The Nun II

Nuns Upon
A Time

The Nun II
Directed by Michael Chaves
UK/USA Warner Bros
UK cinema release print.

Warning: Some spoilerish territory covered.

I liked The Nun (reviewed here) and thought critics were way too harsh about that movie. It played like a horror romp rather than an unsettling or creepy movie... I think at the time I compared to it a late 1960s/early 1970s Hammer horror movie but with added jump scares and, yeah, I found it to be a lot of fun. So, I was looking forward to The Nun II until I heard a review by one of the more likeable UK critics on a podcast and... he kind of slated it. So, ultimately, I was going in with low expectations.

So I was pleased that, once again, I really liked this sequel and would love to see more from this set of characters. And, being as it’s part of The Conjuring Universe, I think there could well be chance of that happening at some point. Although, in terms of surprises, that’s also a double edged sword... yeah, I’ll get to that in a minute.

Set four years after the events in the first Nun film, in the 1950s, his one deals with the two human survivors from the first one... Sister Irene (played again by Taissa Farmiga, real life younger sister of Vera Farmiga, who plays Lorraine Warren in the main strand of Conjuring films)... and Jonas Bloquet returns as Maurice, who has ‘the nun’ inside him still as a demonic possession (not a spoiler if you remember some of the opening scenes in the first Conjuring movie). And then, of course, there’s Bonnie Aarons as the demonic nun herself, reprising her role from The Conjuring 2 - the Devil Made Me Do it (reviewed here), Annabelle: Creation (reviewed by me here) and, of course, The Nun.

This one see Sister Irene sent on a mission by the church who are trying to track the nun as she starts killing people off in certain countries and Irene, along with her new sidekick Sister Debra (payed by Storm Reid), has to figure out how to catch up with ‘the nun’ until they finally twig that Maurice is taking odd jobs at certain places where gruesome, demonic deaths are now occurring... not that Maurice is even aware he’s brought ‘the nun’ with him, of course.

Okay, so here’s the thing. I can understand why certain critics got bored with The Nun II because it has a very steady pacing of nundemonium set pieces with very little pause between each new set of scares. And it is still very much a ‘jump scare’ kind of movie, for sure. And, it’s not subtle... the demon goes straight for the throat each time, so to speak, wasting no time in killing off ‘persons of interest’ to it in no uncertain terms. Which, actually, in a way I found quite refreshing. There aren’t that many ‘you got a fright and I’m coming back to do that again to you later’ scenes... well, okay there are but there are a lot of ‘nun goes kill crazy and finish her enemies off quick’ scenes intermingled with them so, you really don’t know which, if any, of the characters is going to be picked on for a solid kill from one scene to the next. Although it does keep key characters alive for this one.

And, midst all the ‘camera keeping the audience focused on dead areas of the screen so it can frighten them from somewhere else’ mentality of the movie, which to be fair is standard for modern horror movies, there are also some nice ideas in here such as the demon nun casting her image in things. Two notable examples of this are... firstly, when she manifests as a dirty patch in some wallpaper. Despite grumbling critics, it doesn’t go on forever and, if anything, it maybe is a nice shout back to the original 1963 version of The Haunting (reviewed here) in terms of ‘haunted wallpaper’ but, let’s face it, it’s never going to be as unsettling as that highlight moment of the Robert Wise movie.

Secondly, there’s an absolutely amazing sequence when Irene finds herself in a back alley confronted by a big magazine stand rack. The pages on all the magazines keep turning in unison (at least fifty of them, I reckon) showing disturbing faces until finally, when all the pages come to rest, they make up a big image of the demonic nun. Now, admittedly, the scene then goes on to an attempt to misdirect the audience really poorly and obviously to get the jump scare but, that’s okay because, even though I could figure out exactly where the scare would be coming from and when, I still jumped at it so, yeah, it’s well done.

The one downside to the movie is that, if you remember the scene in the original Conjuring movie, you’ll know a specific character definitely can’t be killed off in this one... so it means there’s less surprise by the point when, without that baggage, you would expect them to die. So, yeah, a bit of a shame but, continuity should always win with this kind of thing, for sure. Incidentally, fans of that first movie may want to stick around for a mid-post credits scene in this one which features a nice cameo appearance.

All said and done, however, the film does what the first one did and throws a lot of demonic mayhem at the audience, literally including a few scenes with a terrifying goat demon representation of the devil chasing... well, galloping loudly... after everyone. And it’s a really good bit of creature design, I would say. It put me in mind of one of the demons manifested in the wonderful Hammer film The Devil Rides Out (review coming soonish) and one wonders how good a modern day adapation of that particular book would be.  

And on hand, through it all, we have Marco Beltrami’s excellent score helping lift the ‘action horror’ element and contributing to, what for me is, a pretty fun time at the cinema. So, yeah, don’t use this as a jump on movie, for sure but, my verdict on The Nun II would be... a worthy successor to the first movie and one I would recommend to horror fans especially. I had a great time with this one and will hopefully be picking up the Blu Ray when it hits the retail shelves, for sure. 

Missing

The Parent Trap

Missing
USA 2023
Directed by
Nicholas D. Johnson & Will Merrick
Stage 6 Films

Warning: Some slight spoilers here...

Missing is one of those fairly newish (maybe not so new anymore) subgenres of movies which are all set on one person’s computer laptop. They’re more often than not horror movies but, this one is a thriller. And I have to confess that I almost completely steered clear of this one since, to me, it looked like a rip off of a movie I quite liked from a few years ago called Searching (reviewed here). However, after a few weeks, I discovered (and with no thanks to the advertising campaign which obviously didn’t work on me) that it’s actually a sequel or, more accurately, follow up to that movie, written and directed by the editors (and one producer) of Searching. So I was immediately in again.

And, yeah, it is pretty much more of the same but it’s mostly being quite smart about how it delivers the information needed to decode the mystery behind the story although, it has to be said, not nearly as smart as in the first one.

This one is all about a teenager called June (or June Bug, as her mum calls her) played by Storm Reid, who is left alone in her mum’s house for a week while her mother, Grace, played by Nia Long, goes off on vacation in Colombia with her new boyfriend (ten or so years after June’s dad dies from an unspecified medical condition). However, Grace and her boyfriend Kevin (played by Ken Leung) don’t return from vacation and, despite the worst efforts of the FBI, it’s down to June, with some unlikely help from a guy called Javi (played by Joaquim de Almeida), who is her ‘man on the spot’ in Columbia, to try and track her missing parent down.

Like the first movie, this film is all created by panning around June’s laptop, with lots of open windows of her talking on Skype so we can see her face once in a while and, yeah, it’s nicely done, with a few caveats. It follows a similar patter to the first movie in terms of some of the reveals and, though I didn’t see the biggest reveal coming, I was absolutely seeing most of the main twists way before they happen. The film does telegraph itself way more than Searching did. For instance, a stream of very briefly glimpsed photos sent from the vacation near the start of the movie were, to me, noteworthy in that Grace’s head was never turned towards the camera... so it seemed obvious to me that these were deliberately staged shots for the benefit of June and, to be honest, it takes June quite a while to figure that one out.

Sometimes the cleverness of some of the scenes is played with a little too much and it does kind of give things away. For example, there’s a really great bit at the start where some of the events of the first movie are being replayed and my immediate thought was... hey, that’s not the same actor. This is then completely explained in a lovely way, within a few seconds... but I won’t tell you how. However, the writers and directors then use exactly the same trick at the end of the movie and, frankly, as soon as a shot of rushing police cars starts off a sequence, I knew exactly what they were doing. So that’s a shame but, perhaps once would have been enough or, you know, maybe don’t repeat the trick in the same way because, there’s no surprise the second time around.

Another thing which bothered me is that the final scenes of the actual story (before the usual epilogue scenes) were, by necessity and because the film makers obviously didn’t want to cheat the audience, shown by panning around and zooming in on a network of security cam screens on June’s Macbook. Which is fine but the downside of that is that all of the scenes in that final ‘action sequence’ are very blurry as a result. I guess it’s certainly a trade off and the directors made the right choice to preserve the illusion, for sure. Although, like the first movie, it’s not trying to necessarily present itself as complete reality... for instance, the movie has a score on it to help increase and maintain the mood and tension of the piece.

Now, despite its faults, I really liked Missing and, I especially loved the character of Javi. I’m wondering if there’s any scope for a third film in the series which brings together one of the characters from both films to kind of round it off as a trilogy... and maybe make one of those protagonists twist out as the antagonist or some such. Either way, this film is nowhere near as good as Searching but certainly holds its own and is definitely worth a look. This format isn’t quite played out yet and I think it still has some legs on it. Let’s see if Hollywood will let it evolve. I’m sure these things must be very low budget, allowing for a good profit margin.

The Invisible Man (2020)

Now You See Me Too

The Invisible Man (2020)
2020 Australia/USA/Canada/UK
Directed by Leigh Whannell
UK cinema release print.

Warning: Mild spoilers.

Writer/director Leigh Whannell’s new version of Universal’s franchise based on The Invisible Man is, I’m sure surprising nobody and just like many of the Universal sequels, really nothing to do with H. G. Wells original novel. That being said, the two things which both Well’s source and this movie version have in common is a central antagonist that shares the same last name as the original, Griffin and, similarly, the idea that he is an antagonist rather than protagonist... unlike the majority of the six original Universal films, is also retained.

Given director Leigh Whannell’s track record, the man who made the absolutely brilliant but still prohibitedly expensive to buy on Blu Ray movie Upgrade (reviewed by me here but, honestly, nobody wants to be paying £24 for this) you would expect that this film would be pretty good and, I have to say... yes, it really is. If you’re happy that this isn’t the same character that you knew from the 1933 version, then you should have a good time with this.

This time around, the film has been pitched firmly, it seems to me, to support the ‘me too’ movement and, although the final scenes of the movie are as troubling as the overly black and white ‘your perceived judgement of a situation trumps the possible truth of the situation’ reality of real life at the moment, there’s enough at the climax to make the ambiguity of the end game of an abusive relationship feel very true and I think it’s an extra feather in the cap for Whannell that some of the audience are going to walk out of the film with conflicting ideas as to whether justice has been served here for any of the characters.

Elisabeth Moss is absolutely fantastic in the role of abused girlfriend Cecilia Kass and she does carry the film extraordinarily well, backed up by a good supporting cast of people like Aldis Hodge and Storm Reid. Also, the film is well shot and edited but where it really comes into its own is with the sound design. This combined with Benjamin Wallfisch’s terrifically jumpy score (alas, not available on CD, only as a stupid electronic download) are what provide the film with the most scares. The film in itself, has no really big ‘fright moments’ but, due to the use of sound and music, you still get some quite intense suspense sequences in this thing.

Okay, so two standout things for me.

That sound work I just mentioned really comes into its own when, after two weeks confined in her friend’s house, Cecilia tries to brave the outside world once more by walking outside for ten seconds or so. The tension of her inner intimidation by the big, scary outside is strengthened incredibly as she puts her first foot out the door and the sound design gets suddenly muted and echoey as it does things to her footsteps. A really nice touch.

The other thing I liked about this is the way they played with modern conventions of horror which, in a way, also mimicked things Universal were doing with the series back in the 1930s and 1940s, for different reasons. That is the modern horror movie thing of the camera turning around and looking at empty rooms as you wait to spot some little detail in the shot that you know is going to scare you. It’s certainly something they would, by necessity, do in the original films in order to show you the visible signs of an invisible person being in the room... as you wait to see a tell tale foot print or a breath of cold air or a door opening. Here, though, Whannell does this purely, it seemed to me, to have fun with the modern viewer expecting to see these things. He’ll similarly focus the camera on an empty room as Cecilia is trying to see if she’s alone or not but, brilliantly, quite often does nothing with it. In the most cases, there are no indications to show there is anyone there or not... and you certainly know about it when it all kicks off. This, of course, strengthens the mood of carefully prepared paranoia which perpetually permeates the movie and I think taking this approach, at this particular time in horror film history, was a good idea.

There are some small problems I had with the movie... apart from the UK print being censored by a few seconds, ensuring that any future Blu Ray purchase from me needs to be imported from the US.

One of those problems is it’s not really a horror film. The weird science aspect of the chemical potion which gave invisibility but turned ones brain against one as it stayed in your system is gone. Instead, the lead antagonist is an optical science specialist and he’s basically wearing a stealth suit... it’s not unlike the terribly stupid car in Pierce Brosnan’s sad misstep of a Bond movie Die Another Day (reviewed by me here).

The other thing was the way it telegraphs an obvious twist in the middle of the film, where Cecilia gets a visit from a certain attorney. It totally gives away a reveal from later in the movie and I was a little disappointed that this was so blatant. However, it does lead the way for the second ending of the story and the whole problematic issue of the ‘me too’ element of the film... so I guess it’s at least good that this ‘almost twist’ is still in here. The final scenes give the film an interesting lack of clarity which may spark of debate at some point in the future, I suspect. Certainly, by the end of the movie, I would be as scared of the main protagonist as I was of the main antagonist so... yeah, I’m sure I’ll get moaned at for suggesting the ending could be read in more than one way but I suspect this was the writer’s intention.

So yeah, the new version of The Invisible Man is a pretty great time at the cinema and something I would recommend to fans of well put together suspense thrillers. A good attempt to resurrect a part of the Universal franchise.