*NEW* MOTHER REVIEW *NEW*

Oh MOTHER! That was bad.

A couple’s relationship is tested when uninvited guests arrive at their home, disrupting their tranquil existence.

I guess I wasn’t as big an Aronofsky fan as I thought. The very epitome of a Marmite movie.

For some, an existential dissection of life through religious allegory. For me, a meandering mess split into two agonizing halves that failed to deliver.

To be honest, it didn’t help that the marketing and posters suggested something more horrific. Now don’t get me wrong, Mother! is a modern horror . . . Of sorts.

BUT I was expecting a demented take on Rosemary’s Baby (Like it wasn’t demented already). And there was an echo of that in the closing act BUT this just didn’t go in the direction I hoped at all.

Seriously, pay attention to the first five minutes. The path is established pretty early on.

And if I didn’t have this ridiculous rule of seeing a movie out to the end; I would have joined the several people that walked out 30 minutes in.

This isn’t the worst film I’ve seen (BUT could be for this year).

Credit where it is due. The cast all played their parts well.

The first half of the film was slow burning BUT intriguing as Him’s (Bardem) writer’s block took its toll on the couple’s relationship. Jennifer Lawrence carried this film as much as she could as Mother. Doing her best to be a supportive wife.

Giving Him space and revamping an old country house in a wonderfully tranquil (yet strangely eery) pastoral setting.

I felt for Mother’s frustration and confusion; especially when the mysterious Man (Ed Harris) made his introduction.

A diversion for Him. A disturbance for Mother. The question’s mounting as Him welcomed Man into their home with no hesitation. Drinking and chatting rubbish. The paranoia setting in. Why is he really here? Why now?

Things took an even stranger turn when Man’s wife Woman (Michelle Pfeiffer) turned up.

Inventive names, aren’t they? Lazy or clever? I’ll leave that to you (LAZY!). I had to suspend my disbelief and remember this was a movie. There is no way that I would let my partner invite a strange couple we’ve only just met into my home. No-se-re.

I loved Psycho-Pfeiffer. It was great to see her back. Showing Lawrence how it’s done. She played the crazy doctor wife brilliantly. Mind games well and truly in flow. Like a cat playing with a mouse (And yes, I totally meant the Catwoman reference).

The pace was agonizing BUT I was still wanting to see where this was going. BUT the second half of the film completely ruined all that build up. So much so that by the end, it made that story line (almost) completely irrelevant.

Aronofsky really did pull the wool over my eyes. He completely turned the film on its head. I expected this domestic psycho-thriller to unfold into something else. BUT not this!

With more and more people turning up to see Him, I thought something creepier was going to happen.

Especially with the haunting sequences in which the house appeared to be “speaking” to Mother. A bleeding heart in a toilet was an unexpected image I won’t forget any time soon.

I mean it was unsettling BUT it was such a bloody visceral mess and not in the good kind.

I could see what the director was trying to do. Delivering social commentary and satire. BUT there was only so much religious imagery and mayhem that I could take!

The finale unravelled his true intent and I was surprised. I just didn’t like the end result. It wasn’t worth the two hour slogfest.

I didn’t enjoy it (Not that it was ever going to be a movie for “enjoyment”).

Okay granted, it has a been over a month since I saw Mother! and the experience is still fresh in my memory.

BUT I think that was only because of the sheer disappointment. It was torturous. I felt like I was going through this chaotic hell ride with Mother. A ride that I wish I hadn’t taken. Even with the surprising cameos popping up in the mental and sporadic closing minutes.

As much as I have had time to discuss plot points and themes, I still didn’t think Mother! was that special.

Bravo, Mr Aronofsky for pulling the wool over my eyes. You won’t be doing it again.

2/5

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*NEW* IT REVIEW *NEW*

IT didn’t do much for me.

The highest grossing horror movie in box office history? Really?

A group of bullied kids band together when a shapeshifting demon, taking the appearance of a clown (Bill Skarsgard), begins hunting children.

For all the hype, I expected something more. Not to say, I didn’t enjoy it.

BUT a horror movie is supposed to scare you, right? Unsettle you, creep you out. Stick in the back of your mind days after viewing. No?

As a kid, I was always creeped out by Tim Curry’s Pennywise. Perhaps if I watched the 1990 TV mini-series now, I’ll probably laugh my arse off.

BUT it didn’t matter how demented Skarsgard’s Pennywise looked, he just did nothing for me.

Now don’t get me wrong. It was very watchable.

The creepy opening sequence was brilliantly executed. Benjamin Wallfisch’s haunting score. That little yellow rain coat. The familiar feeling of unease rising as Georgie’s boat was engulfed by that infamous sewer drain.

Skarsgard was an excellent Pennyise. He delivered a stellar turn as the iconic movie clown. The make-up and special effects were deliciously gruesome and gory.

In all fairness, I couldn’t fault any of the cast. They were all perfectly chosen for the roles.

Finn Wolfhard (Stranger Things) was on scene stealing form at every opportunity as Richie. Throwing in the odd quip or funny insult.

Jaeden Lieberher (Midnight Special) played Bill very well. Nailed the stammer (I don’t know if commending a speech impediment is a great line but you get what I mean, right?).

Jeremy Ray Taylor was very good as Ben, the new kid on the block (Yeah, I meant that reference IT fans). Jack Dylan Grazer was comical as the hypochondriac Eddie. BUT what do you expect with an overbearing mother like that? Sheesh. No spoilers.

The tension was built up perfectly in every scene and actually avoided going for the cheap scare. Unlike the majority of new horror movies or “found footage flicks” of late.

I loved the Stand By Me melancholy. The coming of age tale subtly composed against the darker murder mystery.

Pennywise’s appearance only scraping the surface of this seemingly idyllic town as the kids faced demented bloodthirsty bullies, lecherous pharmacists and freaky apparitions.

The grief theme was delicately handled with Bill. His parents nothing more than depressed shells. Zombies unaware of the horrors that dwell in the sewers.

Nicholas Hamilton (Captain Fantastic) was savage as the head bully Henry Bowers. He unsettled me more than Pennywise. That kid was messed up.

I did like how Pennywise attacked the gang by playing on their worst fears. The diseased leper and headless corpse apparitions were grotesque enough. And a highly unsavoury encounter between Beverly (Sophia Lillis) and her father left me on tenterhooks.

BUT the pace was a bit slow for my liking. There was a lot more humour than I expected. Sometimes a little too much that it killed the atmosphere. Sorry, I like my horrors dark.

I know they’re teenagers but the rock throwing altercation with the bullies with the overbearing 80s jams was a little silly.

If I’m honest, I found my patience running thin, the more Pennywise appeared. The running and screaming got on my nerves. I would have punched that clown in the face. Seriously. Beastly teeth or otherwise.

I don’t think it helped that I find clowns funny. So when Pennywise was delivering his freaky dance in one “creepy” scene, I was in stitches. A moment that has sparked endless (and hilarious) memes.

I mean, come on!

I didn’t jump. All the build up with no payoff. Maybe I was more inclined for the “cheap jump” trick than I thought. I just wasn’t on the edge of my seat or hiding behind my hands.

I felt Chosen Jacobs’ Mike and Wyatt Oleff’s Stanley got lost in the mix. Especially when Bill, Beverly and Ben’s love triangle came into play. BUT with such a mad bunch of eclectic characters, it was due to happen. Shame.

Maybe I expected too much from the hype.

My main qualm (and I know this has bugged people) was that it didn’t creep me out. Normally after I watch a horror movie, I go home and dread turning the lights on. None of that. If it weren’t for this review, I might have already forgot about IT.

Everything floats. Well, so did my interest.

IT wasn’t bad by any means.

IT created tension, delivered characters with depth and told an actual story but the pace tested and it just didn’t scare or unsettle me. The purpose of a horror film.

3/5

*NEW* DEATH NOTE (2017) REVIEW *NEW*

Bit of a bum note, more like.

Hardly worthy of death threats BUT yikes . . . It’s a bit of a mess.

High school student, Light Turner (Nat Wolff) discovers a mysterious notebook that has the power to kill anyone whose name is written within its pages and launches a secret crusade to rid the world of criminals.

Now, I’m not a hardcore fan. It has been a long time since I watched the anime series and I loved the 2006 live action Shusuke Kaneko movie. After laughing at the “Netflix Original” title, I went in fearing the worst.

The poor ratings and scathing reviews had put me off BIG TIME.

And for the first 30 minutes or so, I was . . . pleasantly surprised.

The hypnotic opening track (Australian Crawl’s Reckless), Margaret Qualley from The Leftovers (What?), Nat Wolff’s creepy pallor and bleach blond hair.

It didn’t mess about. There wasn’t a slow ominous build up. It got straight to business. If anything, it might have been a little rushed.

The iconic death God Ryuk had already made his introduction within 15 minutes! Willem Dafoe was perfectly cast.

As soon as his gravelly vocals pierced the speakers, there were goosebumps. I’ll admit it. The animation wasn’t too shabby. A creepier improvement if I don’t say so. BUT what do you think?

As much as I could feel for the teen’s angst about his mother’s death and his anger at the judicial system, I didn’t really like Turner. And that was the problem.

Wolff’s performance was a mixed bag. His crazy facial expressions and OTT reactions were too much.

I know they’re teenagers BUT really? This should have been so much darker. The death sequences were deliciously violent and gory BUT it felt like something out of Final Destination.

The premise was still intriguing. A book that can kill any name you put down.

Ridding the world of terrorists and dictators. Making the world a better place under the alias of “Kira”. The Japanese nods well and truly in flow.

BUT of course, there were rules. Rules that Ryuk conveniently decides to share at the worst possible moment.

I don’t know why there was a heavy 80s soundtrack BUT it worked.

It was good to see Eli from Boardwalk (Shea Whigham) in a bigger role. He nailed it as Light’s father. The vigilant cop desperate to put an end to Kira’s reign.

BUT it wasn’t long before I could see what everyone was complaining about.

“Okay, follow the rules. Your fingers are really huge”.

The humour was heavy handed and came off far too comical than it was supposed to. Unintentional or otherwise. Especially when Light shared his secret with his dream girl Mia (Qualley), “I have a death God”.

Wolff and Qualley had just enough chemistry to drudge through some of the hammier scenes BUT the dialogue was terrible.

Lakeith Stanfield (Get Out) did his best as the crime solving candy chomping cyber sleuth ‘L’. A super intelligent wacko also hell bent on catching Kira. BUT it just didn’t work.

It’s funny if this was animated, I wouldn’t have batted an eye BUT seeing ‘L’ being sung to sleep by his Japanese aide, Watari (Paul Nakauchi) was too much.

The cat and mouse game was interesting enough BUT too much time was spent on ‘L’ and Stanfield’s acting wasn’t the best. It didn’t help that he was reduced to spewing fast-talking nonsense.

The pace surprisingly dragged when the story focused on ‘L’s origins. It took everything away from Light and reduced Ryuk to nothing. Dismal.

The longer the film went on, the sillier it got. The action set pieces and chase sequences were okay BUT it built everything up for a ridiculous and chaotic finale that didn’t make much sense.

With pressure mounting and the power of the Note taking over, it was only a matter of time before there was a rift between Light and Mia BUT their incessant squabbling got on my nerves. Even Qualley irritated the hell out of me.

And the twist, if you can call it that, was woeful and by the end, I didn’t care.

It was watchable enough and killed the time. BUT memorable? Meh. The original live action version was haunting and engrossing. It toyed with the moral and ethical implications of taking someone’s life.

This remake felt like a dumbed down version for the “ADHD generation”. Afraid to stick with a set tone and desperately throwing in any old guff to keep those pesky kids off their mobile phones.

No one goes out to make a bad movie and if director Adam Wingard has been receiving death threats for this than that needs to STOP.

I have seen so much worse. This wasn’t great BUT I think it warranted a little bit more than a 4/10 on the IMDb.

Started off so well BUT ended on a bum note.

2/5

P.S. Did any Heroes fans spot Masi Oka’s cameo? What was the deal with that Nakamura reference? Hmmm . . . .

*NEW* ALIEN: COVENANT REVIEW *NEW*

Even in space, no one should see this dreadful Alien prequel.

The crew of a colony ship, bound for a remote planet, discover an uncharted paradise with a threat beyond their imagination, and must attempt a harrowing escape.

Sound familiar? It should.

For the love of God, Ridley Scott. Just stop.

I can respect the man and the writers for trying to expand the Alien universe and explore the mythology behind the xenomorphs but if this is the answer, then I think some mysteries were better left unsolved.

They should have learned from Prometheus. But for all its imperfections, I preferred that to this meandering mess.

For all its beauty, brooding score and captivating cinematography; beneath the surface there wasn’t much else.

Scott still can’t get over Cameron perfecting a classic. Alien set the bar high. No one knew how iconic that film would become. Without that slow burning sci-if thriller, there wouldn’t be the monster franchise that followed.

Aliens (for me) took things up a notch and actually delivered some character development and progression for the iconic sci-fi heroine Ellen Ripley.

I had to try and remember what happened in Prometheus (Watch out, spoilers): wasn’t David just a head? What happened to the girl with the dragon tattoo?

The fiery opener certainly piqued my interest. Especially when Fassbender returned as another android called Walter.

BUT after 30 minutes of Scott panning from one lavish set design to another. Picturesque frame by picturesque frame. I thought to myself: “When is this going to pick up?!”

The writers tried to make amends for Prometheus by creating more mystery and questions BUT it just didn’t work.

What’s the title of the film? What is it about? Where are the frickin’ aliens?!

Patience. The slow burning tension and existential debates boring me into a mini-coma.

We had Prometheus for all that. Give us something different. If anything, the questions Covenant tried to answer only made bigger plot holes that undermined the whole thing. Especially on the origin of the aliens altogether.

The special effects on the aliens were excellent and creepy as hell.

That was until they attacked. The stop motion movements and overindulgent CGI was disorienting to look at. The scuttling and wrestling looked so fake. Like something out of a dated Harryhausen flick.

The talented supporting cast were highly unmemorable.

Katherine Waterston (Fantastic Beasts and Where to Find Them) spent so much of the film moping and brooding.

By the time, she finally woke up; her character was nothing more than Ripley 2.0 (Yes, I know this is a prequel so she would actually be Ripley 1.0 BUT I digress).

She didn’t deliver a bad turn BUT the film was always going against her.

Danny “Kenny ducking Powers” McBride should have nailed the space trucker role BUT was heavily underused. Billy Crudup’s protagonist was so weak that I was screaming for a face hugger to dispose of him. Waste of an actor.

Speaking of wasted actors, Guy Pearce had the easiest job going. A completely needless role. Woeful.

I think there was only one reason why Prometheus got a follow up. And that was down to one man’s performance.

Michael Fassbender stole the show yet again. BUT despite a stellar turn, I found his efforts failing to reprieve this mind-numbing disaster.

It wasn’t all bad. It was watchable. Just very disappointing.

When Scott delivered the tension, I could feel myself wincing in dreaded anticipation. He delivered a demented introduction from the aliens with a gory entrance I didn’t see coming.

I still flinched and cringed (as did the audience) as we all knew where it was going when one crew member stumbled across a dormant egg.

The different alien hybrids were a nice touch and looked brilliant. BUT they didn’t go anywhere. A quick gory death to make up for mindless “Do androids dream of electric sheep? chit chat from Fassbender. Not good enough.

It went through the motions, relying on old formulas and retreading old ground that had been done before and much better. By Scott (ironically).

The actual alien screen time probably tallied up to 15/20 minutes. Out of a 2 hour movie? Come on!

The finale was dull, uninspired and a retread of Aliens with a much weaker and predictable twist. It built things up. Only to let me down.

I really hope there won’t be another. To think this prequel trilogy stemmed from a few Alien fans asking about the giant space jockey found on the Derelict (Yeah, I’m a fan. Could you tell?). I wish they hadn’t.

A movie of mere moments. Some finger biting tension here. One jumpy bit there. Some gory and inventive deaths does not a good movie make.

Would I rush to watch it again? (Maybe reassess and see if I missed anything the first time round?) NO.

Give me Alien, Aliens and hell even Alien 3 any day. But this?

Let this stop.

It needs to end.

2.5/5

*NEW* LIFE REVIEW *NEW*

Despite the shoddy pace and wafer thin characters, there was still life in this tense little sci-fi horror.

A team of scientists aboard the International Space Station discover a rapidly evolving life form, that caused extinction on Mars, and now threatens the crew and all life on Earth.

I didn’t expect much from this. The trailers bored me and the extended looks did nothing to win me over. BUT I was a fan of the line up. So was it shame on me?

Jon Ekstrand’s ominous score certainly grabbed my attention. The brooding atmosphere, the simmering tension, the nothingness of space. Seamus McGarvey’s glossy cinematography. Perfect.

It was just a shame that momentum couldn’t stick. The slow burning opening act soon put me into a mini-coma.

The disorienting claustrophobic camera work may have simulated the feeling of floating around in a space station BUT it irritated me. The POV angle of Ryan Reynolds’ Rory intercepting the damaged satellite was a nice touch.

BUT it didn’t help that the characters weren’t that interesting.

Rebecca Ferguson’s (Mission Impossible: Rogue Nation) uptight doc and Jake Gyllenhaal’s (Nocturnal Animals) depressed David were dreadfully dull.

I always felt Hiroyuki Sanada (The Last Samurai) was an underrated supporting actor BUT his character was dire. A perfect opportunity to shine squandered.

And Ryan Reynolds just played the same old spiel again. Adapting the role of the cocky fast talking joker. Boring.

There wasn’t any depth and the bland exchanges between the crew just killed the tension. Especially as they left messages for their loved ones and gave cringe inducing virtual tours of the ship to the “world”. Yuck.

Thankfully by the 25-30 min marker, the film finally hit its stride as the crew discovered life and the answers to the universe in the form of a squid-like jellyfish named “Calvin”.

Ariyon Bakare (Jonathan Strange & Mr Norrell) made a memorable impression as Hugh. The delighted doc whose fascination with Earth’s new mascot bordered on obsession.

BUT I could still feel myself getting impatient as the crew carried out tests. However, one botched lab experiment later . . .

All that curiousity and wonder swiftly turned into sheer fear and panic as the crew’s new play thing decides to make a break for it. A bloody trail left in his wake.

The middle act delivered with an unnerving and nail biting thriller as Calvin continued to grow in size and intelligence. A game of cat and mouse set in motion.

“Calvin doesn’t hate us. He has to kill us in order to survive”.

The Alien meets Gravity vibe worked as the killer creature craftily picked the crew off one by one.

The special effects were brilliant. Calvin’s transformation creeped the hell out of me. His squid-like tentacles scuttling around the labyrinthine hallways. A spider toying with his prey. Shudder.

I was worried that the wafer thin character development would make me less interested in the crew’s survival BUT Gyllenhaal and Ferguson’s characters were thankfully fleshed out a little better as the danger ensued (Hell, I even warmed up to Reynolds).

There were genuine moments of suspense and I couldn’t see how it was going to end which made for a tense and thrilling finale.

And by the closing credits, I left the cinema pleasantly surprised.

Just persevere with the pace and you have a solid effort that does just enough to hold its own.

3/5 (Just)

*NEW* THE CONJURING 2 REVIEW *NEW*

conjuring_two_ver2

Is this the best that James Wan could conjure up?

Lorraine (Vera Farmiga) and Ed Warren (Patrick Wilson) travel to north London to help a single mother raising four children alone in a house plagued by a malicious spirit.

I enjoyed the Conjuring. It may have been a little over-hyped BUT it was certainly one of the best horror films I’ve seen in the last decade. I wasn’t surprised to hear that a sequel was in the pipeline BUT after the abysmal Annabelle spin-off, I was anxious to say the least.

The first hour was brilliant. It took the same winning formula from the original and perfected it. The tense opening act got the ball rolling as our infamous paranormal investigators took on the Amityville Horror case. Thankfully Wan didn’t focus on that too much BUT it was a nice touch tying it in with the Enfield Haunting.

BUT despite the bubbling suspense, I was still a little disappointed that Wan took on Enfield in the first place. Especially when the critically acclaimed TV drama (A must watch) came out earlier this year. It was tough for me NOT to draw comparisons. We all know of the Enfield Haunting to some extent. If you were lucky enough NOT to, then this will freak you out a whole lot more.

Luckily Wan provided a creepy new addition for his roster of demented demons. I won’t be looking at nuns in the same way. That’s for sure.

The-Conjuring-2-Nun-06-12-16

Shudder.

Every time she appeared in Farmiga’s dreams, I fidgeting uncomfortably. Nails bitten off.

Vera Farmiga was fantastic and carried the film when the pace dragged. The same cannot be said for Patrick Wilson. He was laughable and quite weak this time around. I guess it didn’t help matters that the story revolved primarily around Lorraine and her inner turmoil. Her dealings with the afterlife taking its toll.

Madison Wolfe was excellent as Janet Hodgson. Thank God the main child actor delivered because the others certainly didn’t. It was terrible having to listen to a good portion of the supporting cast screeching in horribly mangled “Cockney” accents.

Janet’s possession sequences were frightening. That was until the demented host spoke. The ghoul of Bill Wilkins (Bob Adrian) was creepy BUT once he started bellowing like Argus Filch from Harry Potter, it killed all the tension for me.

Wan loves to draw out a scene. Playing with the audience. Teasing the tension (aided by Joseph Bishara’s creepy score). The elongated hallway shots. The angles. The suspense as you knew something was going to happen or pop out.

For 60 minutes, I was fidgeting uneasily and caught up in it. Something I haven’t been able to do with a horror film in quite some time. BUT something somehow went wrong during the second half of the film. There was a moment where the film changed and lost all the fun for me. Spiralling downhill rapidly.

As soon as a neighbour’s Rottweiler morphed into something that looked like Jack Skellington from The Nightmare Before Christmas, my fears subsided as did my patience.

The pace dragged putting me into a mini-coma (The 132 minute length really did take the biscuit). BUT the longer it went on, the funnier it got. I would have said that this could have been ripe for a parody BUT by the end, it didn’t need one. It didn’t help having weak characters BUT the performances, my God!

Franka Potente (Creep) was completely unnecessary as another paranormal investigator. Talk about too many cooks spoiling the broth. Maria Doyle Kennedy (Orphan Black) was heavily underused in a ridiculous supporting role as a neighbour. Anyone could have played her.

Simon McBurney (Rev) was hilarious as paranormal investigator Maurice Grosse for all the wrong reasons. His conversation with a possessed Janet had me in stitches; “No, no, this isn’t your house!” Frances O’Connor (Artificial Intelligence) got on my wick as troubled mother Peggy. There was one scene in particular where she notices a demented corpse creeping towards Ed (Wilson) and what does our bewildered heroine do? Point a flashlight at the thing and say, “”Ere, whose that?”. Bearing in mind, we’ve had 80 minutes of messed up mayhem at this point. Come on!

Even the Nun (Bonnie Aarons) got on my nerves by the end. She kept popping up screaming and shrieking every five minutes. I desperately wanted her to go.

If Wan could have spend more time on pace, story and character instead of creating creepy new characters with needless spin offs then this would have been worth the hype! BUT the frantic finale dragged its heels and didn’t pay off.

Horror films just haven’t been the same in a very long time. Relying on hype and cheap scares. Scariest film of the year? Hell to the no. BUT it’s still the best of the rest. And that’s the biggest scare of all.

2.5/5

*NEW* LIGHTS OUT REVIEW *NEW*

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It didn’t have me screaming for the lights on.

When her little brother Martin (Gabriel Bateman – Annabelle) experiences the same events that once tested her sanity, Rebecca (Teresa Palmer – Warm Bodies) works to unlock the truth behind the terror, which brings her face to face with an entity that has an attachment to their mother, Sophie (Maria Bello – A History of Violence).

When I first heard that James Wan (The Conjuring/Saw) had green lit the spine tingling short Lights Out, I was annoyed. Especially when I saw the trailers circulated around the Internet. A loosely stringed story stretched out into 90 minutes with a few screams along the way. Well, that’s what I thought I was going to say.

In all fairness, it was actually quite good. A creepy opening in a big dark warehouse with motion sensors certainly got things going. With every flash of the light, the dark demon grew closer to its unsuspecting prey. It was a nice touch getting the original scare victim from the short in a cameo (Lotta Losten).

Director David F. Sandberg orchestrated some genuinely creepy moments and tense sequences and certainly played on an old fear. A ghoul that attacks from the smallest patch of darkness. Spookkaaayy.

The premise wasn’t bad. Hardly original BUT it did the job. A crazed mental patient with demonic abilities latching onto a family. Why? How? Well, if I told you that, there’d be no point in watching it.

I did sigh at Palmer’s introduction as her character drudged through some cheesy guff about personal space and not trusting anyone after her mum. The corny exchanges with her silly boyfriend did put me into a mini-coma. Thankfully once little brother Martin and her drug-induced head case of a mother were brought into the mix, my interest was peaked.

Palmer was a likeable lead and Bateman was very good. As I’ve said in previous reviews, it’s tough for child actors to get that balance right. He really carried the film when some of his older counterparts might have been phoning in their lines. I was actually rooting for the little guy to survive.

Maria Bello played the mother well. Her introduction was freaky as a tired Martin walks in on her having a conversation with the demented demon in the closet. Hell to the no! The only problem was despite one other creepy scene, she was largely absent. Shame. There may have been a fair amount of cliched dialogue BUT I still liked the family dynamic and wanted more of that.

The flashbacks and endless repetition about the origins of the demon Diana and her mystery illness to light got a little annoying and killed a lot of the buzz. Despite the film only being 81 minutes, it did have the tendency to drag in parts.

BUT one thing I will commend was seeing these characters actually not make the same old horror movie mistakes. Hang on, this b*tch doesn’t like lights. I’ll surround the place with candles, UV lights, torches and put them in every nook and cranny.

The scares weren’t bad. Every time the lights went out, a feeling of unease would take over and I could feel my eyes looking at the corners of the screen. It did get me a couple of times. BUT there were moments where it relied heavily on loud noises and horrendous screams (And that was just from the hypersensitive audience! I kid you not. There was a lad hyperventilating into his hoodie. Behave!).

It was hardly ground breaking or original BUT enjoyable enough. In fact I enjoyed this more than the over-hyped misfire that was the Conjuring 2 (There, I said it!)

3/5