On this page: THE BEACH HOUSE | BLACK MAGIC FOR WHITE BOYS | MIDNIGHT KISS

< < I N D I E S > >

Brown's still, silent approach never quite defines the characters apart from obvious comments in conversations. The actors spend a lot of time staring blankly into the middle distance, either in deep thought or darkly unhinged by something. Emotional resonance is much harder to get a grip on. Liberato and Le Gros are an engaging couple, so it would have helped to get to know them before the craziness begins. Because after that, they're largely reactive, even if Liberato particularly gives it her all. And Weber and Nagel are even less present after their first strong scene.

At least Brown avoids tired jump scares and most genre cliches, keeping things outrageously undefined and asking us to identify with characters who have no idea what's going on. But that's precisely the problem: we never have a clue. There's an intriguing parallel with the changing ocean temperatures upsetting the natural balance of things, but the underpowered script never quite grapples with any of that. Still, the movie does contain some terrific effects, with properly yucky makeup and prosthetics providing the biggest gross-outs.

themes, language, violence

5.Jul.20

The characters are enjoyably messy, making a string of very dodgy decisions. They're not necessarily bad people, but they're also not remotely likeable. At the centre, Guttman has a godlike smugness about his powers, blithely playing with power he may not understand. A lively double-act, Tukel and Taylor are funny and astonishingly cruel. There are a few nicer side characters to engage with, but they're not as interesting as the horrible ones, especially Miller as Leah's bigoted hothead boyfriend.

Basically, each person in this film wants to take a shortcut to solve his or her problem, either using medicine, magic or both. None of these breathtakingly self-absorbed idiots is wiling to actually put in the work required. Tighter editing would have helped focus more coherently on the story and themes. Tukel's loose approach allows for quite a bit of unnecessary repetition, but even the most random sideroad is vividly well-played. And the subtler thematic jabs hit the mark.

themes, language

30.Jun.20

There are several intriguing dynamics between the characters, including secret attractions, jealousies and lost relationships. This allows the actors to keep the characters complex and likeable, even though they're not always nice. At the centre, Prew is solid as the thoughtful, observant Cameron, who has very specific connections with each character, including his ex Joel, whom Evans commits to playing as an unapologetic control freak. Meyeri offers standout support, a breath of fresh air who kind of remains outside the fray.

The murders are startlingly violent, and bring some surprises as well. So as we become invested in the characters, what happens feels increasingly meaningful in the bigger picture. Director Smith and writer Thoroddsen come up with some clever twists on the usual formula, throwing us off the scent before pouncing later. And they develop suspense properly, without cheap scares. The revelation of whodunit is overplayed and not terribly surprising. But it's remarkably nasty, and signs things off with a flourish.

themes, language, violence, sexuality

27.Jun.20