So highly ambitious, so incredibly flawed, but oh so engrossing is M. Night Shyamalan’s (Signs, The Sixth Sense) return to form his latest mind-**** Old. Suppose you’re new to Shyamalan (which I would understand if you are a bit younger and have avoided all of his critical flops since 2002’s Signs, Old might be the coolest thing you’ve ever seen. For the rest of us, we know that somewhere in the film will have a twist. It’s a matter of either trying to figure it out (which is something we inherently do now) or trying to enjoy the ride. I attempted to do both. I succeeded in enjoying the ride. I did not figure out the twist. There’s also the idea that Shyamalan might try to do one of these types of movies without a twist so that it also can be something that plays in your mind. All in all, I was able to set aside all of the many, many imperfections associated with Old and appreciate it for what it was worth and then some.
Category Archives: Suspense
Wrong Turn (2021)
I recall watching the original Wrong Turn movie in the movie theater in 2003. I enjoyed the movie so much that I bought the DVD when I discovered it in the previously viewed movie bin a few years later. I went over fifteen years between viewings because I wanted to wait for that perfect dark and stormy night to revisit this gem of a film that introduced me to the slasher movie genre. Unfortunately, my rewatch of the movie fell flat. I thought the movie was so poorly made and cheesy that I couldn’t believe I had initially been spooked by it. However, as I look back, I realize this was because I had nothing to compare it against. Of course, there were the Friday the 13th, Nightmare On Elm Street, and Halloween movies, but those had all been established franchises well before I was born. And honestly, I had no interest in watching any of these.
Breakdown (1997)
Back in his heyday as a leading man, Kurt Russell (The Thing, Escape from New York) had many movies that were massive box-office successes. From 1989 through 1996, he received top billing in five films (Backdraft, Unlawful Entry, Tombstone, Stargate, Executive Decision), earning more than $50 million in revenue. He continued that streak in the highly promoted Breakdown, which garnered $50.2 million while earning critical (81%) and audience (67%) acclaim. Breakdown was a movie I saw opening weekend in the movie theater and one that I hadn’t revisited until 2021. I remember loving it in the theaters. Unfortunately, because there have been so many ripoffs of this movie since that have done this premise better, its rewatch left something to be desired. Unlike his other films mentioned above, Breakdown fails to hold, though it is through no fault of Russell who carries it throughout, just like he does with most of his films.
Promising Young Woman (2020)
The astounding Gone Girl, unfortunately, it is not. The disappointing The Girl on the Train it, fortunately, is not. First-time director Emerald Fennell’s Promising Young Women (intentional or not) is a film that falls somewhere in between, even if that was never an intention or a consideration by anyone else watching the film. I mention comparing the three because 2014’s nearly flawless Gone Girl was this intense, methodical movie based on a novel centered on revenge against a man she felt had wronged her. Then it felt like 2016’s The Girl on the Train was a movie that was rightfully or wrongfully being compared and expected to be as successful as Gone Girl, partially because it was also based on a very successful novel, had an A-list leading actress (Rosamund Pike, Emily Blunt) had an edgy and creepy vibe to it, and ironically had the word “Girl” in the title. Promising Young Woman has elements of both movies. It has an amped-up revenge plot similar to Gone Girl and the mystery detective aspect of The Girl on the Train. You don’t need to watch either of the movies mentioned above to see Promising Young Woman. While there are some aspects of each, this film carries its weight, though it doesn’t hurt to be in the same conversation as two well-known films in the movie community.
Unhinged (2020)
Deranged. Aggressive. Exorbitant. Implausible. Unhinged. Riveting. Adrenaline pumping. Wildly entertaining. Worthwhile Unhinged. Many adjectives describe Russell Crowe’s (Boy Erased, A Beautiful Mind), although words that would not be included would be well-crafted, consistent, or coherent. It’s a diverting 90-minute escape from the cruel reality of 2020, and it’s for that reason alone that I recommend it more than I would during a typical year. Starting with the film’s first scene, director Derrick Borte (American Dreamer, London Town) shows you the world he’s created around his leading character while setting the mood for what will be a relentless ride.