Tag Archives: blumhouse productions

Black Phone 2 — Derrickson Dials Back the Horror, But the Line’s Gone Cold

16 Thursday Oct 2025

Posted by in Movie review

≈ Leave a comment

Tags

, , , , , , , , , , , , , , ,

Scott Derrickson returns to familiar ground with Black Phone 2 (2025), a sequel that stretches the eerie premise of his 2022 hit into icier, more supernatural territory — but the call doesn’t quite connect this time.

Set four years after Finney Blake’s (Mason Thames) narrow escape from The Grabber, the film finds the once-traumatised boy struggling to rebuild his life under the weight of memory and unresolved fear. His sister Gwen (Madeleine McGraw) remains gifted — or cursed — with psychic visions, and when she begins dreaming of three missing boys at a winter camp, the black phone begins to ring again. Only this time, the voice on the other end isn’t just calling from the past — it’s pulling them back into it.

Derrickson, who cut his teeth on Sinister and Deliver Us from Evil, once again demonstrates a clear mastery of atmosphere. His use of light and shadow is chillingly deliberate, and the wintry backdrop gives the sequel a haunting, desaturated beauty that recalls the nightmare logic of A Nightmare on Elm Street crossed with the isolation of Friday the 13th. The cinematography by Brett Jutkiewicz captures frost-bitten textures and dreamlike corridors of fear, keeping the mood taut even when the story falters.

And falter it does. Despite a promising setup, Black Phone 2 struggles to escape the confines of its own mythology. What once felt mysterious and emotionally grounded now feels repetitive and muddled. The attempts to expand The Grabber’s lore — turning him into a supernatural force rather than a disturbed man — rob the story of its primal fear. The original thrived on ambiguity; this sequel over-explains.

Mason Thames and Madeleine McGraw both deliver earnest performances, grounding their characters in shared trauma, but they’re hampered by dialogue that’s often clunky and exposition-heavy. Even the film’s pacing, once one of Derrickson’s strong suits, slips into uneven rhythms — long stretches of ghostly visions interrupted by bursts of predictable violence.

Still, credit where it’s due: Derrickson’s visual language remains potent. Echoes of Sinister resonate throughout, from the use of distorted sound design to the flicker of analogue textures, suggesting a filmmaker who still knows how to craft a mood. The Grabber, though used sparingly, continues to terrify — his mask, redesigned with subtle variations, remains one of modern horror’s most unsettling icons.

But for all its chills, Black Phone 2 can’t shake the feeling of déjà vu. It’s a sequel haunted not only by its ghostly antagonist but by the shadow of a stronger predecessor. Derrickson’s talent for visual dread is undeniable — he just needs a story worth listening to again.

The Prognosis:

Black Phone 2 has the atmosphere, tension, and menace you’d expect from Scott Derrickson, but not the clarity or emotional pull that made the original so striking. Despite its best efforts to evolve into a supernatural slasher, this follow-up never quite finds its signal.

In the end, Black Phone 2 just doesn’t have time to thaw out properly — it rings, but the line’s gone cold.

  • Saul Muerte

Blumhouse’s Afraid: A Cautionary Tale of Career and Genre Stagnation

14 Saturday Dec 2024

Posted by in Movie review

≈ Leave a comment

Tags

, , , , , , , , , , ,

Blumhouse Productions made its name with innovative horror films that struck a chord with audiences, often redefining the genre through clever storytelling and sharp commentary. Unfortunately, Afraid is a painful reminder of how far they’ve drifted from their golden years. Adding to the disappointment is the involvement of Chris Weitz, whose early career suggested he was destined for much greater things than this hollow misfire.

Weitz, once celebrated for his deft handling of comedies like American Pie and heartfelt adaptations like About a Boy, and even the ambitious yet divisive The Golden Compass, seems to have lost his way entirely. His association with Afraid begs the question: what happened? The film bears none of the charm, depth, or even technical polish of his earlier work. Instead, it’s a lifeless slog that fails to inspire fear, intrigue, or any emotional response beyond exasperation.

The premise—centered on the growing unease around artificial intelligence—has potential but is squandered on cheap thrills and half-baked ideas. Rather than offering a meaningful exploration of our AI-driven anxieties, Afraid merely skims the surface. Its portrayal of a bleak, AI-dominated future feels both uninspired and needlessly nihilistic. The film provides no real solutions, no glimmers of hope, and, frankly, no compelling reason for its existence.

Blumhouse’s hallmark has always been its ability to make the most of modest budgets, yet Afraid looks and feels like a bargain-bin effort. The production design lacks creativity, the dialogue is wooden, and the pacing is agonisingly slow. In a world where AI-themed horror can spark fascinating debates, this film opts for cheap scares and empty platitudes, leaving viewers frustrated and disengaged.

If the goal was to provoke thought or generate terror, Afraid misses on both counts. It’s a film that feels as lifeless as the machines it warns against, offering nothing to its audience and even less to the horror genre.

The Prognosis:

Blumhouse once showed promise as a bastion of modern horror, but with Afraid, they seem to be running on fumes. Combined with Weitz’s fall from grace, this film is a tragic testament to squandered potential. Hope may not exist in the world of Afraid, and after watching it, you’ll be hard-pressed to find any for its creators, either.

  • Saul Muerte

House of Spoils (2024) – A Haunted Kitchen Serves Up More Than Just Scares

04 Friday Oct 2024

Posted by in Movie review

≈ Leave a comment

Tags

, , , , , , , , , , ,

Blumhouse has long been synonymous with delivering low-budget horror with a sharp edge, but in recent years, their output has felt a bit predictable, leaving some fans yearning for the earlier days of their groundbreaking horror. House of Spoils, however, offers a fresh twist on familiar supernatural elements, blending witchcraft, female empowerment, and the culinary world in a tale that simmers with intrigue, even if it doesn’t fully deliver the knockout punch expected from the studio.

Written and directed by Bridget Savage Cole and Danielle Krudy, House of Spoils stars the ever-charismatic Ariana DeBose as Elena, an ambitious chef trying to launch her first restaurant in a remote estate. What should be a dream come true quickly spirals into a nightmare as Elena battles not only the pressures of running a kitchen and a shady investor (Arian Moayed) but also the spirit of the estate’s previous owner. This vengeful ghost seems hellbent on sabotaging her every move, lurking in the shadows and slowly unraveling Elena’s sanity.

The film plays out in an almost fable-like way, weaving in themes of witchcraft and earth magic, particularly in how Elena connects to the land she’s building her restaurant on. The kitchen, in this context, becomes more than a place of creativity and chaos—it’s a battleground, not just for Elena’s culinary dreams, but for her very soul. As she fends off both supernatural and real-world threats, the movie delves into the struggles of female empowerment in a male-dominated industry. It’s here that House of Spoils finds some of its most interesting material, reflecting on how women are forced to navigate a world of doubt, both external and internal, while being undermined by those around them.

Ariana DeBose shines as the determined chef, capturing Elena’s strength and vulnerability with nuance, though the script sometimes doesn’t give her enough to fully flesh out the character. Barbie Ferreira plays the role of Elena’s skeptical sous-chef, bringing a grounded, sardonic energy to the film, while Arian Moayed as the investor adds a layer of sleazy opportunism that heightens the tension.

Where House of Spoils really excels is in its atmosphere. The remote, crumbling estate is the perfect setting for a horror film, its dilapidated beauty mirroring the decaying hopes of its protagonist. There’s a distinct connection to the earth and natural elements throughout the film, almost as though the land itself is alive—and hostile. The ghostly presence of the previous owner feels intertwined with these elements, adding a layer of witchy folklore that sets the film apart from typical haunted house fare.

The culinary angle also brings a unique flavor to the film (pun intended). The stress and artistry of the kitchen mirror the growing supernatural threat, with moments of tension rising to a boil as Elena tries to hold her life and restaurant together. The culinary scenes are visually engaging and offer a fresh take on the typical horror setup, though at times they can feel somewhat underutilized in terms of narrative depth.

Despite these strong elements, House of Spoils isn’t without its shortcomings. While it explores rich themes of female resilience and empowerment, the pacing occasionally drags, and the scares feel too restrained for a Blumhouse production. The spirit haunting the restaurant never quite reaches its full terrifying potential, leaving the horror feeling a bit more muted than it should. Fans of Blumhouse’s more visceral scares might find the subtlety here frustrating, but those who appreciate a slow-burn, atmospheric approach will find much to enjoy.

At its heart, House of Spoils is a meditation on ambition, doubt, and the costs of chasing your dreams in the face of adversity. Its exploration of witchcraft and earth magic ties beautifully into its themes of resilience and nature’s power, and while it may not be a Blumhouse classic, it stands as a solid, enjoyable entry into the supernatural horror genre. There’s enough intrigue, originality, and thematic richness here to make it worth a watch, even if it doesn’t quite reach the heights it aspires to.

The Prognosis:

House of Spoils might not be a return to form for Blumhouse, but it’s a welcome detour into a world of supernatural folklore, female empowerment, and kitchen chaos. With strong performances from Ariana DeBose and an intriguing setting, it serves up a satisfying, if not entirely groundbreaking, horror tale.

  • Saul Muerte

House of Spoils will stream on Amazon Prime from Oct 4th.

“Sink or Swim: Night Swim Struggles to Stay Afloat in Murky Waters of Horror”

23 Thursday May 2024

Posted by in Movie review

≈ Leave a comment

Tags

, , , , , , , , , ,

Night Swim fails to make a splash in the horror genre, sinking beneath the weight of its own ambitions. Director Bryce McGuire’s debut feature struggles to maintain momentum, ultimately drowning in a sea of clichés and narrative inconsistencies.

The film’s premise, though initially intriguing, quickly loses its grip, failing to deliver on its promise of supernatural terror. What begins as a potentially compelling exploration of family dynamics and sinister forces lurking in suburbia devolves into a muddled mess of predictable scares and convoluted mythology.

One of the film’s major shortcomings lies in its inability to fully explore its central concept. Despite hints of a chilling backstory involving sacrifices and demonic entities, Night Swim never delves deep enough to provide a satisfying payoff. Instead, it treads water, recycling tired tropes without adding meaningful depth.

While the performances by Wyatt Russell and Kerry Condon are serviceable, their characters feel underdeveloped and fail to engage the audience beyond serving as vessels for jump scares.

The pacing suffers from a lack of tension, with scenes dragging on without purpose, leaving viewers feeling adrift rather than immersed in the narrative.

Even the technical aspects of the film fall short. While the underwater sequences are competently shot, they lack the immersive quality needed to captivate audiences.

The Prognosis:

Night Swim proves to be a forgettable addition to the horror genre. Despite moments of genuine tension, it ultimately fails to leave a lasting impression, leaving viewers longing for a more engaging and coherent experience.

  • Saul Muerte

Movie Review: Imaginary (2024)

08 Friday Mar 2024

Posted by in Movie review

≈ Leave a comment

Tags

, , , , , , , , , , ,

Is Blumhouse starting to lose its killer shine?

Having launched the first Paranormal Activity feature back in 2009, the production house built by Jason Blum hit its stride through the 2010’s with Insidious; Sinister; Get Out; Happy Death Day and a whole heap of genre features that tapped into the modern cinema-going audience. With a blend of old school horror fused with trendsetting twists on classics, Blumhouse made a significant mark. We’re now 15 years on and the machine that was churning out feature upon feature for the next generation in horror cinephiles to lap up and it would appear that the cogs are starting to rust from grinding out sublime movies that upon scrutiny are starting to pale in comparison to groundbreaking, thought-provoking films that built up the reputation of Blumhouse Productions. This slump could be traced back to David Gordon Green’s curious direction for the Halloween trilogy; one that could be a metaphor for the Blumhouse catalogue thus far, come out swinging and hitting hard, before trickling into unnecessary padding, before a shambolic, misguided outcome that degrades the name that initially made a franchise great. 

That’s not to say there have been some nuggets of gold in the mix, with The Black Phone and M3GAN proving to be a hit with the box office, (the latter being only the start of last year) but when the outlet is great, doesn’t necessitate that the quality will match and we get the mishits of Insidious: The Red Door; The Exorcist: Believer; Five Nights at Freddy’s; and (the as yet-not-watched by this writer) Night Swim. 

So, where does that place things for their latest venture, Imaginary that was released this week? A tale of a blended family, each member hosting a traumatic past move into Jessica’s (DeWanda Wise) childhood home in a vain attempt to put their tragic history behind them. All this changes though when the youngest step daughter, Alice (Piper Braun) finds an old teddy bear in the basement that she takes on as an imaginary friend. What appears to be an innocent childhood play experience comes into question when some dark turns are taken, leading the family into a journey that will test their strength. 

On paper, this concept is a solid one and Director Jeff Wadlow (Truth or Dare; Fantasy Island) spends some quality time building on character; something that directors and creatives are prone to neglect for the sake of pace and drama. It’s a shame then, that all the build up is for nought as he is let down by poor performances, some downright wet in places. This would be borderline forgivable if it wasn’t for the fact that the storyline is equally weak and let down by shoehorning in recogniseable moments from signature movies in the past such as Beetlejuice; Labyrinth; and Child’s Play. There’s one thing to make nods to creativity that has inspired, but before too long it becomes obvious that you are drowning in unoriginality. 

While this may be another misfire for Blumhouse, all is not lost and this could very well be the lull before another hit comes along, especially with Leigh Whannell’s The Wolf Man, and sequels to the psychotic killing doll M3GAN 2.0 and The Black Phone 2. Time will tell.

The Prognosis:

Imaginary by name but sadly not in the telling. Jeff Wadlow once again directs a lacklustre turn from behind the lens and a downward turn for Blumhouse. No originality and one that seems content in coasting along rather than creating a unique voice for the horror genre. Is the modern production giant resting on its namesake? One can only muse for now.

  • Saul Muerte

Imaginary is currently screening at cinemas nationwide.

Movie review: The Exorcist: Believer (2023)

03 Friday Nov 2023

Posted by in Movie review

≈ Leave a comment

Tags

, , , , , , , , ,

The late William Friedkin’s The Exorcist is widely considered to be one of the greatest horror films ever filmed. Writer William Peter Blatty would often describe his work as a dark, theological thriller, which aligns more with this writer’s assessment. It’s a chilling film that cuts to the core of the fine line between heaven and hell upon us mere mortals dalliance with every turning decision that we make. Until now there have been a further four features, and a tv series lending its name to the franchise with little success. 

Enter The Exorcist: Believer helmed by Blumhouse and David Gordon Green hoping to turn their tricks and repeat the success of Halloween (2018) by resurrecting a favoured horror franchise for a new generation of followers.All the while true horror veterans smile through gritted teeth hoping that the director leans into the core of the what made these films so iconic and not get lost in the ether of his own meanderings. Producer Jason Blum certainly has faith that Gordon Green can weave his magic once more despite the obvious failings of the recent Halloween trilogies’ last two outings. 

Part of this formula was to bring back the original features’ lead star ala Jamie Lee Curtis’ Laurie Strode, and to also forget the sequels and pick up directly from the first outing. In this instance, the aim is to have Ellen Burstyn take up the role of Chris MacNeill once more and open up her storyline to venture forth into the demonic domain.

One look at the trailer however does not bode well as it smacks of the whole, let’s do the same as the first movie, but go bigger by having two possessed kids instead of one.

All opens well… as far as the dark and doomed are concerned, when Victor Fielding (Leslie Odom Jr) and his pregnant wife Sorenne are on honeymoon. Following a blessing from a voodoo practitioner, tragedy strikes when an earthquake leaves Sorenne injured and doctors force Victor to decide between his wife and unborn child. Cut to thirteen years later and Victor is now raising his daughter Angela (Lydia Jewett) on his own in Georgia, with the passing of his wife. Victor has lost his faith and Angela is in search of the mother she never got to know, pushing her beyond the earthly realm in her pursuit. Angela teams up with her school friend, and devoutly religious Katherine to go into the woods in order to perform a seance. Three days later they turn back up and the possession begins.

From here on in, rather than sculpt the screenplay into a theological mystery, the creative outlet pad out the piece with unnecessary cladding, including trying to crowbar in the Chris MacNeill component with disdain and neglect of The Exorcist. It’s such a pointless direction that it smacks of a cash grab situation, for who should Victor call upon to aid him in his daughter’s plight, but Chris and what’s more, she’s now a supposed expert who acts as though she can resolve the situation with her own form of exorcism. Needless to say, it doesn’t go well and she is then sidelined to make way for a team of exorcists, from various walks of religious experts to cleanse the children once and for all.

The Prognosis:

Take a classic and pour gasoline all over it, light the match and watch everything that made it great burn before your eyes with a thinly veiled excuse for a sequel. At times it feels as though the creatives are laughing maniacally as they try to tweak out the nostalgia using memorable quotes to drag their hopes of a continuing franchise over the line into a money-making enterprise. Its only saving grace is to have Lesie Odom Jr as its lead as he paints a well-crafted portrayal of a father, lost in the struggles of being a sole parent and isolated from the world, consumed by grief and regret. 

Don’t be fooled though, this is not an Exorcist movie.

  • Saul Muerte 

The Exorcist franchise: The Exorcist (1973) podcast

The Exorcist franchise: The Exorcist 2 and 3 podcast

Movie review: Five Nights at Freddy’s (2023)

02 Thursday Nov 2023

Posted by in Movie review

≈ Leave a comment

Tags

, , , , ,

A “Five Nights at Freddy’s” or “FNAF” (as the fans know it) movie has hit cinema and digital screens (getting a bizarre simultaneous release on US cable network Peacock), and holy pizzeria the fans are rushing to the box office. It’s now officially horror’s power-studio Blumhouse’s biggest opening weekend movie in its history. But anyone with kids could tell you that they saw this blockbuster coming.

Based on Scott Cawthon’s video game and series of novels of the same name this adaptation has taken 8 years to finally make it onto the screen. Bouncing from studio to studio until Blumhouse took on the project a couple of years ago.

So, the film…

Mike, a troubled young man haunted by the fractured memory of the kidnapping of his younger brother gets a job at a spooky closed-down family pizzeria, Freddy Fazbear’s Pizza Place. Soon after clocking-on things start to go whirr, clunk, and bump in the night as the animatronic characters throughout the place appear to be more than meets the eye.

By the way, the involvement of Jim Henson’s Creature Shop in bringing these animatronic characters to life were a very welcome enhancement to the film, CGI would most definitely have been a wrong move here.

For any fans out there, this film relies very heavily on the novels as source material over the video game itself. Often touching loosely on back stories involving the various characters, so there’s enough in-joke nods to satiate FNAF fans. But the plot itself is pretty flimsy but as it’s aimed at younger horror fans that’s absolutely fair enough. Also there’s a bit of fun bloodless gore the kids will love!

The Prognosis:

It’s routinely spooky, the acting is solid, the jump scares are plentiful… that damn balloon boy, geez!!

Look if you’re flying blind going into this then you’re probably going to be a little let down but at the end of the day this film isn’t for you. It’s a fun filmic representation of a beloved horror game and book series that’s aimed squarely at the fans and young horror fans alike.

No doubt that after the success of the first one, there will definitely be more to follow.

  • Ryder (13) and Myles Davies (52)

Movie review: Totally Killer (2023)

07 Saturday Oct 2023

Posted by in Movie review

≈ Leave a comment

Tags

, , , , , , , , , , , ,

There’s nothing more engaging than a movie that wears its heart on its sleeve, and for Director Nahnatchka Khan it’s clear from her work on writing and producing American Dad and Fresh Off The Boat that she has a fingers permanently on the comedic pulse. There’s a fresh energy to be found and along with the nostalgic vibes that she is going for in her latest outing behind the camera, Totally Killer. 

Starring Kiernan Shipka (The Blackcoat’s Daughter) Totally Killer is a warped cross between 80s teen slasher and Back The Future of which there are continuous references throughout. There’s even a salute to the works of John Hughes and especially Molly Ringwald. The movie already speaks to my heart being a kid who grew up with all of these elements and more, infusing my love for the celluloid art.

Thirty years ago, “The Sweet Sixteen Killer” known for the amount of times he stabbed his victims, went on a killing spree in a smalltown, and was never caught. Now in the present day, Jamie Hughes (Shipka) is an ungrateful, cooler than cool teen, who’s Mum, Pam (Julie Bowen) is killed by someone carrying the same M.O. as the infamous killer, and is pulled off in a Screamesque way, ala Drew Barrymore, by offing a notable actress in the first reel. Thankfully though, Jamie’s best friend, Kelcey (Amelia Creston) has invented a time machine in the form of a photo booth. When Jamie tries to unearth her mother’s killer, she has to fight for her life, leading her into said time machine and then transported back to… you guessed it 1987 and just before the original killings began. She now has the opportunity to rewrite history, find and stop the killer, and save her Mum. 

The Prognosis:

There have been some notable comparisons stated online between Totally Killer and The Final Girls, which on paper is understandable, but this Blumhouse produced flick has a very different energy about it, namely due to Shipka’s performance and the script which zings along at a highly infectious and engaging pace. Shipka is also supported well by her fellow cast members, namely through her teen Mum, Pamela Miller, played by Olivia Holt (who is herself moulded through the House of Mouse, starting with the kids’ series Kickin’ It). While some of the beats do misfire on occasion, it is the heart of the movie that lifts you up and guides you through an enjoyable whodunit.

Totally Killer is currently streaming on Amazon Prime.

Movie review: Insidious: The Red Door

07 Friday Jul 2023

Posted by in Movie review

≈ Leave a comment

Tags

, , , , , , , , , , , ,

Movie review: Insidious: The Red Door

It’s been 10 years since Lee Whannell created a universe that opened up a portal into The Further. There’s been a further three instalments since then to expand on the disturbing journey which has seen The Lamberts face untold evil beyond the realms of our known realm; we’ve shared the pains of loveable medium Elise (Lyn Shaye) and her struggles to rid the torment of the lady in black; and the goofy sidekicks, Specs (Whannell) and Tucker (Angus Sampson) to supply the chuckles amongst the sinister and creepy paranormal events that unfold.

Where there has been ups and downs in the franchise so far, straying deeper into the world in order to flesh out and lure audiences back into the fold, arguably the creative have struggled to recapture the initial vision set out by Whannell combined with the directorial eye of James Wan.

The horror genre has always been one for experimentation though and often has provided a vessel for those to try out new things in order to create or spark the imagination, so when the news came that there would be a fifth instalment, it didn’t come with groans or grimaces as it not only posed the question of what happened to the Lamberts following attempts to suppress the memories of patriarchal figure, Josh (Patrick Wilson) and his son Dalton (Ty Simpkins), but it also offers Wilson the opportunity to sit in the Director’s chair. Wilson is ripe with experience before the lens, and has been as close to the source material throughout the past years, so is in prime position to carry the lantern back into The Further once more.

The premise is something of a double-edged sword however, as there was so much balance placed on the Lambert’s upheaval and band-aid solution to sealing up The Further from their lives, that it is inevitable when returning to this world that there will need to be a shift in equilibrium. 

Whannell returns once more to helm writing duties alongside his creative partner Scott Teems to weave a story that examines what happens when we repress our emotions and in this case the connection to astral projections. We learn that Josh’s mother Lorraine (Barbara Hershey) has passed on, along with some secrets that she thought she had taken to the grave; and Josh and Renai (Rose Byrne) have separated, which is a little predictable, but also inevitable when repression has been forced and skeletons welded in the closet, or behind the red door. With the relationship strained, so too has Josh and his son Dalton. What once was a bond united by their paranormal abilities, has been severed along with their binding. The impact that this has takes its toll and seeps to the surface at a key point in Dalton’s life; leaving the family home to go to University.

As Dalton tries to find himself in his art studies, unlocking the very thing that has been kept at bay, Josh goes in search for the reason his world has been turned upside down, and the reason behind his foggy mind. Both these pursuits will take them on a dangerous turn, that could take them on a descent from which not only will contain their souls but will come at the cost of those they hold dear.

The Prognosis:

While there is still promise contained within the world of The Further, this could be one step too far for the Lamberts. There is a decent plot at hand, crafted by Patrick Wilson for his feature length directorial debut and Whannel offers another venture into the world with his penmanship.

On face value, it works, but delve a little deeper and you soon realise it lacks the chemistry of the first film. The absence of Wan is noticeable, and the humour is a little too forced in places. Without the heart and soul of what initially drew us to Insidious, we’re left stumbling around in the dark, waiting for someone to flick on the corpse light and lead us back home.

  • Saul Muerte

Insidious: The Red Door is currently screening at cinemas nationwide.

Movie review – M3gan

09 Thursday Feb 2023

Posted by in Movie review

≈ 1 Comment

Tags

, , , , , , , ,

It’s been an interesting time for Hollywood horror films.
And by that we mean scary films with proper studio backing, budget, and distribution.
The first two immediate examples being Smileand Barbarian, their financial success matching (if not exceeding) their critical praise. And whilst 2 such films is nicely eyebrow raising, a 3rd means when we start compiling our “Top 10 horror films of the past 12 months” we won’t be scratching our heads as we lament it has been a “thin season”.
And that’s thanks – in part – to M3gan.
When the trailer first came out, it looked very Hollywood generic. But here’s the thing with the age in which we live. On reddit chats and the like, there are countless examples of Influencers scamming their way through life, expecting free products and services in exchange for “exposure bucks”.
But the extra kick in the balls about all that is, exposure – the right kind and the right amount – does have power.
And in the case of M3gan, it was a simple TikTok video of the robot doll in question doing a murder dance. People LOVED it. Then they copied it. And then they meme’d it.
And bam, just like that M3gan entered the mainstream consciousness. Even before the movie came out, people were noticing the one thing other people (ie: people familiar with the uncanny valley and/or Real Doll enthusiasts) have known for years. And that is, lifelike dolls are creepy AF.
Which is interesting, because as a sub-genre, Doll Horror, isn’t that well regarded here at Surgeons

Killer Dolls podcast

Mainly because the dolls are usually possessed (which is always a bit hokey) and smaller than your average human. And they may look unsettling (Anabelle) but for the most part they are cartoonishly ridiculous (Chucky) with their kills often played for laughs.
In fact, in recent memory the last good Doll Horror was The Boy, and that was twisty in that (spoiler alert) the doll in question was just an actual doll and nothing more. And lord knows there’s been plenty of robots in movies where said robot can kill because it has a circular saw attachment, or shoots lasers or sum such. But an android with superhuman strength (why do they always make these things so much stronger than us? They just need to be physically strong enough to mimic humans in the real world, why give them the power to tear a baby’s head off!?) and has the complexion of a sex doll? That’s new.
Mainly because “realistic” androids in movies and tv shows are usually portrayed by real people with (sometimes) slightly pale make up. So the unsettling/creep factor with M3gan is strong, but that alone a movie doesn’t make.

Is it any good?
Well two words, Chekhov’s Gun. But to explain what that is, and a whole lot more, with his take on the movie, here’s Chris Dawes…

Ah yes, Chekov’s Gun – the age-old theatrical trope that if a prop (in this case, an incomplete boxing robot) is mentioned in the first half of a story, it must be integral to the story’s final moments (and everybody was bot-fu fightiiiing…).
So all in all, is this a movie worth watching? Absolutely. Great dialogue, tight plotting, with enough gore and laughs to be both light and dark in all the right places. A solid night’s entertainment and well worth the price of cinema admission.
However, my criticism is this (AND MAJOR SPOILERS AHEAD).
In the back of the film, M3GAN doesn’t so much turn on her creators as go full moustache twirling bond villain. Which, don’t get me wrong, makes for some hilariously snarky lines, but it is a very jarring character transition for a robot that was to this point, fairly HAL-like in the build up to her evilness. And I am pretty sure the reason for this dramatic shift is because James Wan and Co. accidentally made the bad guy way too sympathetic compakela ared to everyone else in the opening half of the film. Because here’s the thing – EVERY ADULT IN THIS MOVIE ABSOLUTELY FRACKING SUCKS, ESPECIALLY
THE PROTAGONIST. Gemma (played quite masterfully by Allison Williams) is an emotionally repressed, myopic computer
nerd who, despite showing no desire for any kind of family life, inexplicably demands that her recently orphaned niece (the child of her estranged sister) stay with her instead of her grandparents; makes no accommodations to her living situation to fit her niece in, neglects her while she goes through the worst possible kind of trauma, and only starts to see her as worth paying attention to
when it’s clear she can serve as an in-house focus group for M3GAN’s (a children’s toy designed with the combat prowess of John Wick, mind you) commercial prospects.
Off the back of that, once she makes the classic psycho-robot programming error of giving orders with ambiguous parameters (ie: protect the niece from all forms of physical and emotional harm) you absolutely understand why M3GAN goes the full death machine on the raging band of jerk-offs that are Gemma and her employers at the Funki Toy Company. Frankly, you are cheering her on. But that of course would make M3GAN’s inevitable defeat (or is it? DUN DUN DUUUUUUN!!!) unsatisfying for a popcorn picture vibe (The bad guy can’t be the good guy! What is this, a European film???).
So M3GAN, who is to this point the only character who has shown the niece any kind of emotional support (in a gut-punch of a scene that got some genuine sniffles out of the audience), suddenly becomes Chucky, and it took me out of it a bit.
Having said that, it’s still a hell of a ride. And Chekov’s boxing bot is kickass!
And now back to Ant Yee for the prognosis…


The Prognosis:


M3gan is a fun film. For horror buffs it’s not at all scary or gory, and as a hook, the premise and descent (into “madness”) of the titular character isn’t all that original. But it works and is very enjoyable, and a lot of that is thanks to the remarkable performance of the 2 actors Amie Donald (body) and Jenna Davis (voice) who bring her to life. That and the animatronics and the design work
that went into her. That was a home run too. Worth a short victory dance in fact.


i NB: In no way does M3gan actually resemble a sex doll – apart from being made up of the same weird rubbery silicon skin. (Surgeons of Horror legal disclaimer fulfilled).

  • Antony Yee and Chris Dawes