Review: Cold Moon

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What counts as a horror film? For some, horror movies are exclusively supernatural in nature. Haunted houses and aliens, werewolves and vampires, these movies represent a pretty narrow perspective. But for others, the broader definition includes thrillers like The Gift or The Invitation; movies designed to create a sense of dread or by definition, horror. This second world, the one in which more movies count in the genre because they truly deserve to, is the one that should be the rule, not the exception. Unfortunately though, this opens up the door to some bad ideas and some even worse films that horror sites must review. Movies like Cold Moon.

Following an investigation into a young woman's murder, this southern thriller is an absolute mess of a movie. With little actual direction and a main villain that is relatively unstoppable or suspected by the characters until the ghastly images he sees cause him to go insane, Cold Moon is like Gone Girl if Gone Girl was filtered through a horrendous, supernatural lens.  It stars Josh Stewart (Interstellar), Robbie Kay (Fugitive Pieces), Candy Clark (Zodiac), Frank Whaley (Pulp Fiction) and Christopher Lloyd (Back to the Future), all playing what is probably their worst roles to date.


The stupidity of the characters is constantly on full display. One scene where a character just leaves his car at the beckon call of a masked man possibly seeking help is completely ridiculous and unrealistic. There is no actual substance, rhyme or reason to him willingly getting out of the vehicle, and yet, here we are with two dead main characters. Then there's the awkward male gaze in one particular scene seems negligent considering it serves little purpose outside of showcasing a barely clothed woman in the woods with her fully clothed boyfriend. It’s a smaller part of a whole mess, but important to note nonetheless.


But the character work isn't the only thing wrong with Cold Moon. All too frequently, the dialogue relies on buzzwords like rattlesnakes and phrases like "the sticks," making blatantly clear that the filmmaker's perception of the South is relatively shallow, Its score - melodramatic and overstated - removes any sense of suspense or atmosphere. The flashback cutaways seem pulled from dramatic PSAs from the 90s.


Cold Moon is bad, almost offensively so. It's predictable, uninteresting and drearily tossed together. Viewers able to stick through this movie in its entirety deserve a reward, especially considering the film gives little to satisfy. They'll find little quality in this mystery thriller- if you can even call it that.

 

Review: Woodshock

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Despite what can feel constant ignorance of award shows and critics, horror movies - even modern ones - often go hand-in-hand with art. Brimming with metaphors and featuring some of the best camerawork in the business, horror films can be tasteful and fantastic pieces of cinema. Movies like The Witch and most recently IT are genre films deserving of recognition, and even films like The Neon Demon are more reliant on its art than its horror. So why is it then, that when these artful indie horror movies are bad, they're incredibly bad? Well look no further than Woodshock.

Written and directed by costume designer sisters Kate and Laura Mulley, Woodshock is exactly the type of movie you'd expect from costume-designers-turned-first-time-directors. Missing a concrete plot and dosed in antiquated furniture and décor, this film follows a woman who becomes infatuated with a mind-altering drug. It stars Kirsten Dunst (The Beguiled), Joe Cole (Green Room) and Pilou Asbæk (Game of Thrones).


Kirsten Dunst who has thankfully been on an upward trend in the past years has never seemed more lost in a role. Melodramatic and one note, the troubled young woman she plays is less inspired and more stiffly automated. The emotional depth that she found in films like The Beguiled and on the television series Fargo, are gone and in its place is a woman simply going through the motions of an indie thriller with little depth.  The one brighter spot in this film comes from Asbæk who is the most understandable character throughout.


Nightmarishly bland and unnecessarily sheepish, this drearily artsy film has little substance even if it’s somewhat pleasing to the eyes and ears. In an attempt to find meaning behind the film, it's clear that the directors chose eclecticism and tack on as many spiraling, reflective objects they could find and hoped for the best. The fact is, underneath it all, this movie is distant and cold - its characters feel flat and drifting.


Woodshock will likely be forgotten and it’s probably for the best. No matter its deeper meaning, its purpose or the creators' intention, nothing feels realistic or interesting in what ends up feeling like a tossed together piece. There's obviously a vision, but it could use a revision and then maybe another. Dunst and the others deserve better than this muted kaleidoscope of a movie. So do critics and viewers. 3 out 10.

Review: Better Watch Out

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At what point is it too early for the holidays to consume our lives? This is a question asked by people across the United States almost immediately after Halloween. The Christmas creep - that quickly expanding period of time at which commercial winter takes over retailers across the country - is officially upon us. So then the question becomes for horror fans specifically: what can we watch to join in the festivities? Sure there's a few great holiday horror films out there (they'll get a list of their own in December), but for fans looking for movies that are just casually Christmas themed, options are limited. Which makes the release of the wild Better Watch Out even greater.


A Christmas film at its core, but one that could transpire at any point in time, Better Watch Out follows a babysitter who must protect her charges during a home invasion. Without giving much away, this film isn't what you'd expect and the twist in the story accelerates the film's tension and its quality. Better Watch Out stars Olivia DeJonge (The Visit) and Levi Miller (Pan). It also features supporting roles for Ed Oxenbould (The Visit) and Aleks Mikic (Secret City).


The standout of the film is undeniably Miller who portrays the seemingly innocent and somewhat immature Luke, a kid just beneath where he could viably watch himself. Then there is DeJonge who especially impressive as the young babysitter prepared to move into a new chapter of her life and Oxenbound who plays the whinier friend of Luke well. If it had been said that the young stars of The Visit would break out into absolute horror stardom, it probably wouldn't have been that surprising. But, it doesn't take away from their fantastic turns in this new film.


Better Watch Out is bonkers. While not necessarily scary, there is a plethora of entertaining scenes, dialogue and of course, deaths. There is a youthful atmosphere to this film that recent releases like The Babysitter attempted to capture but with shakier results. Each character is visibly having fun in their roles and it makes the movie a joy to watch. Better Watch Out plays out a twisted and swerving plot that never lets up. It's entertaining, gory and offers a feast for the eyes. 


No one needs to wait until Christmastime to see Better Watch Out. Even with its terrific overflow of string lights and gaudy decorations, the furnishings of this film are blissful background to fantastic characters and an insane story. There's no shortage of jovial fun, but it's also just a really effective thriller with a young and vivacious cast. Better Watch Out glows brighter than all of the colorful lights that adorn its setting. 8 out 10.

Review: Super Dark Times

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In a landscape of ghouls, ghosts and aliens, sometimes thrillers featuring ultrarealistic horrors can be overlooked. Movies like We Need to Talk about Kevin are deeply disturbing because of the actual accounts they've pulled inspiration from and the possibility of its terrifying plot happening to you or someone you know. Others like The Gift or The Invitation are a little more outlandish, but also ground themselves in scares that feel authentically human. Similar to these is the indie master class in tension, Super Dark Times.

Easily one of the most impressive thriller releases in years, Super Dark Times is a sinister coming-of-age film following a group of friends covering up the accidental stabbing of one of their friends. As each are experiencing all that comes with being a teenager, they increasingly become unhinged in an attempt to maintain some sense of normality. Super Dark Times stars Owen Campbell (As You Are) Zach, Charlie Tahan (Charlie St. Cloud) as Zach's more introverted best friend, Josh, Elizabeth Cappuccino (Jessica Jones) as Zach's love interest, Allison, and Max Talisman (Children of Ether) and Sawyer Barth (Public Morals) as aryl and Charlie.


Campbell is especially effective given his trotted territory of coming-of-age films like the lighter Perks of Being a Wallflower. He conveys a sense of burdened youth that is truly compelling to watch. But, the others are nearly as fantastic. Tahan's ability to present a struggling young person and Talisman's purposeful annoyingness are all well thought out and executed. Then there's Barth who's younger character is also one of the film's most strong-willed.


As the movie plays out with its fantastic cinematography and camera work, viewers can expect to be enveloped in this grim world of hazy tones and New York suburbia. The tense atmosphere culminates to an impending dread and while there are no big surprises here, the terrifying intrigue never dies down. Everyone knows this movie won't have a happy ending because, unlike pure fiction, the grounded story of Super Dark Times suggests that everyone - no matter their intentions - pays for their actions and choices.


Super Dark Times is a brooding and terribly dismantling film. It's disturbing plot, reminiscent of the violence acted out among youth in real life, hits close to home. It's beautifully shot, filled with tension and ends with the type of foresighted explosion that still doesn't take any of the punch away. Like so many movies before it, Super Dark Times wants you to know what's going to happen, but makes it more disturbing than originally thought. 8 out of 10.

 

 

Review: Jungle

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Danger brings out plenty of the human spirit. When a life is threatened, the distance one would go to save others and survive is often surprising. From mothers lifting cars to save children to those lost in the woods surviving on nothing but a few drops of water, humans are harrowing creatures. That's why extreme survival films are so intriguing. People are compelling by others' insane feats. It's a shame, however, that the latest journey of human accomplishment in dire situations, Jungle, underwhelms.

Based on a true story, Jungle finds four friends tasked with surviving in the Bolivian jungle after an accident, this film attempts to blend thriller and adventure genres for something that never quite goes far enough to be interesting. Following the account of Yossi Ghinsberg, played in this film by Daniel Radcliffe (The Woman in Black), Jungle also stars Alex Russell (Chronicle) and Joel Jackson (Mother's Day Evil) as Ghinsberg's close friends, and Thomas Kretschmann (King Kong) as their mysterious tour guide.


Each of the men does a great deal of legwork to make the most of a pour script and shallow character development. Between Radcliffe's intricate accent and ability to convey he pains felt by Ghinsberg, and the perfectly acted out bickering of Russell and Jackson's supporting characters, you'd think these characters would feel more realistic. But, something simply doesn't connect. Each feels unreal and bland outside of their listed qualities. Then there's Kretschmann, who makes a valiant effort to be realistic, but comes off as pure fiction. He's a caricature of expedition guides, even wearing typical, costume-like attire.


One of the biggest disappointments in Jungle is its bland execution. With plenty of sequences that should induce gasps from the audiences, one would think the film would be more thrilling. But, in an effort one could only surmise as trying to stay realistic, the horrors of the Amazon feel timid. The adventure flick Jungle could have been and the horrific survival plot it should have had, all culminate into one missed opportunity. Sure, Jungle is visually stunning, but that's about it.


Jungle has flickers of inspiration. It does. But, it also never follows through with those, instead committing to a wide variety and plethora of minute mishaps like quicksand and animals scared off by a single burst of flames. All of this diffuses any tension built; creating a product that is less fantastic and more mediocre. 4 out 10.

Best in Show: Clingy Foes (Pt. II of II)



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4. Obsessed Beyoncé in a horror movie? Yes. Before the bat-swinging vengeful Beyoncé of Lemonade, she was playing the equally vengeful mother and wife of a man who attacks the unwanted attention of stalker Lisa, played by the especially starling Ali Larter. This movie is entertaining purely based on the insanity of Lisa and the eventual melodramatic confrontation between Beyoncé's Sharon and her. This movie isn't scary, but it is fun. Idris Elba's Derek is perfect in his role as the trapped victim of Lisa's games. Whether at work or on a trip, he can't escape her.


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3. Misery

In perhaps one of the most iconic obsession films, the Stephen King original finds Kathy Bates in one of her biggest roles. As an obsessed reader and self-proclaimed "number one fan" of fictional author Paul Sheldon, Bates' Annie is a terrifying control freak and stalker. So obsessed with the writer that she attempts to keep him for herself, Annie forged the way for future characters like hers. From spoofs to music videos, Misery left a lasting mark on pop culture. Misery is a dreary film that finds chaos in fandoms. It’s the type of film that is especially poignant in today's celebrity-obsessed culture where fans, "stans" and trolls engross themselves and harass famous people as if they're their best friends or their worst enemy. In fact, Misery now, feels ahead of its time.



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2. The Gift

Entering this film with little outside knowledge of it is the best way to become fully enveloped in the twisting plot of The Gift. Deeply unsettling and grossly underrated, The Gift follows the arrival of a mysterious man from a husband's past as he interjects himself in the couple's lives. All isn't as it seems though, and by the movie's climax, this obsession story featuring gifts left on doorsteps becomes an engulfing experience that'll leave you stunned. Without saying more, as not to give away all this film holds, The Gift is a troubling must-see.

 

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1. Orphan

In terms of commitment, nothing will ever reach the levels of insanity that is Esther from Orphan. By far one of the most legendary movies to come out of modern horror, the film's infamous twist paired with compelling performances by horror maven Vera Farmiga and up-and-comer Isabelle Fuhrman made audiences shriek. Orphan is one of those movies that "goes there;" completely unafraid of what its reception would be. Esther's obsession with the father, and well, her past fathers, is next level. The film's finale reveal brings on major creep vibes and whether you think you're a clingy person or not, chances are you'll realize you're not that level of obsessed. While movies like it have come before and will surely follow, Orphan deserves this spot of infamy.

Best in Show: Clingy Foes (Pt. I of II)

While often trashy, horror movies featuring an obsessive stalker can often be the most fun to watch. Plenty of cheesy, over-the-top and gratuitous films have been met by panning critics and fans that, while acknowledging the films' flaws, ate these movies and their trashy ridiculousness up. Movies about obsession are never the scariest, but they definitely are worth-watching and trashing surrounded by friends. This week's list observes the best horror movies to watch when you're feeling a little obsessive. If you resonate with any of these characters, chances are you've gone too far.




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8. The Roommate 

Perhaps one of the trashiest films to come out of the mid-2000s/early 2010s, The Roommate is every students worst nightmare. Making last week's list of best college horror films, The Roommate stars Leighton Meester as college freshman with sinister intentions. After moving into her room and meeting roommate Sara, Meester's Rebecca becomes very committed to their friendship. Beginning with the tiniest levels of copycatting and moving up the scale rather quickly, Rebecca covers a lot of ground; getting tattoos, killing small animals and eventually, going after people. The Roommate is the type of movie every college freshman should watch, if not to learn lessons, then simply to scare them.

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7. No Good Deed

Equal parts home invasion as it is obsession thriller, No Good Deed treads water a little more than it should, but at its core is a story that'll scare. Featuring a woman home alone with her two children and a stranger who comes knocking at her door, this movie is havoc and dark. While flawed in many ways, the on-screen command of stars Taraji P. Henson and Idris Elba are enough to make the movie feel worth it. Not only does it make the intentions of strangers more suspect, this movie will leave you checking your locks.



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6. Prom Night (2008) Loosely remade from the 1980 original, Prom Night follows Donna, a high school senior who witnessed her entire family murdered by an obsessed teacher as she prepares for prom. Like any great slasher, Prom Night features plenty of blood, lust and unsettling atmosphere.  Prom Night is best reserved for slumber parties and group get-togethers as you and your friends discuss the creepiest of teachers at your school or from your childhood because, let’s face it, every school has one. Even though this movie is extremely conventional, Prom Night is the perfect, trashy romp of a stalker film.
 

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5. P2

Nothing says Christmas spirit like getting locked in a parking garage by a security guard hell-bent on making you his lover. P2 is the often overlooked obsessive stalker flick that fans of the subgenre need to see. Easily one of the most unsettling stalker films around, this movie features a main villain so impossibly blinded by his obsession that it’s terrifying. Wes Bentley is incredible. His ability to make the character a horrifying stalker without being comical is fresh and incredible. He is a true scene stealer that viewers will love to hate.

Review: 68 Kill

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Grit and gore; two words that make for a pretty wild ride in the world of horror - or at least should. In the best cases, movies that fully embrace gratuitous violence, tap into some shock comedy and make the most of their bottom line, can be amazing little cult films. Films like last year's Green Room prove just how special these cinematic moments can be. In the worst cases, these movies are unbearable foolishness in the worst way. Luckily, IFC Midnight's latest, 68 Kill is more so the prior.  


Written and directed by Trent Haaga (Deadgirl), 68 Kill follows a financially struggling couple who attempt to steal from girlfriend Liza's sugar daddy. In the process, Chip, Liza's girlfriend, realizes just how untamed his wild girlfriend truly is. As the film progresses and the body count rises, 68 Kill becomes a wild ride in low-income suburbia. With plenty of players in the game, Liza and Chips uphill battle becomes even more tumultuous.


69 Kill stars a particularly strong performance by Matthew Gray Gubler (Criminal Minds) and equally as strong, and definitely more terrifying one, courtesy of AnnaLynne McCord (90210) as Chip and Liza. Alisha Boe (Split) is also featured as a witness to the eventual murder of the sugar daddy, and Sheila Vand (A Girl Walks Home Alone at Night), plays a trashy convenience store clerk with her eyes on the prize. These two young stars are powerhouses in a film that offers a fair share of distraction and comedic ploys.


The best thing working for 68 Kill is its willingness to go off the edge. Despite its faltering moments of silliness, this movie offers plenty of comically intense fun. From a scene that so casually announces that Liza's brother has a pension for dismembering young women to the constant and quite literally skull-bashing, 68 Kill never blinks. It isn't nearly as stylistic or polished as the critically acclaimed Green Room, but for fans of that movie, they can expect a similar experience. Its aggressive, unrelenting, but never loses a sense of lightheartedness.


Overall, 68 Kill is more than watchable. It's a romp of a good time and despite some questionably on-the-nose moments that feel almost too off-center, 68 Kill never loses site of its product. The actors are at some of their best, the characters are some of the most daring and while maybe some parts may feel one-note, the result as a whole is particularly entertaining. 6 out 10.

The Overlook: The Invitation

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With slow-burning horror all the rage right now, it's only natural that more and more indie filmmakers are using their limited budgets to create films needing little effects and a whole lot of atmosphere. For horror films, sometimes, the best things in life are cheap or free. That's why altering things like lighting in a home, filming empty doorways or utilizing unwavering expressions can be great tools to scare viewers without ever needing CGI or costly practical effects. 2015's The Invitation fits into this category of movies.

More thriller than horror, The Invitation is sure to please even those less inclined to being scared. But, with enough sprinkling of horror conventions and creepy atmosphere, The Invitation has quickly become a favorite of devoted horror fans and critics. It follows a couple attending a dinner party of the man's ex-wife and mother of his recently deceased child who, for unknown reasons is very, very different. After meeting another man in a support group, the ex-wife is a completely different person. Seemingly unhinged, the ex-wife and her new husband begin unfolding dark plans.

The Invitation stars Logan Marshall Green (Prometheus) and Emayatzy Corineadli (Miles Ahead) as dinner guests, Will and Kira, and Michiel Huisman (Game of Thrones) and Tammy Blanchard (Into the Woods) as odd hosts, David and Eden. With each being stellar in their respective roles, the film's reliance on its characters exceeds expectations of indie films. Blanchard is especially terrific as the unsettling and deeply troubled Eden and her relationship with Huisman's David is incredibly profound and disturbing. The characters are all great and even when the movie loses control in its climax; they all come across as grounded.

The movie is, in its entirety, well put together. Every moment is cohesive and purposeful. As it slowly bubbles to a boil, The Invitation will have completely engrossed its audience. The subtly utilized by director Karyn Kusama (Girlfight) and work of cinematographer Bobby Shore, make for a truly compelling film that's sure to sit deeply in viewers and scare them. Nothing about The Invitation is typical. Even when predictable, this film will surprise audiences. Viewers will know something is about to happen, but when it does it'll come with such force that they'll lurch into their seats. Ultimately, there is a strength backing The Invitation that is undeniable.

 

The Overlook: They Look Like People

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Anyone who's ever been in any type of school knows what it's like to do the majority of the work on a project. So considering the immense amount of work and time required to create an entire film, this undertaking would seem unimaginable for most. For Perry Blackshear though, writing, directing and producing a particularly good thriller, seems to come easy. The Look Like People is undoubtedly deserving of audiences time, given the amount of effort that must have gone into its creation.

Following close friends who reunite in New York City; The Look Like People is a psychological mind bender. MacLeod Andrews (Tuesday Morning) stars as the downtrodden and possibly disturbed Wyatt and Evan Dumouchel (40 Days and Nights) plays as Wyatt's friend, Christian. Throughout the film, Wyatt is troubled by his belief that humans are being replaced by other worldly creatures setting the stage of the apocalypse. The movie mostly plays out in Christian’s apartment where they try to resolve the potential doom of humanity and figure out what is real and what is not.

They Look Like People has numerous twists and turns and despite being somewhat guessable, maintains a sense of suspension. When the two men are trapped in Christian's apartment and Wyatt begins to break, you feel for both characters whose lives are being turned upside down by some dark force, whether it is real or supernatural. Even when Wyatt makes actions that would deem him villainous, it's hard to root for his downfall, after all he's recently broken up with a girlfriend and is clearly going through some crisis. This is where They Look Like People works best- discovering the humanity underneath the chaos.

If every movie has its flaws then the flaws of They Look Like People are hidden well. Sure, with an obviously smaller budget, some choices were limited, but even somewhat lesser-known actors and a few muddled moments can't sink this ship. It's the type of movie that while sometimes confusing, makes sure to wrap back for its lost viewers by the end. They Look Like People is a knowingly weird film, but it's also unsettling and will easily draw in art-house and horror fans alike.

 

 

The Overlook: Kristie

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As promised, here is "The Overlook" article on the slasher film, Kristy. Here's a fun fact, this movie and this entire section typically can be found on Netflix! Fun and easy right? The reason I don't have this and the "Best of Netflix" section share one title is simply because "The Overlook" opens up the possibility to do articles on movies not found on Netflix. I'm not so sure what those movies are but we'll see.

Anyway, onto Kristy.

Kristy follows the story of a girl named Justine who is stalked and attacked by a gang of videotaping cultists during Thanksgiving break. The movie begins with Justine, played by Haley Bennett (most recently the film adaption of The Girl on the Train), deciding to stay on campus while her peers go off to see their family and friends. Then what started as a eerily quiet night quickly becomes a nightmare when a run-in with a woman named Violet, played by Ashley Greene (Twilight), turns confrontational. Turns out, Violet is a part of a bigger plan that commits ritual murders for a website focused on killing "Kristy." The movie plays out with a typical, but thrilling, cat-and-mouse game where Justine becomes a formidable foe against her masked assailants.

Kristy is one of the best under-the-radar horror films I've seen in a while. As a classic slasher, this film never tries to be anything more than what it is; a confident and terrifying hunt. While never breaking barriers or attempting to accomplish any transcendent goal, Kristy is a strong entry into the disappearing subgenre. With jump scares paired with atmospheric tension, Kristy is perfect to watch in a dark secluded place.

One of the film's biggest strengths is in its acting. For both Bennett and Greene, their turns as target and killer are outstanding. The pair work well together and instantly elevate scenes past any point of mediocrity. Another great aspect of the movie is it's ability to create tension and strike fear into its viewers. Like any indie horror film, I definitely had doubts that this movie would be any sort of thrill ride. Boy, was I wrong. I recall jumping multiple times as I watched and can vouch for being frightened by her travels through dark hall ways and doors.

If I was to note any cons of this movie, the masks worn by the fellow member of the gangs would be it. I don't know what they were supposed to be, but tinfoil is never in style. The mask is a calling card of a lot of slasher films and these did not work. Something about the purposeful cheapness of the mask also made the film seem cheaply made. Even with a small budget, I have a hard time imagining that tinfoil masks were the best route to go. But really, this is my one notable criticism.

Before Kristy was on Netflix, I had literally no idea it existed. Despite being invested in the horror genre prior to its 2015 premiere on Lifetime, this modern horror gem is a surprisingly good and grounded product of the often melodramatic network. I recommend Kristy to literally anyone asking for suggestions. On the horror subreddit, to friends and even to strangers, I feel like this movie should receive a little more recognition than it has. Sure it's not anything new, but for people wanting a clean, classic slasher with little moral depth, Kristy does the trick.

 

 

Review: Split

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Rest my troubled heart. After the release of The Bye Bye Man last week, I was slightly worried about the state of horror in 2017. As the first major horror release of the year, it definitely did not set things off on the right foot. From its shaky storyline to a bountiful supply of disappointing "scares," The Bye Bye Man made an early bid for the worst theatrical-release horror movie of the year and possibly set the tone, however with the release of Split, the board may be reset yet. 

Split gives horror veteran, M. Night Shamaylan, a strong, star-studded follow-up to his critically acclaimed 2015 film, The Visit. Split stars James McAvoy (X Men: First Class) as Kevin, a man diagnosed with dissociative identity disorder (DID) coping with 23 identities and a possibly dangerous 24th; an omnipresent monster-human named "the Beast." Starring alongside him is

newly annointed scream queen, Anya Taylor-Joy (The Witch) as Casey and Betty Buckley (Cats) as DID psychiatrist, Dr. Karen Fletcher. The film also features Haley Lu Richardson (The Bronze) as Claire and Jessica Sula (Skins) as Marcia.

Split opens its world at the birthday party of Claire, where Marcia, Claire's best friend and Casey, an outsider welcomed as a "pity invite," later need a ride home. When Kevin as one of his more dangerous personalities named Dennis hijacks their car and knocks the women out, we quickly come to realize that the women are in very real danger. The rest of the film plays out with the three attempting escapes and Dr. Fletcher's consultations with Kevin's Dennis masquerading as fashion designer identity, Barry; all while "the Beast" creeps closer and is later revealed.

 

As good as its plot sounds, Split is a constant and unrelenting gesture of proper suspense and for McAvoy; it is one of his most prominent turns to date. In fact, acting on all corners of the board are stunning. Taylor-Joy is terrific as a broken down possible final girl, and Buckley, Richardson and Sula do amazing in their supporting roles. This group, if assembled again could make any horror movie worthwhile. Whether it’s the strong-headed, but quickly destitute, Claire, the more subtle follower Marcia or Casey speaking, each of the three women seems far more established than any young actress should be. And for veteran Buckley, this film only adds to her extensive repertoire. All of that, piled alongside McAvoy's innate ability to move through different mannerisms and "identities," make every scene great.

 

Split is scary. Shyamalan’s ability to create a film that is terrifying through its sense of overhanging fears, rather than relying on jump scares, is undeniable. While every moment seems to exist only to act as a bridge to the final climax and reveal of "the Beast," Split never halts intrigue. Sure there are multiple attempted escape sequences, but McAvoy's command over the different characters is captivating enough for audiences.

 

Overall, Split deserves every laurel it gets. From each actor to the plot, to the continual train of thrills, Split is indestructible. It's renewed by hope for this year in horror and in this new, revitalized M. Night Shyamalan world, it's a welcome addition. I give it 98 personalities out of 100 and 9 out of 10.