward situations; it's a brand they have mastered after all these years. Johnny Knoxville leads by example, the master of ceremonies who breaks nervous tension with his iconic laugh, allowing the viewer to laugh along with the mayhem. It's enjoyable chaos, a trip to the movies to experience this wild exercise in performance art with a group of people. "Jackass Forever," after two years amid a pandemic, is escapism cinema at its best.

 

Monte's Rating

3.75 out of 5.00

Moonfall Review

Moonfall

Dir: Roland Emmerich

Starring: Halle Berry, Patrick Wilson, John Bradley, Charlie Plummer, Kelly Reilly, and Michael Peña

2h 10m

 

Since 1996, when aliens came to Earth for destruction in "Independence Day," director Roland Emmerich has destroyed the world in many different ways. In 1998, "Godzilla" destroyed New York City. In 2004, a storm plunged the world into the Ice Age in "The Day After Tomorrow." In 2009, global catastrophes annihilated humankind in "2012". And in 2022, the moon falls out of orbit and begins a countdown towards a collision with the Earth in "Moonfall." 

 

What adds drama to this big-budget disasterpiece is that the moon isn't what it seems. For Roland Emmerich, "Moonfall" feels like a combination of everything the director has thrown at the silver screen during the more than twenty-year cinematic exercise of destroying the planet. And the b-movie sensibilities of "Moonfall" are undeniable, and if you are a fan of this blend of science fiction action melodrama, the film will not disappoint. The special effects and A-list talent are simply icing on the cake. However, this film is not for you if you are looking for thoughtful social commentaries, insightful character developments, or anything holding obedience to the laws of physics. 

 

The moon has been knocked out of orbit by a mysterious force. Dishonored astronaut Brian Harper (Patrick Wilson), who first encountered the mysteries of the moon during a space mission gone wrong ten years prior, and conspiracy theorist K.C. Houseman (John Bradley), who was first to discover the moon's orbit problem, is recruited by former NASA astronaut Jocinda Fowler (Halle Berry) for a humanity-saving rogue mission.

 

The events of "Moonfall" occur at breakneck speed; missions are launched, failed, and relaunched, tidal waves of water collapse on Los Angeles, people escape the coasts for higher ground in Colorado, and the collective goodwill of humanity turns dangerous in the background. These events all happen before the mission to the moon part of the movie. Between the breaks of science theorization, pretty much a screen of moon ellipses circling closer to the Earth, and cutaways to different parts of the world experiencing catastrophe, Emmerich and co-writers Harold Kloser and Spenser Cohen fill the small gaps with minimal character development and unnecessary side stories in an attempt to add some emotional gravity to the story. It seldom works. 

 

Halle Berry shows up as NASA administrator, the only person who seems remotely interested in trying to save the Earth. Berry is a confident actor and makes this character shine even though the underlying qualities aren't always on the page. Patrick Wilson plays a former astronaut fighting to save his family. Wilson plays the hero character throughout with ease. The best performance is John Bradley playing a conspiracy theorist much more intelligent than he may present with his silly ideas. Bradley provides humor and embodies the tiny heart of the narrative. 

 

"Moonfall" delivers on everything the trailer advertises; it's a special effects-laden spectacle that is aiming for nothing more than pure, simplistic entertainment value. And for that, the film will satisfy those looking for an escape. 

 

Monte's Rating

2.50 out of 5.00