Bodies are turning up around the city, each having met a uniquely gruesome demise. As the investigation proceeds, evidence points to one suspect: John Kramer, the man known as Jigsaw, who has been dead for ten years.
Callum Keith Rennie
12 years after the tragic death of their little girl, a dollmaker and his wife welcome a nun and several girls from a shuttered orphanage into their home, where they soon become the target of the dollmaker's possessed creation, Annabelle.
When the network of satellites designed to control the global climate starts to attack Earth, it's a race against the clock for its creator to uncover the real threat before a worldwide Geostorm wipes out everything and everyone.
Five medical students, obsessed by what lies beyond the confines of life, embark on a daring experiment: by stopping their hearts for short periods, each triggers a near-death experience - giving them a firsthand account of the afterlife.
It's time for a young African American to meet with his white girlfriend's parents for a weekend in their secluded estate in the woods, but before long, the friendly and polite ambience will give way to a nightmare.
A teenage girl, trying to enjoy her birthday, soon realizes that this is her final one. That is, if she can figure out who her killer is. She must relive that day, over and over again, dying in a different way each time. Can she solve her own murder?
"Scary Movie", "Scream" and Groundhog Day adopt a wicked baby mask
On this base idea is set up Blumhouse Productions' latest big hit,
Jason Blum's production company has been crowned as the only studio to
make a huge profit at the box office with low-budget medium-high
quality films. Being its 13th flick with a respectable worldwide
grossing, "Happy Death Day" must be considered, besides an extra proof
of Blumhouse vigor and vitality, as a breath of fresh air for
commercial slasher cinema, one to which, little to little, they bury it
the stake further inside.
The main disadvantage with the script doesn't lie in the combination of
genres, otherwise, that's one of the most remarkable features of the
film, the drawback is the way to tie up some loose ends, because, in
fact, they are closed to so much pressure that coherence threads are
abruptly detached. As a thriller, mystery whodunit, the interest of
audience will be placed in the resolution of the homicide,
consequently, if you want to carry the genre proudly, should manipulate
the perceptions of each spectator in order to cast doubt before the
more insignificant detail, here, although interesting bets are proposed
in the course of the third act, the truth about who's behind the creepy
mask is not a great thing at all. Inserting, unjustifiably, the subplot
about a lurking criminal as a rough backdrop, inserting boring
overcoming of family quarrels, inserting the stereotyped comings and
goings in this kind of stories, the feature film ends up being a mildly
lost opportunity, it could have formulated more surprising suspects and
more intelligent endings for the unknowns, a little help: Carter.
Another point, which cannot be part of the category of flaws due to the
origin of its dubious purpose, concerns the absence of a clarification
about temporal loops. As soon as they lay all the cards on the table,
nothing more expect to conclude the game, give a coherent explication
about day- restarting plot, however, there are no grounds for it,
neither explicit nor implicit, simply, the idea is left up in the air,
so that moviegoers produce their own clarifications, as always, a
double-edged sword. Fortunately, the film keeps enough vigor, dynamic
and strength in montage sets, performances and narrative circumstances
that make it more than energetic, fascinating and entertaining the
rebirth of our protagonist anti-heroine.
As writer sets on the one side of the triumphant Blumhouse balance
equation, on the other side, the director acts as a counterbalance.
Although Christopher Landon's name seems Lilliputian compared with
film-savvies as James Wan, M. Night Shyamalan, Oren Peli, Jordan Peele,
Joel Edgerton, Scott Derrickson or Damien Chazelle; his most recent pic
would be the first great milestone in his ascending career, even though
he has a long, long way to enroll in the major leagues. Landon provides
newness and daring for a film that could easily have fallen into muddy
plots of aimless comedy, dysfunctional horror or soporific thriller;
here, the filmmaker reveals his contemporary thinking by transmitting
young-focused company MTV's "Teen Mom" on Tree's TV instead of any
Hitchcock's or Coppola's classics; here, Landon places a female Bill
Murray imprisoned in a college campus; drastic swaps that benefit the
feel-good that radiates the ending of the film. Evaluating the work of
the director through the final result, one could say that the man
behind "Scouts Guide to the Zombie Apocalypse" has just gained a great
improvement in terms of filmmaking and control is concerned, Every
filmmaker who demonstrates a professional advancement deserves a heated
ovation, however, taking into consideration Landon's labor, half of the
continent must stand up and applaud him, congratulations, a future
Uni and Blumhouse manage to deliver an entertaining contemporary story
with honors, they can produce a five-star action thriller, abduction
suspense one or murder-solving one, simply, shows off the aces up its
sleeve and leap them, without clemency, on the face of the spectator.
The particular montage, the nice pictures and the excellent score team
up in a moderately phenomenal way, although, visually, they are
restricted by the number of scenarios shown in the first twenty
minutes, however, the lack of possibilities encourages productivity and
originality that end up in magnificent films, in this case, it's
testified through interesting camera movements, amazing angles, and
very old-school approaches; the saying: creativity is the only weapon
emerging from low-budget and narrative constraints is very true. The
soundtrack deserves special mention, it seems to mock 80's horror
flick, its stridency and apparent jocularity are mixed with the same
functionality as the images, its melodies recall "Scream", and even,
there are explicit scenes which lead to our memory, without any remedy,
to Wes Craven's film; great job Bear McCreary, no doubt, the best
aspect of the film.
Christopher Landon's "Happy Death Day" positions itself on the throne
of the horror and youthful-humored satire of the year, not merely
because of its picturesque premise, but because of the appropriate
levels of execution and narrative approach it presents. Although never
taking itself too seriously, it serves as a fortifying incentive for
the association between studios, verifying that they are on the right
way, a path brimming with originality and magnetism that would not be
defaced by low-budgets. Sadly, the film is left behind compared to its
contenders, experimenting a sense of emptiness at the end of the
showtime, shows that, at least narratively, has been a partially lost
opportunity. Undoubtedly, Landon's film had the perfect tools to become
huge, but with the result, it only got to be big. Let us blow out our
candle of desires and we pray together for longevity and vitality of
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