Emery's 2022 Favorite Films

 Emery’s List – The Best of 2022

By Emery Snyder @leeroy711

As I am writing this, the Oscar nominees have just been announced. And as it stands, I still have a lot to catch up with. I’ve actually only seen two of the ten Best Picture nominees. That being said, I’ve never found the Academy at being all that relevant when it comes to what cinema turns out to be the most important of its time. So I don’t worry too much about it. I’ve seen the films that I felt had the best chances to impact me. Years from now, I’ll look back at 2022 as the year of fill in the blank_______. (We don’t get to write history in the present.) I think it takes some separation to know for sure what media really stands out and what exemplifies the time. Undoubtedly, some of the films you read about below will be mostly forgotten. While others that have been so far overlooked, will withstand the test of time. I’ll be most interested to see what we say about 2022 in five or ten years. But for now, here’s my entry into the time capsule. It's just a snapshot. I’ll deny everything.

Honorable Mentions

HYPOCHONDRIAC – Directed by Addison Heimann

This was such an unsettling depiction of mental health issues. This film wears it heart on its sleeve so blatantly that it’s painfully obvious how deeply personal this story is to the storyteller. And this, is one of the most special and refreshing things that I can find in this medium that I love. With tonal shifts that range from searing intensity to snickering goofiness, this film is a personal and human expression of its storyteller.

THE BANSHEES OF INISHERIN – Directed by Martin McDonagh

As a technical director, McDonagh is incredibly skilled. He has frequently collaborated with cinematographer Ben Davis as well as composer Carter Burwell that always elevate his screenplays. The performances, especially by Gleeson and Farrell work together beautifully as well. This screenplay exists somewhere in between the masterpiece that is IN BRUGES (’08) and the disappointing THREE BILLBOARDS (’17). It’s a unique, entertaining and heartfelt film.

DOWN WITH THE KING – Directed by Diego Ongaro

Freddie Gibbs gives a great performance in this meditative slow burn about a rapper who’s holed up on a rural farm trying to record his new album. All the while, he’s contemplating whether he even wants to continue in the industry. It’s a film that shows how the creative process is often harmful to those who work in it.

DINNER IN AMERICA – Directed by Adam Rehmeier

This is listed as a 2020 movie but I really don’t think anybody was aware of it until this year. I’ve been more mesmerized the recent surge in what I call “dirtbag cinema”. Movies like Friedkin’s KILLER JOE or the films of Harmony Korine or Joel Potrykus (BUZZARD, RELAXER, APE). This film exists somewhere in between these films and the awkward romances of Anderson’s MOONRISE KINGDOM or Zwigoff’s GHOST WORLD. It’s a lot of high-energy fun in front of a Midwest punk rock backdrop. As a bonus, this film features one of the coolest original songs of the past decade.

AFTER YANG – Directed by Kogonada

This has been a pretty good year for fans of sad Colin Farrell. This is Kogonada’s second film about dealing with grief. I loved COLUMBUS as well but somehow connected more with this one. It also features one of the coolest opening credit sequences in film history.

WE’RE ALL GOING TO THE WORLD’S FAIR – Directed by Jane Schoenbrun

I think this film did a fantastic job at encapsulating what it means to grow up in the digital age. Similar to things like race & gender norms, urban legends are social constructs that have become real through repetition and community. And although, the digital world has had a flattening effect on the validity and qualification of information, even made-up social constructs often come with IRL consequences. This is the message I gleamed from this film, only in its last ten minutes or so. Before that, I didn’t even like it. But then I really did.

TOP 10

10 – FIRE OF LOVE – Directed by Sara Dosa

This is a documentary, narrated by Miranda July, about married French volcanologists, Katia and Maurice Krafft. There are a lot of things a human can do to make their lives legendary. Not the least of which among those things would be to leave this world with hundreds of hours of absolutely amazing footage of your day-to-day work for the rest of us to sift through. One of the running themes of this film is mankind’s powerlessness and insignificance in the presence of nature. The Kraffts remind us of this in interviews and in deed. Their love for each other as well as their love for volcanoes is greatly expressed by them but I also found their sense of service to all of humanity to be the film’s most touching part.

9 – PREY – Directed by Dan Trachtenberg

I could be the thirty-thousandth person to express how much of a shame it was that this thrill-fest never got a theatrical release, but I barely made it out to the cineplex this year so I probably would have watched it on Hulu anyway. This film turned into one perfectly crafted set-piece after another. Anchored by the physicality and charisma of Amber Midthunder’s performance, the fight choreography and pace will keep you fully engulfed. Watch it with the Comanche dialogue. It’s a different experience.

8 – RRR – Directed by S. S. Rajamouli

I don’t even know what to say about this one. It’s just pure unbridled ridiculous fun. I haven’t seen a whole lot of Bollywood films. But I’ve seen enough to know that this type of bombast is not uncommon. It’s not unusual to find a three hour epic that incorporates romance, action and dance numbers in a tall tale of adventure. RRR just does everything a little bigger, better and with far less regard for realism or believability. As it turns out, realism and believability are completely unnecessary for cinema.

7 – BARBARIAN – Directed by Zach Cregger

Were we all supposed to be surprised that sketch comedy veteran, Zach Cregger could write and direct one of the year’s most accomplished and effective horror films?... No, this phenomenon is definitely not supposed to surprise us in the same year that Jordan Peele releases his third film. Comedy is hard y’all… If you’re good at it, you’re probably capable of mastering other themes and genres also. BARBARIAN’s tonal shifts are as unsettling as its visuals. This is a big part of what I’m looking for in films. Misdirection isn’t only about plot twists. I heard Cregger on a podcast earlier say that his instruction to his cinematographer (Zach Kuperstein) was that he wanted “Fincher upstairs and Raimi downstairs”. Watch this with that quote in mind. The dichotomy colors the film perfectly.

6 – THE NORTHMAN – Directed by Robert Eggers

This film does medieval violence and brutality with skill that few filmmakers have shown. This feels like a great combination of the mood of Eggers’ THE WITCH and the frantic energy of his THE LIGHTHOUSE. Although I didn’t love this one on quite the same plane as those two, I was fully engrossed in it visually for its entirety. Eggers is likely to be a unique and trustworthy craftsman in cinema for years to come. And I’m fully hear for it.

5 – GLASS ONION: A KNIVES OUT MYSTERY – Directed by Rian Johnson

I was very happy this year to see some films that were just fun to watch. If you listen really closely, deep, deep down in the very back of your mind, you will hear a little voice telling you that this is empty and vapid fun. I just tell that voice to shut up. This film harkens back to a style of ‘whodunnit’ that was more comfortable 70 or 80 years ago. Johnson seems committed to it though. And why not? He gets great performances from an ensemble cast, reciting witty dialogue, piecing together a cleverly designed puzzle. I hope he keeps it up for years to come. I’ll always look forward to new installments.

4 – NOPE – Directed by Jordan Peele

“Do you see the slightest evidence anywhere in the universe that creation came to an end with the birth of man? Do you see the slightest evidence anywhere out there that man was the climax toward which creation had been straining from the beginning? ...Very far from it. The universe went on as before, the planet went on as before. Man's appearance caused no more stir than the appearance of jellyfish.” – Daniel Quinn, Ishmael: An Adventure of the Mind and Spirit

Jordan Peele’s latest film stayed with me long after I originally saw it. Upon first viewing, I was struck by its technical mastery. I wasn’t sure about it as a whole film, however. But it wouldn’t stop bouncing around my brain until I gave it a rewatch. Unlike his sophomore effort, US, I found a lot more to cling to with a second viewing of NOPE. I think this film very well illustrates the hubris of mankind in a very specific way. We have completely stopped questioning our position as the rulers of this world. And in a lot of ways, we’ve just assumed the same position extends throughout the universe. This level of unearned self-confidence may someday be our undoing, in terrifying ways.

3 – THE UNBEARABLE WEIGHT OF MASSIVE TALENT – Directed by Tom Gormican

I can’t say that I’m surprised that this didn’t make more ‘year-end lists’ from my peers. I had to watch it again just to make sure that I actually did adore it as much as I remembered. I ended up watching it one more time after that even. It’s just full of joy, meta-performative joy. I’ve heard the term “Bromance” used a lot this year while championing films like TOP GUN: MAVERICK and RRR. But watching Cage and Pascal’s budding friendship in this film was about as much fun as I’ve had all year.

2 – THE MENU – Directed by Mark Mylod

I love this screenplay, written by Seth Reiss and Will Tracy. But had this material been handled by its performers even slightly differently, this film could have been either snobbish and elitest or completely misanthropic. Instead, it delicately dances on that thin line of genius that straddles between the two. It’s got daggers pointed at artists, critics and toxic sycophantic fandom alike. Fortunately, it’s smart enough to to take itself right to the edge of seriously, without falling over. Ralph Fiennes and his work here is next level.

1 – EVERYTHING EVERYWHERE ALL AT ONCE – Directed by Daniel Scheinert & Daniel Kwan

Earlier I wrote about a couple of movies that illustrate and even revel in the insignificance of our species. And while I appreciate that sentiment, I was absolutely ecstatic to see this film that reminds us just how special we really are. It’s in our relationships and connections with each other that we find meaning and EEAAO has such a beautiful and unique way of showing us this truth. It engages us with its multiverse complexities and disarms us with is goofiness. All of this is in service of a melodramatic core that Ozu would have been proud of. And still, emotionally extrapolating the high stakes weight of the fate of the entire universe. I’m really not sure how the ”Daniels” managed to simultaneously tell a story so universal and so very specific but I thank them for it.

Honestly, I can’t say that 2022 was a great year or not. I’ve still not seen a handful of films that I have the potential to love. But EEAAO was head-and-shoulders above anything else I saw. It’s the type of film that actually ends up meaning something to me for years to come.

Favorite Films of 2021 (Monte's List)

Monte's Favorite Films of 2021

 

In another year of uncertainty, it was nice to return to the safe sanctum of the movie theater. While the movies that found the silver screen were mostly superheroes, franchises, or big budgets, there were still many rewarding films to search out and watch. With streaming services growing more dominant, the availability of the typically hard-to-find arthouse movies seemed far more accessible than ever before. While I still crave the popcorn-saturated smell of a beautiful cinema, 2021 displayed that people are finding new ways to connect with artistic visual media. And there was much to consume in 2021. These 12 films, plus a few more that almost made the list, are the ones that displayed the joy of discovery and gift of engagement that movies have always provided for me. Here are my favorites of 2021. 

 

12. The Tragedy of Macbeth

 

The Shakespearean tragedy that examines the fear, folly, and fall of Macbeth is adapted with meticulous detail in a visually stunning and faithfully authentic adaptation. Composed within the desolating contrast of black and white photography, the gloom of darkness grows more threatening as the film moves from treacherous betrayal to brutal uprising. The use of supernatural elements, with witches and ghostly shadows, is haunting. The madness of Macbeth, embodied by a bold performance from Denzel Washington, is mesmerizing from start to finish. Joel Coen's artful adaptation is a marvel of design and structure. 

 

11. CODA

 

"CODA" tells the tale of a seventeen-year-old young woman named Ruby (Emilia Jones), the sole hearing member of a deaf family. This coming-of-age film doesn't rely on twists and turns to move its story forward but instead utilizes an accomplished cast to bring charm and heart to its plot. Emilia Jones is delightful, and the use of American sign language is lovely to see on film. "CODA" will have you smiling long after it leaves you.  

 

10. The Mitchells vs. The Machines

 

There aren't many films this year that I immediately wanted to watch again, "The Mitchells vs. The Machines" was one of those films. It is a feel-good family animation with a loving spirit for film and intelligent storytelling that displays the power of family and the importance of people working together despite their differences. It's witty, charming, and surprisingly emotional. But perhaps the best recommendation comes from my 10-year son, who said, "we need more movies that show how important it is to work together."

 

9. Pig

 

The trailer for "Pig" evokes the sensibilities of recent action/revenge films like "John Wick" or "Nobody."A scruffy truffle hunter who lives a life of solitude in the Oregon wilderness ventures into the city to find the person who stole his beloved pig. While the premise may elicit more odd reactions than the actual desire to watch the film, I assure you that "Pig" is so much more than what it advertises. Anchored by a subdued yet passionate performance from Nicolas Cage, "Pig" is a poignant journey of love and redemption. 

 

8. Spencer

 

"Spencer," a boundary-breaking biopic about Diana, the Princess of Wales, is described by director Pablo Larraín as "a fable from a true tragedy." It is a psychological drama, a tense thriller, a claustrophobic horror film, and a satirical comedy. Kristen Stewart, who continues to grow captivatingly as an actor, displays grit, elegance, and grace in the lead role. Stewart's performance is a highlight of any in 2021. Johnny Greenwood's pulsating score amplifies the themes of captivity and the yearning to break free. "Spencer" delivers a fable of the precarious path traveled in an attempt at freedom. 

 

7. Petite Maman

 

To reveal the intentions of writer/director Céline Sciamma's elegant and emotional journey into the life of a grieving family, specifically, a young girl named Nelly (Joséphine Sanz), would do a disservice to the magical cinematic vision this film composes. "Petite Maman" is a beautifully crafted film for children of all ages. Whatever you call it, a fable or allegory, it’s undeniably wonderful storytelling. 

 

6. The Green Knight

 

The brilliance of David Lowery's vision, "The Green Knight", is that the film isn't interested in finding understanding. It never positions itself for easy answers but instead lavishes in the twisting quest from the Round Table into the forest citadel. It has everything that current times have instilled into stories of knights in shining armor, adventure, danger, monsters, witches, spirits, and bloodshed. But "The Green Knight" never feels modernized; instead, there is no effort to update the language or repurpose the legend to fit a comfortable category. "The Green Knight" casts a spell of storytelling, an absorbing and visually beguiling tale.

 

5. The Killing of Two Lovers

 

The opening of director Robert Machoian's deftly crafted drama of love, loss, and longing is a meticulously composed act of tension. The story, about a married couple struggling to keep their relationship alive while living separated, displays the complicated emotional struggles of two adults trying to make sense of their committed life and the responsibilities and obligations that consume it. At times a haunting wintry tale of lost love and, in other moments, a heartbreaking story of the hardships endured during marriage. It's a character drama of the highest degree, finely directed and acted.

 

4. Licorice Pizza

 

In "Licorice Pizza," a coming-of-age movie set in the San Fernando Valley during the 1970s, director Paul Thomas Anderson paints a passionate and personal film about youth and maturation. The film follows Gary, a hustling teenager played with sincerity by Cooper Hoffman. And Alana, an assertive and strong-willed young woman, played with vibrance by Alana Haim. The two bicker and banter, succeed and fail, flirt and fall in love in the shadow of Hollywood and the glow of daydream California. Anderson stages a careful yet carefree film in its execution of structure and storytelling. 

 

3. Power of the Dog

 

Director Jane Campion examines the shifting, visible and concealed, characteristics of identity for a group of people living on a ranch through the western genre. Campion, with expert precision, weaves a western that is complicated and compelling, a psychological thriller that operates with enough ambiguity to keep the mystery of manipulations intriguing until the bitter end. Benedict Cumberbatch crafts a menacing and manipulative character. It's an impressively constructed film from the hands of one of cinema's most accomplished directors.

 

2. Summer of Soul (Or, When the Revolution Could Not Be Televised)

 

Director Ahmir Thompson, a.k.a. Questlove, takes us to a six-week summer music festival in 1969 known as the Harlem Cultural Festival. This documentary serves as much a concert movie as it is a journey through a critical time in history for Black America. The music explores both diversity and unification, while the concert event displays a new movement in culture, politics, and pride. The interlacing of civil rights violence footage, speeches from political activists, and interviews with concert attendees are impeccably arranged. "Summer of Soul" is simply one of the best music documentaries ever made.

 

1. Drive My Car

 

In a film about dealing with grief, understanding the bounds of love, the traumatic and therapeutic process of work, and the healing capacity of art, director Ryusuke Hamaguchi crafts a stunning piece of cinema with "Drive My Car ."At nearly 3-hours in length, Hamaguchi's film never outstays its tender yet complicated welcome. Centering on the life of a widowed theater director Yusuke (Hidetoshi Nishijima), working on an "Uncle Vanya" production for a festival in Hiroshima, the story maneuvers a delicate and meditative trance of emotion. "Drive My Car" is masterful filmmaking. 

 

Honorable Mentions:

•          C'mon C'mon

•          The Empty Man

•          French Dispatch

•          Judas and the Black Messiah

•          The Lost Daughter

•          Memoria

•          Old Henry

•          Passing

•          Red Rocket

•          Riders of Justice

•          Saint Maud

•          Shiva Baby

•          Spiderman: No Way Home

•          tick, tick…Boom!

•          Titane

•          The Velvet Underground

•          The Vigil

•          Westside Story

•          The Worst Person in the World 

•          Zola

 

Titane Review

Titane

Dir: Julia Ducournau

Starring: Agathe Rousselle and Vincent Lindon

1h 48m

 

Upon leaving the screening of Julia Ducournau's incendiary second film "Titane," the hallways of the cinema were abuzz with questions, observations, and insights concerning the 108-minute odyssey of violence, sex, love, grief, suffering, and joy. Metaphors were offered, outrage was expressed, confusion was visible on faces, levity was heard with laughter, and smiles were shown as moviegoers walked up and said, "so, what did you think?" Whatever convictions about Ducournau's art one may have, it's undeniable that "Titane" made people feel something. That's beautiful, and so is this confident artist's daring and evocative work of genre-busting cinema. 

 

"Titane" begins with 7-year-old Alexia (Adèle Guigue) traumatically injuring her head in a car accident. A surgery saves her life, leaving a large titanium metal plate transplanted into the side of her head, which is temporarily held in place by an external fixator that braces her skull. 

 

The film transitions into adulthood for Alexia (Agathe Rousselle), as she lives a wild, free-spirited life dancing as a car model, moving provocatively upon vintage Cadillacs. But dancing isn't the only lifestyle Alexia leads. She is also a serial killer, utilizing a metal hair stick to penetrate the heads of her victims. 

 

A botched evening with a potential lover/victim leads authorities to identify Alexia. She flees, cutting her hair, shaving her eyebrows, shedding herself of femininity, and takes on the identity of Vincent, the long-lost son of a grieving fireman named Adrien (Vincent Lindon). Adrien takes Alexia into his care, creating an undeniable bond that satisfies their missing needs from their separate lives. 

 

Ducournau establishes an unreliable, albeit completely confident, tone from the beginning of the film. Even watching the trailer for this film will not prepare you for the direction "Titane" takes along its winding path of emotional sensation and stimulation. 

 

The introduction sets into motion the structuring of a horror film, with a young girl haunted by traumas from the past. Ducournau establishes the genre influences early, but the narrative begins to unpeel its layers, revealing that Alexia is a serial killer and has an erotic connection with cars, to the point of binding herself into the backseat and engaging in the emotions of sexual intercourse. The influence of David Cronenberg's "Crash" from 1996, Shin'ya Tsukamoto's "Tetsuo: The Iron Man" from 1989, and Zoe Wittock's "Jumbo" from 2020 are all present. There is more to this plot, but the journey of Ducournau's film, the excesses and boundary-pushing story elements, is part of the many reasons "Titane" will not be forgotten easily. 

 

As soon as it feels like "Titane" will take a permanent storytelling route, the film shifts gears jarringly into something completely different but still equally complicated. Alexia, having evaded authorities, assumes the identity of a missing boy who is presumed dead. The father, played with an absolute command by Vincent Lindon, is still grieving and is relieved his son is still alive. At this point, Ducournau switches from the violence, horror, and sex of the introduction into a film about compassion, love, and rebirth. It's one of the strangest narrative movements of recent years, but under the steady and assured guidance of director Julia Ducournau, it is executed sublimely.   

 

There is no easy categorization for this film. While the narrative is frustratingly messy at times, it is undeniable that the filmmaking is entirely immersive. The photography from Ruben Impens is slick and vibrant, with a color palette of cold black and greys that are broken by neon bursts and bright white light streaks. The score by Jim Williams, who also composed "Raw," brings pulsating rhythms, choir chanting, and an undertone of industrial metal instrumentation. It's foreboding from start to finish. 

 

Agathe Rousselle and Vincent Lindon are exceptional in the leading roles. Their chemistry is a mix of anger and pain but also sweetness and hope. It's fascinating watching them battle their inner demons while they struggle with the growing empathy they have for each other. It's the reason this wild, daunting film works until the end credits. 

 

"Titane" is not a film for everyone, and that's okay. Cinema needs stories that push boundaries. And film needs filmmakers willing to do daringly confident work. Julia Ducournau is one of those filmmakers, and it's a beautiful, horrific, complicated, and enthralling thing to witness.

 

Monte's Rating

3.50 out of 5.00

Candyman Review

Candyman

Dir: Nia DaCosta

Starring: Yahya Abdul-Mateen II, Teyonah Parris, Nathan Stewart-Jarrett, Colman Domingo, Kyle Kaminsky

1h 31m

 

In 1992, director Bernard Rose brought author Clive Barker's short story, "The Forbidden," about an urban legend known as The Candyman, to gruesome cinematic life. The film starred Tony Todd as the hook-wielding ghoul who fell in love with the wrong woman and was punished by racists for his desire and Virginia Madsen as the inquisitive grad student searching the housing projects of Cabrini-Green in Chicago for the origins of the urban legend. By saying his name five times in the mirror, you invite the Candyman into the world, hook, gore, and all. 

 

The film, which has grown a cult following over the years, is a rare horror film well ahead of its time in examining the injustices, frustrations, and rage for the treatment of Black people in America through the lens of genre filmmaking. While Bernard Rose's vision may offer a few unforgettable chills and a more than memorable villain, the story seemed only to graze the surface concerning the politics and social commentary found inherent in a story about the sins of America's past. 

 

In the thought-provoking, confident continuation of the myth, directed by Nia DaCosta, Candyman's legend has been hushed to forgotten folklore, not even a bedtime story to scare the little ones. Gone are the distressed Cabrini-Green housing units, in their place, a gentrified living tower with sleek designs and floor-to-ceiling windows that illuminate the Chicago skyline. Candyman, in present times, isn't the one we remember from the past film. Instead, the tale exists with a falsely accused Black man blamed for giving candy with razor blades to White children. His demise, at the hand of aggressive law enforcement, is the lore that is remembered for current times. 

 

The story of Candyman begins to take greater shape in DaCosta's account once a painter named Anthony (Yahya Abdul-Mateen II) begins exploring the ruins of Cabrini-Green. Anthony's insight and very soon obsession with the myth starts to consume him. The relationship with his girlfriend Brianna (Teyonah Parris) begins to suffer after Anthony's Candyman art exhibit ends with the gruesome murder of two people. Soon, Anthony comes face to face with the unspoken legend from the past, leading more unsuspecting people to remember and say his name. 

 

DaCosta, who wrote the script along with Win Rosenfeld and Jordan Peele, takes this urban legend and imbues it with current themes of social commentary surrounding the injustices for people of color, the brutality inflicted on Black bodies, and the historical trauma, some as recent as last year, perpetrated throughout American history. It doesn't take profound observation to connect the tagline for this film, "Say His Name," to the Breonna Taylor incident that advocated to "Say Her Name." 

 

The design of CANDYMAN paints Chicago as a modern landscape with deep history underneath its glossy exterior. The opening credits display a masked Chicago skyline hidden in the fog. It's a nice callback to the birds-eye introduction of the original film. And, instead of framing the scares and violence with an abundance of gore, DaCosta focuses her fear more on creepy factors utilizing mirror tricks and depth of field to display how close Candyman is throughout the film. It's a nice touch that allows this version of the myth to shape its unique atmosphere. 

 

The perspective of CANDYMAN shifts, perhaps too often, between Anthony and Brianna as the film leads towards its ultimate culmination. When the third act hits, the emotional notes established for Anthony disappear to a large extent as the film focuses on Brianna's journey towards the truth the movie has kept a mystery. 

 

In one of the film's best elements, DaCosta utilizes shadow puppets to reimagine the past and how stories are changed, exaggerated, and hidden the longer they are kept. It's a beautiful and elegant touch. It's within this technique that CANDYMAN tells the most intriguing tale. Storytelling, folklore, and spoken traditions exist to keep a piece of history alive and relevant, no matter how horrifying those pieces may be. To allow the world to know that a people, place, or event existed. It also allows for a reframing of traumatic events, a way to make sense of the fears and monsters that have brought sorrow and pain to the world, in a manner allowing for stories to capture those traumas and take away their power. You can feel this version of CANDYMAN engaging in all those aspects of storytelling.

 

Even amidst some late missteps, Nia DaCosta's CANDYMAN utilizes the horror genre and vengeful spirit to tell a powerful tale of social, economic, and racial inequality.  

 

Monte's Rating

4.00 out of 5.00

Werewolves Within Review

Werewolves Within

Dir: Josh Ruben

Starring: Sam Richardson, Milana Vayntrub, Sarah Burns, Michael Chernus and Catherine Curtin

Length: 1 h 37 m

 

 

Synopsis: 

After a proposed pipeline creates divisions within the small town of Beaverfield, and a snowstorm traps its residents together inside the local inn, newly arrived forest ranger Finn (Sam Richardson) and postal worker Cecily (Milana Vayntrub) must try to keep the peace and uncover the truth behind a mysterious creature that has begun terrorizing the community.

 

 

Ladies and gentlemen, not only have I discovered my Halloween costume for 2021 but I have found a video game movie that is actually a well-made film. And I’m not the only one.

On Rotten Tomatoes, the average Tomatometer for a video game movie sits at 26%. Yes, I did the math. Werewolves Within sits at a beautiful, well-deserved 82%.

Once a board game, that Ubisoft then turned into a VR video game, Werewolves Within obviously hints at an Among Us type storyline. But writer Mishna Wolff and director Josh Ruben give the audience so much more than that.

Each unique Beaverfield resident is so well casted and well-acted that as the film progresses, you too end up picking sides and creating your own theories. No one gives anything away. 

Some viewers may be able to pick the monster early on but the story is told in such a quick, fun way, I don’t think you’ll be disappointed. 

Additionally, for presumably a lower budget film, the special effects and makeup are fantastic.

Is this your average werewolf film? No. But it’s comedic horror at its finest. And possibly the best made video game movie. Period.

It’s a limited release in theaters now with a streaming release set for July 2. Do yourself a favor and support your local theater to see this one.

 

Theresa's Rating
4.50 out of 5.00