BRIGHTBURN [Film Review]

This is the worst kind of action-horror film there is: it takes an intriguing idea and does absolutely nothing interesting with it.
Straight out the gate there is zero exposition in terms of setting up the story. Instead the film starts with a meteor crash on a farm and then fast-forwards 12 years. Our protagonist, a young lad named Brandon, is apparently a prodigy who is also an outcast at school (nevermind that we hardly see any scenes of bullying or other instances that would shape his personality). Soon, however, young Brandon is donning a creepy cape and cowl and carrying on in a most viloent manner. Where he gets the idea for the costume is lost on me as we never see him reading comic books, watching superhero movies, or the like. Not to mention that the kid literally becomes evil overnight with no reason other than a creepy glowing spaceship hiding out in the barn.
The violence is ho-hum. The gore sparse. The suspense is lacking. Hell, there isn’t even a single good jump-scare moment lurking within the film’s 91-minute running time. Not to mention that just about everything that happens is utterly predictable.
Add to this a bevy of one-dimensional characters, such as the clueless mother who refuses to believe her son is evil even though everything points to him being so, the “you’re just imagining things” aunt, the generic dad and uncle, and the small town sheriff who knows something is amiss but really doesn’t do anything about it.
In regards to the rest of the story, the entire film exists in a vacuum of vagueness were everything is inferred and the audience is left to assume and then accept what is happening onscreen by filling in the gaps of the plot themselves. My quasi-intellectual self told me that perhaps the film was meant as an allegory for adolescence, but if that’s the case the filmmakers failed miserably.
To top it all off the gratuituously trite and rather lackluster ending leaves things wide open for sequels (here’s hoping that poor Box Office performance will squash that plan, though one cannot discount some streaming service picking it up for an ongoing series).
In the end the whole film feels like an extended elevator pitch for a potentially better film that never got made.

Rating: 1.5/5

JOHN WICK CHAPTER 3: PARABELLUM [Film Review]

The third installment in the John Wick saga falters and slips following in the footsteps of its predecessors. While the two earlier entries in the series contained their fair share of violent action, they also hid a buried a sense of subtelty and mystery lying just underneath all the gun fire and blood spatter. Here, however, it’s all about one over-the-top action sequence after another, after another, after another... Sure, the early action sequences bristle, but there’s nary a break in the mayhem over the course of the 130- minute running time which means that by the second act you’re easily as exhausted as Wick looks throughout the film itself. In short: the seemingly non-stop barrage of bullets and fisticuffs soon escalates into a mind-numbing game of one-upmanship in the form of number of guns fired and asses kicked.
To add to the action-on-auto-pilot vibe we get tossed some serious miscasting (Angelica Huston as a Russian mob matriarch and Halle Barry as a former assassin-turned-Morocco hotel manager), a kind of groveling John Wick casually begging for foregiveness and his life at every turn, and the complete destruction of the mystique of the underworld created in the first two installments. The end result is a film that pales in comparison to either of the previous entries in the series.
This isn’t to say JW3 a complete waste of your time. The first act is visually kinetic, both in terms of choreography and cinematography; it’s teeming with slick imagery--NYC drenched in rain and neon-- plus some engaging and creatively gonzo fight sequences.
Things start to fall apart, however, once Wick leaves The Big Apple and journeys to the assassin mecca of Morocco. Once there, the inevitable ensuing gun fight is long, laborious, and filled with “magic bullets” (Barry’s character never once reloads her gun during the extended battle!). If that weren’t enough, Wick ends up wandering in the desert and is eventually granted an audience with the head of the High Table in a scene cribbed from Lawrence of Arabia; this segment of the film is obviously intended to be somewhat existential, but instead is rather hokey.
By the film’s end everything is on overkill, even down to the Enter The Dragon-by-way- of-The Lady From Shanghai-influenced final fight, which, while visually intriguing, ultimately feels lackluster and anticlimactic (not to mention just a tad too long). It’s all capped off with an ending that blatantly screams “John Wick 4 Coming Soon!” (the fourth chapter was recently greenlit, btw) as opposed to the more enigmatic endings of the two previous films.
All of this said, I have half a mind to go see it again just to make sure I didn’t miss anything lurking between the flying bullets and broken bodies.

Rating: 2.5/5