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Lin Shaye, Michael Welch Shine in ‘The Final Wish’

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the final wish

Last night The Final Wish, a new film from director Timothy Woodward, Jr. (Gangster Land) had a special one night only screening via Fathom Events which began with a charming and entertaining introduction by Lin Shaye explaining her own thoughts on why horror works and why we return over and over to the genre.

The film, based on a story by Jeffrey Reddick (Finaly Destination) and written by Reddick, William Halfon, and Jonathan Doyle, tells the story of Aaron (Michael Welch), a newly-minted down on his luck lawyer trying to make it in the big city. When news arrives that his father has died, he makes the trek back home to Ohio.

It could be the setup for a family drama about picking oneself up and starting over…but let’s not forget who wrote this thing.

This was, undoubtedly a personal film for Reddick. In a previously recorded Q&A which aired after the film’s credits, he spoke about how he, too, had made the decision to leave home to try his luck in the film world, and the regrets he had looking back.

As a horror writer, he filtered his story through a genre lens and The Final Wish was perhaps born from the double-edged price of his wishes fulfilled.

When Aaron arrives home, he finds that all is far from well, and his mother, Kate, played by the incomparable Lin Shaye, is in the midst of her own emotional breakdown.

Aaron’s father was an antiques dealer, and the house is a veritable museum of trinkets and artifacts, and one of those, an urn, houses a djinn–an ancient shape-shifting fire spirit who will grant your wishes…with a price.

the final wish urn
The urn holds pure evil.

It’s a tale older than “The Monkey’s Paw,” and the trick with any such story or film is finding the right point for the protagonist to realize their wishes are coming true, and how he or she reacts to that realization.

It’s also contingent on balancing just how much information you give the audience. Too much, too soon and you’ve given your hand away; too little, too late and it becomes frustrating.

It’s a tenuous balance, but Woodward and the writers did their very best. Aaron’s first wishes are so subtle, I wasn’t sure he’d even made them until they came to fruition.

Reddick employs some of the very tricks that made his name in the genre teasing death and doom repeatedly using misdirection while holding the real weapon just out of sight. The formula works when you have the right cast to sell it.

Enter Lin Shaye.

Lin Shaye The Final Wish
Lin Shaye is brilliant as Kate in The Final Wish

The actress brings every ounce of her considerable talent to the role of Kate, dancing on a tightrope made up of a razor-wire of emotions. Her ability to shift seamlessly from seeming madness to exuberant joy to unbridled anger not only brings heightened honesty to a woman whose world has been turned upside down with the loss of her husband, but also puts the audience on eggshells in fear of the next outburst.

Welch as Aaron, meanwhile, had his own balancing act to pull off. Aaron has to be just selfish and desperate enough to make the wishes that get the treacherous ball rolling, and simultaneously be selfless and vulnerable enough to make the right decisions when he realizes the danger he’s in.

Fortunately, Welch was up to the task and his scenes with Shaye, especially, are something to behold.

Unfortunately, not all of the remaining cast was as successful.

Melissa Bolona was stiff and detached as Lisa, Aaron’s possible love-interest. She seems to have only three facial expressions at her disposal, and while she is quite beautiful, the one-note performance never induced emotional connection with the audience.

Likewise, Kaiwi Lyman never becomes more than a stereotype as the former high school quarterback turned douchebag town sheriff.

Still, Jonathan Daniel Brown shines as Aaron’s childhood best friend, Jeremy, holding his cards well and playing them at just the right time, and Jean Elie’s Tyrone is both sympathetic and almost hilarious as a guy with the kind of bad luck that only Jeffrey Reddick can give you.

And did we mention, Tony Todd??

The larger-than-life actor has a small cameo in the film much like his role in the Final Destination franchise, on screen just long enough to creep the audience out while handing out some arcane wisdom as only he can. I swear Todd can make a grocery list sound like Shakespeare, and he proves his ability once again here.

Acting aside, the film, while overall entertaining, at times was just entirely too dark, and I don’t mean the subject matter.

Many of the scenes inside Shaye’s home, especially, are seemingly lit entirely by candlelight. Visually, it is a striking image to see a staircase lit by candles on each step, but without a little more ambient light, the audience will miss what you’re trying to show them.

Unfortunately, this mistake was repeated by cinematographer Pablo Diez throughout the film. There were times when a door would swing open and the camera would linger as though telling the audience to look closely…there’s something to see here. And we would have seen it if the light had shifted up just a few degrees.

Aside from lighting, there were pacing issues throughout the film with some scenes far too elongated and plodding while others, which actually held information we needed, moved at a breakneck pace.

Did this detract from the experience as a whole? Undoubtedly. Was I still entertained when the credits rolled? You bet.

the final wish poster

It could be that I’m just a sucker for a family drama turned horror film, but with hints of Final Destination and Jack Goes Home and with a good mixture of tension, emotion, gore, and a couple of well-placed jump scares the film is worth a watch to make up your own mind because of its highs and despite its lows

The Final Wish had its official debut at Screamfest and will hit Blu-Ray and DVD on March 19, 2019.

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‘Strange Darling’ Featuring Kyle Gallner and Willa Fitzgerald Lands Nationwide Release [Watch Clip]

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Strange Darling Kyle Gallner

‘Strange Darling,’ a standout film featuring Kyle Gallner, who is nominated for an iHorror award for his performance in ‘The Passenger,’ and Willa Fitzgerald, has been acquired for a wide theatrical release in the United States by Magenta Light Studios, a new enterprise from veteran producer Bob Yari. This announcement, brought to us by Variety, follows the film’s successful premiere at Fantastic Fest in 2023, where it was universally praised for its creative storytelling and compelling performances, achieving a perfect score of 100% Fresh on Rotten Tomatoes from 14 reviews.

Strange Darling – Movie Clip

Directed by JT Mollner, ‘Strange Darling‘ is a thrilling narrative of a spontaneous hookup that takes an unexpected and terrifying turn. The film is notable for its innovative narrative structure and the exceptional acting of its leads. Mollner, known for his 2016 Sundance entry “Outlaws and Angels,” has once again employed 35mm for this project, cementing his reputation as a filmmaker with a distinct visual and narrative style. He is currently involved in adapting Stephen King’s novel “The Long Walk” in collaboration with director Francis Lawrence.

Bob Yari expressed his enthusiasm for the film’s upcoming release, scheduled for August 23rd, highlighting the unique qualities that make ‘Strange Darling’ a significant addition to the horror genre. “We are thrilled to be bringing nationwide theatrical audiences this unique and exceptional film with terrific performances by Willa Fitzgerald and Kyle Gallner. This second feature from talented writer-director JT Mollner is destined to become a cult classic that defies conventional storytelling,” Yari told Variety.

Variety’s review of the film from Fantastic Fest lauds Mollner’s approach, saying, “Mollner shows himself to be more forward-thinking than most of his genre peers. He’s clearly a student of the game, one who studied his forebears’ lessons with adroitness to better prepare himself to put his own mark on them.” This praise underlines Mollner’s deliberate and thoughtful engagement with the genre, promising audiences a film that is both reflective and innovative.

Strange Darling

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Sydney Sweeney’s ‘Barbarella’ Revival Forges Ahead

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Sydney Sweeney Barbarella

Sydney Sweeney has confirmed the ongoing progress of the much-anticipated reboot of Barbarella. The project, which sees Sweeney not only starring but also executive producing, aims to breathe new life into the iconic character that first captured audiences’ imaginations in the 1960s. However, amid speculation, Sweeney remains tight-lipped about the possible involvement of celebrated director Edgar Wright in the project.

During her appearance on the Happy Sad Confused podcast, Sweeney shared her enthusiasm for the project and the character of Barbarella, stating, “It is. I mean, Barbarella is just such a fun character to explore. She really just embraces her femininity and her sexuality, and I love that. She uses sex as a weapon and I think it’s such an interesting way into a sci-fi world. I’ve always wanted to do sci-fi. So we’ll see what happens.“

Sydney Sweeney confirms her Barbarella reboot is still in the works

Barbarella, originally a creation of Jean-Claude Forest for V Magazine in 1962, was transformed into a cinematic icon by Jane Fonda under the direction of Roger Vardim in 1968. Despite a sequel, Barbarella Goes Down, never seeing the light of day, the character has remained a symbol of sci-fi allure and adventurous spirit.

Over the decades, several high-profile names including Rose McGowan, Halle Berry, and Kate Beckinsale were floated as potential leads for a reboot, with directors Robert Rodriguez and Robert Luketic, and writers Neal Purvis and Robert Wade previously attached to revive the franchise. Unfortunately, none of these iterations made it past the conceptual stage.

Barbarella

The film’s progress took a promising turn approximately eighteen months ago when Sony Pictures announced its decision to cast Sydney Sweeney in the titular role, a move that Sweeney herself has suggested was facilitated by her involvement in Madame Web, also under Sony’s banner. This strategic decision was aimed at fostering a beneficial relationship with the studio, specifically with the Barbarella reboot in mind.

When probed about Edgar Wright’s potential directorial role, Sweeney adeptly sidestepped, merely noting that Wright has become an acquaintance. This has left fans and industry watchers speculating about the extent of his involvement, if any, in the project.

Barbarella is known for its adventurous tales of a young woman traversing the galaxy, engaging in escapades that often incorporate elements of sexuality—a theme Sweeney seems eager to explore. Her commitment to reimagining Barbarella for a new generation, while staying true to the character’s original essence, sounds like the making of a great reboot.

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‘The First Omen’ Almost Received an NC-17 Rating

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the first omen trailer

Set for an April 5 theater release, ‘The First Omen’ carries an R-rating, a classification that was almost not achieved. Arkasha Stevenson, in her inaugural feature film directorial role, faced a formidable challenge in securing this rating for the prequel to the esteemed franchise. It seems the filmmakers had to contend with the ratings board to prevent the film from being saddled with an NC-17 rating. In a revealing conversation with Fangoria, Stevenson described the ordeal as ‘a long battle’, one not waged over traditional concerns such as gore. Instead, the crux of the controversy centered around the depiction of the female anatomy.

Stevenson’s vision for “The First Omen” delves deep into the theme of dehumanization, particularly through the lens of forced birthing. “The horror in that situation is how dehumanized that woman is”, Stevenson explains, emphasizing the significance of presenting the female body in a non-sexualized light to address themes of forced reproduction authentically. This commitment to realism nearly landed the film an NC-17 rating, sparking a prolonged negotiation with the MPA. “This has been my life for a year and a half, fighting for the shot. It’s the theme of our film. It’s the female body being violated from the inside outwards”, she states, highlighting the importance of the scene to the film’s core message.

The First Omen Movie Poster – by Creepy Duck Design

Producers David Goyer and Keith Levine supported Stevenson’s battle, encountering what they perceived as a double standard in the ratings process. Levine reveals, “We had to go back and forth with the ratings board five times. Weirdly, avoiding the NC-17 made it more intense”, pointing out how the struggle with the ratings board inadvertently intensified the final product. Goyer adds, “There is more permissiveness when dealing with male protagonists, particularly in body horror”, suggesting a gender bias in how body horror is evaluated.

The film’s bold approach to challenging viewers’ perceptions extends beyond the ratings controversy. Co-writer Tim Smith notes the intention to subvert expectations traditionally associated with The Omen franchise, aiming to surprise audiences with a fresh narrative focus. “One of the big things we were excited to do was to kind of pull the rug out from under people’s expectations”, Smith says, underscoring the creative team’s desire to explore new thematic ground.

Nell Tiger Free, known for her role in “Servant”, leads the cast of “The First Omen”, set for release by 20th Century Studios on April 5. The movie follows a young American woman dispatched to Rome for church service, where she stumbles upon a sinister force that shakes her faith to its core and reveals a chilling plot aimed at summoning evil incarnate.

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