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The Tumblers Align for an Effective But Uneven ‘Insidious: The Last Key’

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Frankly one of the things I loved most about Insidious The Last Key was its Indie feel despite its big studio wrappers. Down to its bones you have some of the most talented people behind modern horror: Jason Blum, James Wan and Oren Peli, all independent filmmakers at one time or another.

Put Adam Robitel in the director’s chair and his muse Lin Shaye in front of the camera and what could go wrong in this proven franchise? Almost nothing.

The first half of the film has all of its Wan-der Twin powers activated. A creepy setting inside a warden’s Craftsman-style home, sandwiched between the slow chug of an insect-like oil well and the shadow of a huge foreboding penitentiary that makes Shawshank look like one of Junipero Serra’s California Missions.

Robitel plays with the viewer in the beautifully composed opening shot, he’s proven he is a master at visual storytelling in his other films. If I may be so bold, his OCD: Obsessive Cinematography Disorder, takes that level of perfection and infuses it throughout the floor plans of this haunted house with light shorn to the perfect amount of contrast. The talented Cinematographer Toby Oliver (Get Out) must have really grasped Robitel’s intent.

For those of you who don’t know, The Last Key is a prequel to the first film in which Shaye stars as Elise Rainier, a human conduit who ushers spirits in and out of The Further: a spiritual way station swathed in incorporeal gray.

We learn in the aforementioned open what a troubled life Elise had as a child in 1950’s with her younger brother. If she was not being haunted by the victims of Old Sparky from the neighboring Pen, her warden father forcefully shows his displeasure with her ethereal gifts.

From there we jump-scare back and forth in time to the year 2010. Given her past, that look of perpetual curiosity and fear Shaye has trademarked for this franchise is explained. And let’s just say her past is pretty bad. So our heart sinks when Elise is called back to her childhood home after getting a desperate call from its current tenant.

Getting jolted out of your seat is a common occurrence in The Last Key and to me it’s less of a patronizing gimmick because in Elise’s life, she can never tell when these specters are going to suddenly show up, she doesn’t have the luxury of foresight; Elise is not really that kind of medium and so the audience can peek over her shoulder to partake in her terror too.

Along for the ride are her wards — her “sidekicks” as they call themselves, Specs and Tucker played by series writer Leigh Whannell and actor Angus Sampson (how good is it to have an Angus in horror once again?) respectively.

Their girl Friday routine never grows fully stale thanks to frat boy timing and some truly funny quips. The only time they overstay their screen welcome is during some awkward interactions with Elise’s young nieces.

The first half of the movie serves up everything you would expect from an Insidious entry, dark spaces, dimly lit hallways and creepy creatures that blend into the background via soft focus.

The Last Key also has other things going for it too: broadsiding plot twists which I initially found both plausible and terrifying.

The main monster is named Keyface and though it’s not really explained in the film, from what I can tell he sticks one of his key fingers into a victim’s throat to stop them from screaming for help, then renders them unconscious by doing the same thing to their heart. This puts them into a coma, trapped in the Further until which time he can use them to do his bidding. I think.

It’s that type of uncertainty that hinders The Last Key in its third act.

Robitel gives us an inversion roller coaster launch that lasts about an hour and change, but in its final approach loses a significant amount of speed. It eventually derails into some  “Awww” moments that feel forced and dare I say Disney-esque.

Anyone who has seen Robitel’s The Taking of Deborah Logan knows that in that film he left the viewer with an image so unsettling people are still taken aback when they see it in a meme. It seemed out of character for him to do less in The Last Key when his visuals are so strong in the beginning.

That being said, the incomparable Lin Shaye carries the film from start to finish even after the fork. She has such devotion and genuine presence, she makes Elise more than Mary Maudlin. She projects her character’s pain without making her a martyr even though given her past that would be justified.

So good an actress is she, you could just film her reactions to monsters and it would still be as effective.

Insidious: The Last Key is a sampler of scares taken from the James Wan book of moody haunters where pendulums in grandfather clocks are louder than your own heartbeat. Hallways are just foggy enough for light to pass through without giving away what’s hiding in the corners. And the scares jolt you to the same degree a Pop Tart would as it springs from the toaster.

The Last Key is full of great performances, visual style and some well-crafted suspense scenes that work effectively through most of the film.

The casual viewer is going to have a great time taking it all in, while the rest of us will appreciate the effort and the talent behind it all.

Insidious: The Last Key opens nationwide on January 5, 2018.

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‘Winnie the Pooh: Blood and Honey 3’ Is a Go with Enhanced Budget and New Characters

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Winnie the Pooh 3

Wow, they’re churning things out fast! The upcoming sequel “Winnie the Pooh: Blood and Honey 3” is officially moving forward, promising an expanded narrative with a larger budget and the introduction of beloved characters from A.A. Milne’s original tales. As confirmed by Variety, the third installment in the horror franchise will welcome Rabbit, the heffalumps, and the woozles into its dark and twisted narrative.

This sequel is a part of an ambitious cinematic universe that reimagines children’s stories as horror tales. Alongside “Winnie the Pooh: Blood and Honey” and its first sequel, the universe includes films such as “Peter Pan’s Neverland Nightmare”, “Bambi: The Reckoning,” and “Pinocchio Unstrung”. These movies are set to converge in the crossover event “Poohniverse: Monsters Assemble,” slated for a 2025 release.

Winnie the Pooh Poohniverse

The creation of these films was made possible when A.A. Milne’s 1926 children’s book “Winnie-the-Pooh” entered the public domain last year, allowing filmmakers to explore these cherished characters in unprecedented ways. Director Rhys Frake-Waterfield and producer Scott Jeffrey Chambers, of Jagged Edge Productions, have led the charge in this innovative endeavor.

The inclusion of Rabbit, heffalumps, and woozles in the upcoming sequel introduces a new layer to the franchise. In Milne’s original stories, heffalumps are imagined creatures resembling elephants, while woozles are known for their weasel-like characteristics and a penchant for stealing honey. Their roles in the narrative remain to be seen, but their addition promises to enrich the horror universe with deeper connections to the source material.

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How to Watch ‘Late Night with the Devil’ from Home: Dates and Platforms

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Late Night With The Devil

For fans eager to dive into one of this year’s most talked-about horror films from the comfort of their own home, “Late Night with the Devil” will be available for streaming exclusively on Shudder starting April 19, 2024. This announcement has been highly anticipated following the film’s successful theatrical release by IFC Films, which saw it earning rave reviews and a record-breaking opening weekend for the distributor.

“Late Night with the Devil” emerges as a standout horror film, captivating audiences and critics alike, with Stephen King himself offering high praise for the 1977-set film. Starring David Dastmalchian, the movie unfolds on Halloween night during a live late-night talk show broadcast that disastrously unleashes evil across the nation. This found footage-style film not only delivers scares but also authentically captures the aesthetic of the 1970s, drawing viewers into its nightmarish scenario.

David Dastmalchian in Late Night with the Devil

The film’s initial box office success, opening to $2.8 million in 1,034 theaters, underscores its wide appeal and marks the highest opening weekend for an IFC Films release. Critically acclaimed, “Late Night with the Devil” boasts a 96% positive rating on Rotten Tomatoes from 135 reviews, with the consensus praising it for rejuvenating the possession horror genre and showcasing David Dastmalchian’s exceptional performance.

Rotten Tomatoes score as of 3/28/2024

Simon Rother of iHorror.com encapsulates the film’s allure, emphasizing its immersive quality that transports viewers back to the 1970s, making them feel as if they are part of the eerie “Night Owls” Halloween broadcast. Rother lauds the film for its meticulously crafted script and the emotional and shocking journey it takes viewers on, stating, “This whole experience will have viewers of the Cairnes brothers’ film glued to their screen… The script, from beginning to end, is neatly sewn together with an ending that’ll have jaws on the floor.” You can read the full review here.

Rother further encourages audiences to watch the film, highlighting its multifaceted appeal: “Whenever it is made available to you, you must attempt to view the Cairnes Brothers’ latest project as it will make you laugh, it will creep you out, it will amaze you, and it might even strike an emotional cord.”

Set to stream on Shudder on April 19, 2024, “Late Night with the Devil” offers a compelling blend of horror, history, and heart. This film is not just a must-watch for horror aficionados but for anyone looking to be thoroughly entertained and moved by a cinematic experience that redefines the boundaries of its genre.

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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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