Review: ‘Abigail’ (2024), starring Melissa Barrera, Dan Stevens, Kathryn Newton, Will Catlett, Kevin Durand, Angus Cloud, Alisha Weir and Giancarlo Esposito

April 18, 2024

by Carla Hay

Alisha Weir and Kathryn Newton in “Abigail” (Photo by Bernard Walsh/Universal Pictures)

“Abigail” (2024)

Directed by Matt Bettinelli-Olpin and Tyler Gillett

Culture Representation: Taking place in an unnamed U.S. state, the horror film “Abigail” (a reboot of the 1936 film “Dracula’s Daughter”) features a predominantly white cast of characters (with a few African Americans and one Latina) representing the working-class, middle-class and wealthy.

Culture Clash: Six kidnappers take a 13-year-old rich girl for ransom, only to find out that she is vampire, and they are trapped in the mansion where they are holding her captive. 

Culture Audience: “Abigail” will appeal primarily to people who are fans of the movie’s headliners and gory horror movies that skillfully blend scares with comedy.

Angus Cloud, Kathryn Newton, Alisha Weir (back to camera), Kevin Durand, Dan Stevens (background), Melissa Barrera and Will Catlett in “Abigail” (Photo by Bernard Walsh/Universal Pictures)

The vampire kidnapping flick “Abigail” is a wickedly funny horror romp that is best enjoyed by people who have a high tolerance for bloody gore on screen. The movie builds suspense on which alliances will survive and which will fall apart. It’s a movie that doesn’t take itself too seriously, but there are some poignant moments that bring a certain level of gravitas to a movie that delivers laughs along with the scares.

Written and directed by Matt Bettinelli-Olpin and Tyler Gillett, “Abigail” is a reboot of sorts of the 1936 horror movie “Dracula’s Daughter.” Bettinelli-Olpin and Gillett (who are members of the filmmaking collective nicknamed Radio Silence) continue their pattern of making horror films that are filled with sarcastic jokes and have some characters who aren’t what they initially appear to be. Bettinelli-Olpin’s and Gillett’s previous films include 2022’s “Scream” and 2023’s “Scream VI.”

In “Abigail,” the title character is a girl who appears to be 12 years old, but she’s really a vampire who is hundreds of years old. This isn’t spoiler information because Abigail being a vampire was already revealed in the movie’s trailers. Abigail (played by Alisha Weir) is a master manipulator who puts her wits and superhuman powers to use when she is kidnapped by a motley crew of criminals who demand a ransom of $50 million.

In the beginning of “Abigail,” she is shown dancing on stage in a ballerina costume to “Swan Lake” in an empty auditorium. (“Abilgail” takes place in an unnamed U.S. state but was actually filmed in Ireland.) After this rehearsal is over, Abigail goes into a chauffeur-driven car. Unbeknownst to the driver, the car has a tracking device placed on it by six criminals, who have been lying in wait to kidnap Abigail in a van that is labeled as a Flush Force plumbing company van.

The abductors follow the car to Abigail’s mansion, where she is home alone. Abigail is quickly abducted: She’s drugged using a hypodermic needle, blindfolded, and put in a body bag. The kidnappers make their getaway within a minute after some people arrive at the home and see that there’s been a break-in and Abigail is missing. The kidnappers then drive to another mansion in a remote area, where they meet with their no-nonsense supervisor named Lambert (played by Giancarlo Esposito), who praises them for completing their mission. Lambert then says he’s leaving them to look after Abigail until they get the ransom money.

Conversations in the movie reveal that Lambert assembled this kidnapping crew and deliberately selected people who are strangers to each other. They are under strict orders to not tell each other their real names or any personal information about themselves. Lambert assigns aliases to all of the kidnappers and takes their cell phones before he leaves. The kidnappers are also under orders to wear masks at all times when they are around Abigail, who is not always blindfolded. Lambert tells the kidnappers that they are better off not knowing who Abigail’s family is.

The six kidnappers who are in the mansion with Abigail are:

  • Frank (played by Dan Stevens), a bossy and arrogant know-it-all, who appoints himself the leader of the six kidnappers who are left behind in the mansion.
  • Joey (played by Melissa Barrera), a street-smart go-getter, who has been tasked with being the one to interact with Abigail in the room where Abigail is handcuffed. It’s later revealed that Joey has a young son, which is why she was assigned caregiver duties for Abigail. (Joey having a son is information that is also in the movie’s trailers.)
  • Rickles (played by Will Catlett), an expert sniper who has a mutual attraction to Joey.
  • Sammy (played by Kathryn Newton), a skilled computer hacker who looks like a party girl but who can strongly defend herself when necessary.
  • Dean (played by Angus Cloud), a stoner who tries and fails to get Sammy to be romantically interested in him.
  • Peter (played by Kevin Durand), a dimwitted muscle man who has the most physical strength in the group.

Joey is very good at reading people and quickly tells the other members of the group that she has figured out certain things about them, which they do not deny. Joey deduces that Frank used to be a police detective. Rickles was in the U.S. military, most likely the U.S. Marines. Sammy is a spoiled rich kid who commits crimes for the thrills.

Dean is a “sociopath,” according to Joey. Peter used to be bullied as a kid and built his muscular physique as a way to intimidate people and to defend himself from being physically bullied. As for Joey, Frank quickly figures out that she is a needle-using drug addict who appears to be in recovery.

The six kidnappers have been promised $7 million each as their cut of the ransom. They assume that Lambert will get the remaining $8 million, since he’s the supervisor who brought them together and told them what to do. Despite being told that they aren’t supposed to know who Abigail’s family is, the kidnappers get curious.

The only thing that Lambert has told the kidnappers about Abgail’s family is that Abigail has a very wealthy father who is expected to pay the ransom. There is no mention of Abigail’s mother. Eventually, the kidnappers find out that Abigail’s father is Kristof Lazar (played by Matthew Goode, in a very small role), who has a certain sinister reputation that is detailed in the movie.

A series of events reveal Abigail to be a vampire, and the kidnappers are locked and trapped inside the mansion. That’s when movie kicks into high-gear horror, as it turns into an all-out war between Abigail and the kidnappers. However, this war is not as simple as it seems, because Joey made a promise to never hurt Abigail before Joey knew that Abigail was a vampire. Will Joey keep this promise? Who will die and who will survive?

As the wily vampire Abigail, Weir gives a very talented performance as a child who shows vulnerability and viciousness. There’s more than a ring of truth when Abigail confides in Joey that Abigail feels lonely and neglected because her father thought he wanted a child but has apparently changed his mind. This backstory for Abigail makes her a little more complex than the typical horror movie villain.

Even though egotistical Frank would like to think he’s the leader of this doomed group, Joey is really the one who comes up with the best ideas. Barrera (who previously worked with Bettinelli-Olpin and Gillett in “Scream” and “Scream VI”) does a capably effective performance as Joey, who has plenty of secrets. It’s eventually revealed that these kidnappers have more in common that just abducting Abigail.

All of the other cast members play their roles well with the right touches of comedy. (The movie’s closing credits have a tribute to Cloud, who died of a drug overdose in 2023. He was 25.) Cloud’s befuddled Dean character is intentionally the movie’s biggest comic relief.

There are a few twists and turns in the movie’s plot. Just when it looks like “Abigail” is going to end, something happens that continues the story. Some viewers might not like how the movie prolongs the story with this twist, while others will enjoy this unexpected turn of events. A horror movie about a killer kid could have turned out wrong in so many ways, but “Abigail” is like a bloodier, longer and more gruesome version of an entertaining horror ride at an amusement park.

Universal Pictures will release “Abigail” in U.S. cinemas on April 19, 2024.

Review: ‘Lisa Frankenstein,’ starring Kathryn Newton, Cole Sprouse, Liza Soberano, Henry Eikenberry, Joe Chrest and Carla Gugino

February 12, 2024

by Carla Hay

Kathryn Newton and Cole Sprouse in “Lisa Frankenstein” (Photo by Michele K. Short/Focus Features)

“Lisa Frankenstein”

Directed by Zelda Williams

Culture Representation: Taking place in 1989, in an unnamed U.S. city, the comedy film “Lisa Frankenstein” features a predominantly white cast of characters (with a few African Americans, Latin people and Asians) representing the working-class and middle-class.

Culture Clash: An 18-year-old social outcast resurrects an 1800s man from his grave, and they become a serial-killing duo. 

Culture Audience: “Lisa Frankenstein” will appeal primarily to people who are fans of the movie’s headliners and quirky comedies that blend the mediocre with the macabre.

Liza Soberano and Kathryn Newton in “Lisa Frankenstein” (Photo by Michele K. Short/Focus Features)

“Lisa Frankenstein” makes futile attempts to be an edgy comedy about the antics of a teenage loner and a resurrected corpse, but this often-dull misfire has gruesome and ill-conceived jokes that are as inert as a corpse. The movie’s concept isn’t terrible, but it is badly mishandled in the writing, directing, and uneven performances from the cast members.

Directed by Zelda Williams and written by Diablo Cody, “Lisa Frankenstein” takes place in 1989, in an unnamed U.S. city. Zelda Williams (daughter of Robin Williams) makes her feature-film directorial debut with “Lisa Frankenstein.” Cody won an Oscar for Best Original Screenplay for the 2007 comedy “Juno” (which is still Cody’s best movie), and she is a producer of “Lisa Frankenstein,” which will get inevitable comparisons to Cody’s 2009 horror comedy “Jennifer’s Body,” another movie about a social-misfit teenager whose closest friend has been supernaturally transformed into being a serial killer.

In “Lisa Frankenstein,” Lisa Swallows (played by Kathryn Newton) is an 18-year-old student in high school. She’s a mopey loner who likes to spend her time listening to angsty rock bands such as The Cure and Bauhaus and visiting Bachelors Cemetery Grove. She has become fixated on the grave of a pianist who died in his 20s in the 19th century. The man, who is only given the name The Creature (played by Cole Sprouse) in the movie’s end credits, committed suicide after he was rejected by a woman he was courting.

Lisa’s fantasies are preoccupied with thinking about what it would be like to be in a romance with this tragic person. She also has a crush on someone who is alive: Michael Trent (played by Henry Eikenberry), the good-looking editor-in-chief of their high school newspaper. Michael has already noticed Lisa because he has published some of her gloomy poems in the newspaper and has complimented her about her writing talent. Lisa gets nervous and shy whenever Trent talks to her.

Lisa feels like an outsider in her own home. As explained in an exposition dump in the movie, Lisa’s mother (played by Jennifer Pierce Mathus) was murdered by a home-invading axe murderer (played by Luke Sexton), which is shown in a brief flashback. (“Lisa Frankenstein” is so poorly written, it never bothers to mention if the murderer was ever caught.)

Just a few months after the murder, Lisa’s father Dale (played by Joe Chrest) married a psychiatric-facility nurse named Janet (played by Carla Gugino), who is a stereotypical mean-spirited stepmother to Lisa. Lisa and Dale have moved to Janet’s home because of Dale and Janet’s marriage, and Lisa has enrolled in a new school for her last year in high school. There are some not-funny-at-all and tedious scenes of Janet accusing Lisa of breaking things in the house. Dale is oblivious to things that are going on in the household.

From a previous marriage, Janet has a teenage daughter named Taffy (played by Liza Soberano), a perky, not-very-smart cheerleader, who is about the same age as Lisa and who goes to the same school, which is called Brookfield High School. Taffy is also a nosy gossip who has a posse of three close friends—Lori (played by Jenna Davis), Tricia (played by Trina LaFargue) and Misty (played by Paola Andino)—who are nothing but sounding boards for Taffy’s babblings. Taffy repeatedly tries to make Lisa more sociable, even though it’s obvious that Lisa doesn’t care about being popular or making friends at the school.

Another student who interacts with Lisa is her nerdy lab partner Doug (played by Bryce Romero), who is not the “nice guy” he might appear to be, as Lisa finds out at a party where Doug initiates some sexual touching on Lisa without her consent. When Lisa tells Doug to stop because she’s not interested, Doug confirms that he’s a sleaze when he responds by saying that Lisa should finish what she started and adds, “It’s not nice to lead people on.” There seems to be no point for the movie to unrealistically make every teenage guy who’s in contact with Lisa to be either (a) unacceptable or (b) unattainable, other to make Lisa look like she has no boyfriend prospects except for the dead guy she resurrected.

Lisa works part-time as a seamstress for a local tailor: a rude creep named Wayne (played by Charlie Talbert), who makes sexist remarks to Lisa about the way she looks and her lack of a social life. It’s an example of a subplot that is thrown into the movie and goes nowhere. Curiously, after Lisa undergoes a makeover, she spends about half the movie trying to look like Madonna in the 1985 comedy film “Desperately Seeking Susan,” which would make Lisa’s fashion choices about four years too late for this story.

One day, Lisa is having fantasies about the dead pianist when she says out loud: “I wish I was with you.” It isn’t long before he is inexplicably resurrected and shows up at her house as a filthy walking cadaver, who is mute for nearly the entire movie. Lisa spends most of the story trying to hide The Creature so she can keep him a secret all to her herself. The expected “corpse makeover” happens, some of it in a tanning bed—as if a rotting zombie in a tanning bed is supposed to automatically be funny. The rest of the movie shows Lisa and The Creature engaging in various shenanigans (including mutilation of body parts and murder) while falling in love with each other.

What could have been hilarious fodder for very dark comedy is instead an erratically paced movie filled with stale jokes. Newton and Sprouse do not have convincing chemistry together as a would-be couple in a morbid romance. The movie’s direction is mishandled because the cast members performances range from over-acting to being very listless and unimpressive. Simply put, although “Lisa Frankenstein” might manage to get a few chuckles out of some viewers, this is a disappointing dud that should have stayed dead and buried.

Focus Features released “Lisa Frankenstein” in U.S. cinemas on February 9, 2024.

Review: ‘Ant-Man and the Wasp: Quantumania,’ starring Paul Rudd, Evangeline Lilly, Jonathan Majors, Kathryn Newton, Bill Murray, Michelle Pfeiffer and Michael Douglas

February 14, 2023

by Carla Hay

Paul Rudd, Kathryn Newton and Evangeline Lilly in “Ant-Man and the Wasp: Quantumania” (Photo courtesy of Marvel Studios)

“Ant-Man and the Wasp: Quantumania”

Directed by Peyton Reed

Culture Representation: Taking place in an underworld universe called Quantumania, and briefly in San Francisco, the sci-fi/fantasy/action film “Ant-Man and the Wasp: Quantumania” (based on Marvel Comics characters) features a cast of predominantly white characters (with some African Americans, Asians and Latinos) representing superheroes, regular humans and alien creatures.

Culture Clash: Scott Lang (also known as superhero Ant-Man), his formerly estranged daughter Cassie Lang, Scott’s girlfriend Hope Van Dyne (also known as superhero The Wasp) and Hope’s parents get dragged into the Quantum Realm, where they have to battle evil forces, led by Kang the Conqueror. 

Culture Audience: Besides appealing to the obvious target audience of Marvel movie fans, “Ant-Man and the Wasp: Quantumania” will appeal primarily to people who are fans of the movie’s headliners and superhero movies that are very predictable, corny and formulaic.

Paul Rudd and Jonathan Majors in “Ant-Man and the Wasp: Quantumania” (Photo by Jay Maidment/Marvel Studios)

“Ant-Man and the Wasp: Quantumania” is a quantum mess. It’s bad enough that it recycles tired clichés of Marvel movies. This uneven superhero movie also rips off 1977’s “Star Wars” in many ways. Jonathan Majors’ standout performance can’t save this substandard spectacle. “Ant-Man and the Wasp: Quantumania” is supposed to be the start of Phase 5 of the Marvel Cinematic Universe (MCU). The movie will no doubt make blockbuster money, as all MCU movies have done so far. But in terms of creativity, this disappointing film is a stumble right out of the gate for the MCU’s Phase 5.

One of the biggest problems with “Ant-Man and the Wasp: Quantumania” is how it awkwardly balances comedy with action. The jokes are the most juvenile, tackiest and least funny so far in the “Ant-Man” movie series, which began with 2015’s “Ant-Man” and continued with 2018’s “Ant-Man and the Wasp.” Peyton Reed is the director of all three movies, which makes his creative choices even more baffling for “Quantumania,” which has a drastically different tone (and lower quality as a result) than the first two “Ant-Man” movies.

When writer/director Taika Waititi directed 2017’s “Thor: Ragnarok” (the third “Thor” movie of the MCU), he radically changed the tone of the “Thor” movie series to make it fit his signature comedic style: goofy and slightly offbeat. Waititi did the same for 2022’s “Thor: Love and Thunder,” to less well-received results. But it doesn’t explain why the third “Ant-Man” movie has gone so far off-course when it’s had the same director for the first three “Ant-Man” movies.

Much of the blame for why “Ant-Man and the Wasp: Quantumania” has turned into a hodgepodge of bad jokes, sci-fi rehashes and superhero triteness has to with the movie’s screenplay, which is the feature-film debut of Jeff Loveness. Loveness’ previous writing experience is for shows such as the Adult Swim animated series “Rick and Morty,” the ABC variety talk show “Jimmy Kimmel Live,” the 2012 Primetime Emmy Awards, the 2016 Primetime Emmy Awards and the 2017 Academy Awards, with these particular award shows all hosted by Jimmy Kimmel. All of these TV shows require a different skill set than what’s required to write an entertaining superhero movie. Unfortunately, hiring a TV writer with no experience in writing movies turned out to be a huge mistake for “Ant-Man and the Wasp: Quantumania” and Marvel Studios.

In “Ant-Man and the Wasp: Quantumania,” the story begins right after the events of 2019’s “Avengers: Endgame.” Scott Lang (played by Paul Rudd), a former petty criminal also known as Ant-Man (whose superpower is being able to change the height of his body by wearing a special superhero suit), is a happily retired superhero living in his hometown in San Francisco. Scott has cashed in on his superhero fame by writing a memoir titled “Look Out for the Little Guy!,” where he talks about his superhero experiences and what they have taught him about life.

The movie shows Scott reading excerpts from his book at a book signing, but a few people there still mistake him for the more famous Spider-Man. Scott tells the small audience at this book signing, “From now on, the only job I want is to be a dad.” However, the movie unrealistically shows that middle-aged Scott, in his superhero “retirement,” has chosen to take a low-paying job as a customer service employee at a local Baskin-Robbins store. He has been named Employee of the Century because of his celebrity status as Ant-Man.

It’s really the movie’s obvious brand placement for Baskin-Robbins, but viewers are given the weak explanation that Scott took the job because he loves ice cream. It all looks very awkward and fake. The movie’s overload of Baskin-Robbins brand promotion is extremely annoying. There’s even a scene where a Scott Lang look-alike named Jack, who’s a Baskin-Robbins employee, gets in on the fight action. It’s all so crass and stupid.

Get used to seeing a lot of “look-alikes” in this movie, because much of it takes place in an alternate universe where clones of people and clones of creatures can show up randomly. Scott is trying to reconnect with his 18-year-old daughter Cassandra “Cassie” Lang (played by Kathryn Newton), who was raised primarily by Scott’s ex-wife while Scott was off doing other things, such as being a criminal-turned-superhero. Cassie has turned into a social justice warrior who’s involved in civil protests.

In the beginning of the movie, Cassie has landed in the San Francisco County Jail, because she was arrested for shrinking a police car because the police were trying to clear out an illegal homeless camp. Scott and his intelligent and sassy girlfriend Hope Van Dyne (played by Evangeline Lilly), also known as superhero The Wasp (she can turn into a wasp mutant and can also shrink her body height), have arrived at the jail to retrieve Cassie. It’s how Scott finds out to his dismay that Cassie is also an aspiring scientist who invented her own shrinkage suit. She hasn’t given herself a superhero name though.

Scott thinks Cassie is too young to get involved in superhero antics. Cassie thinks Scott has become too complacent and thinks he should care more about making the world a better place. Hope and Cassie have bonded with each other because Hope is now the leader of the Pym Van Dyne Foundation, which uses Pym Particle (the body morphing invention used by Ant-Man and The Wasp) for humanitarian causes. Of course, it’s already been revealed in the “Quantumania” trailer that Scott will literally be sucked back into superhero activities, whether he likes it or not.

Hope’s parents are scientists Hank Pym (played by Michael Douglas) and Janet Van Dyne (played by Michelle Pfeiffer), who were the original Ant-Man and The Wasp. As the movie over-explains and over-repeats in pedestrian dialogue, Janet was trapped in an alternative universe called the Quantum Realm for 30 years and doesn’t like to talk about what she experienced there. Janet returned to Earth when Hank rescued her from the Quantum Realm, as shown in “Ant-Man and the Wasp.”

However, “Ant-Man and the Wasp: Quantumania” makes a big misstep by giving away in an opening scene that Janet actually was acquainted with the movie’s chief villain: Kang the Conequeror (played by Majors) while she was in the Quantum Realm, where Janet and Kang are seen escaping an attack from a giant insect-like creature. The movie should have left it a mystery until the right moment to show that Janet already knew this villain. Instead, this part of the plot is revealed too early in the film.

At any rate, Scott finds out that Hank, Janet, Hope and Cassie have been studying ant science. Hope and Cassie in particular want to use this science to explore the Quantum Realm, but Janet has no interest in going back there. Janet won’t say why, but she will eventually make a confession later in the movie.

Janet describes the Quantum Realm as a “place with no time and space. It’s a secret universe beneath ours.” To Janet’s horror, Cassie announces to Janet, Scott, Hank and Hope (while they are all in the scientific lab) that Cassie has been secretly sending signals to the Quantum Realm. Janet frantically tries to turn off the signal machine.

And faster than you can say “inferior Marvel movie sequel,” all five of them are sucked into the Quantum Realm, which looks like a half-baked “Star Wars” universe. For much the first third of the movie, Scott and Cassie are separated from Janet, Hank and Hope. Scott and Cassie spend a lot of time bickering over how much Cassie might or might not be ready to use her superhero suit. (Too late. We already know she will.)

Janet, Hank and Hope spend much of their time talking in vague tones about a mysterious “he” and “him” leader who has wreaked havoc on the Quantum Realm. Anyone can easily figure out that the “he” and “him” is Kang the Conqueror. There’s no reason to make him sound like “Harry Potter” villain Voldemort, also known in the “Harry Potter” series as He Who Shall Not Be Named. It’s yet another way that “Ant-Man and the Wasp: Quantumania” takes ideas from other sci-fi/fantasy franchises.

Reed says in the production notes for “Ant-Man and the Wasp: Quantumania” where he got some of the visual influences for the movie: “We pulled together a lot of visual inspiration—everything from electron microscope photography to heavy metal magazine images from the ’70s and ’80s. I collected all of these images from old science-fiction paperback book covers—artists like John Harris, Paul Laird, Richard M. Powers. Those paintings were evocative and really moody. We liked that feel and tone for the look of the Quantum Realm.”

Reed curiously didn’t mention “Star Wars,” which is undoubtedly the biggest influence on “Ant-Man and the Wasp: Quantumania.” The Quantum Realm’s terrain looks like a desert in some areas and looks like a crater-filled planet in other areas. The desert scenes look too much like the desert realm of Tatooine in “Star Wars,” while the hooded costumes worn by the Quantum Realm residents look an awful lot like the costumes worn by Tusken Raiders from “Star Wars.”

And if the “Star Wars” similarities for the production design and costume design weren’t enough, “Ant-Man and the Wasp: Quantumania” also imitates the Mos Eisley cantina scene in “Star Wars,” but doesn’t make it nearly as fun and interesting to watch. Hank, Janet and Hope end up in a place called Axia Restaurant, which is basically a “Star Wars” cantina look-alike filled with unusual-looking creatures. There’s no memorable music at the Axia Restaurant, like there was in the Mos Eisley cantina. Christophe Beck’s musical score for “Ant-Man and the Wasp: Quantumania” is serviceable and unremarkable.

It’s at Axia Restaurant where Hope and Hank meet the smirking Lord Kylar (played by Bill Murray) for the first time. Janet already knows Lord Kylar, who says he is neither a human nor a machine. Lord Kylar, who is the governor of the Axia community, hints that he and Janet used to be lovers when she was in the Quantum Realm.

“I had needs,” Janet tells Hank and Hope in a somewhat defensive and uncomfortable tone. Hope then has to hear Hank talk about an ex-girlfriend. And she acts like a prudish teen who doesn’t want to think about her parents having love lives before they met each other. This is the type of time-wasting dialogue that’s supposed to pass as “comedy” in the movie.

Even though Murray shares top billing for “Ant-Man and the Wasp: Quantumania,” his role in the movie is just a cameo that lasts for less than 15 minutes. It’s ineffective and misguided casting because he’s not convincing as this fictional character. All viewers will think is that this is Murray in a space-alien costume playing a version of himself.

As for the other inhabitants of the Quantum Realm, it’s a random mix of beings who look like humans and those who are very non-human in appearance, including a lot of jellyfish-like creatures that float around in space. As soon as Scott and Cassie arrive in the Quantum Realm, they are force-fed a red ooze by a creature named Veb (voiced by David Dastmalchian), because this red ooze will help these humans understand the language of the Quantum Realm residents. Dastmalchian had the role of Kurt (a member of Scott’s posse) in the first two “Ant-Man” movies. Veb is an underdeveloped character that is meant to be comedic, but Veb’s jokes fall very flat.

The Quantum Realm residents predictably greet these newcomers from Earth with reactions that range from curiosity to hostility. Jentorra (played by Katy O’Brian) is an anti-Kang freedom fighter who scowls a lot and has to learn to trust these Earth heroes to be her allies. Xolum (played by James Cutler, also known as Jamie Andrew Cutler) is a loyal soldier and totally generic sidekick of Jentorra.

Quaz (played by William Jackson Harper) is a psychic/telepath, whose only purpose in the movie is to make people uncomfortable by reading their thoughts and saying their thoughts out loud. His revelations are supposed to be amusing, but they’re not really all that funny. Randall Park has a small and non-essential role as FBI agent Jimmy Woo.

Corey Stoll returns as “Ant-Man” villain Darren Cross, also known as Yellowjacket, who has now been shrunken by Kang into a subatomic lackey with an oversized head known as M.O.D.O.K., which stands for Mechanized Organism Designed Only for Killing. M.O.D.O.K. looks like a floating head and delivers some of the few genuinely comedic moments in “Ant-Man and the Wasp: Quantumania.” Various characters in the movie have horrified reactions to seeing Darren look so drastically different as M.O.D.O.K., but this gag is repeated too much and loses its impact by the middle of the movie.

As for Kang, Majors’ performance is the only one that brings a certain gravitas to the rampant foolishness and smarm that stink up “Ant-Man and the Wasp: Quantumania.” Majors brings a combination of menace and melancholy to his role, but it’s wasted in a movie that is hell-bent on trying to be more like Waititi’s “Thor” movies. The rest of the cast members’ performances aren’t bad, but they’re not special either. Kang’s soldiers are Quantumnauts, which are as anonymous and soulless as the mostly CGI creations that they are.

Unfortunately, the big showdown fight scene is lot more montonous and unimaginative than it should have been. It ends abruptly and in a way that has been done already (and done much better) in many other sci-fi/fantasy/action movies. As for the movie’s visual effects, it’s a shame that a movie with this big budget can make visual effects look so cheap and shoddy. There are scenes that make it obvious where the “blue screens” and “green screens” were.

A mid-credits scene and end-credits scene basically show the return of a major character from the movie. The end-credits scene is a nod to the Disney+ series “Loki.” As an example of how “Ant-Man and the Wasp: Quantumania” has a sitcom tone to it, the movie uses John Sebastian’s 1976 hit “Welcome Back” (the theme from the sitcom “Welcome Back, Kotter”) as bookends to the movie. A big-budget superhero movie should not look like a second-rate sitcom, which is what “Ant-Man and the Wasp: Quantumania” has turned out to be.

Marvel Studios will release “Ant-Man and the Wasp: Quantumania” in U.S. cinemas on February 17, 2023.

Review: ‘Freaky,’ starring Vince Vaughn and Kathryn Newton

November 13, 2020

by Carla Hay

Vince Vaughn and Kathryn Newton in “Freaky” (Photo courtesy of Universal Pictures)

“Freaky”

Directed by Christopher Landon

Culture Representation: Taking place in the fictional U.S. city of Blissfield, the horror comedy “Freaky” has a predominantly white cast of characters (with a few African Americans) representing the middle-class.

Culture Clash: A 17-year-old girl and a middle-aged serial killer swap bodies in a freak magical spell accident. 

Culture Audience: “Freaky” will appeal primarily to people who like teen-oriented horror with adult humor and who have a high tolerance for bloody gore.

Kathryn Newton, Celeste O’Connor and Misha Osherovich in “Freaky” (Photo courtesy of Universal Pictures)

The horror comedy “Freaky” is a zany and often-raucous ride that puts a gruesome but memorable spin on the body-swapping concept. The entire premise of the movie is “Freaky Friday” meets “Friday the 13th.” Directed by Christopher Landon (who co-wrote the screenplay with Michael Kennedy), “Freaky” delivers as many laughs as it does explicitly brutal scares with all of the violent murders that happen throughout the entire story.

“Freaky” also cleverly lampoons many of the clichés and over-used tropes in teen comedies and horror movies. “Freaky” is from Blumhouse Productions, the same production company behind Landon-directed horror flicks “Happy Death Day” and “Paranormal Activity: The Marked Ones.” Blumhouse movies have been “hit or miss,” in terms of quality. “Freaky” is a definite hit.

The movie begins in the fictional U.S. city of Blissfield, with four teenagers hanging out and partying at night at the upper-middle-class home of one of the teens. The house belongs to the parents of Ginny (played by Kelly Lamor Wilson), who looks like a popular blonde cheerleader type. Ginny’s parents are away on a trip, which is why Ginny and her friends have the house to themselves. The other three teenagers at the house are Ginny’s boyfriend Evan (played by Mitchell Hoog); Sandra (played by Emily Holder); and Isaac (played by Nicholas Stargel). Evan and Isaac are athletic types, while Sandra is a sensible brunette type.

It’s Wednesday, November 11. While the teens are gathered in the living room and drinking alcohol, they start talking about the urban legend of the the Blissfield Butcher, also known as The Butcher, a mysterious serial killer who began murdering people, especially teenagers during homecoming season, back in the 1990s. This serial killer, who seems to have stopped his murder spree in the 2000s, was never caught.

Is he dead? Is he in prison for another crime? Or did he just disappear and become a law-abiding citizen? No one seems to know, but the teens have a laugh at how “geriatric” the killer would be if he were still alive. It’s at this point that horror aficionados know that the killer will be somewhere in the house and ready to go on a rampage.

Sure enough, The Butcher (played by Vince Vaughn) has somehow snuck in the house. (He wears a mask, just like a prototypical serial killer such as Jason Vorhees from the “Friday the 13th” movies or Michael Myers from “Halloween” movies.) And one by one, The Butcher kills all four teenagers, who each have vicious deaths. The Butcher ambushes Isaac in a wine cellar and rams a wine bottle down his throat. The killer then traps Sandra in a bathroom and repeatedly slams a toilet seat on her head, in order to beat her to death.

The Butcher than chases Evan onto to the home’s tennis court, breaks a tennis racket in two, and uses both ends to simultaneously stab Evan on both sides of his head. As for Jenny, she manages to hide and elude the killer for a while, but he eventually finds her and impales her on the wall of the living room. That gives you an idea of how over-the-top the murders are. And The Butcher has stolen a rare dagger in a glass case that’s in the living room.

The next day (Thursday the November 12), a widowed mother and her two daughters, who all live in the same house, are gathered around the dining table for breakfast. Coral Kessler (played by Katie Finneran), who’s a sales clerk at a department store called Discount Bonanza, has been a widow for about a year. (It’s never stated how her husband died.) Coral’s older daughter Charlene Kessler (played by Dana Drori) is in her 20s and is a police officer in Blissfield. Carol’s younger daughter Millie Kessler (played by Kathryn Newton) is 17 years old and a senior at Blissfield Valley High School.

There’s tension in the household because Charlene disapproves of how Coral has been overprotective of Millie and has been using Millie as an emotional crutch. Coral has also been drinking heavily and tries to keep it a secret, but her daughters know that Coral has been drinking so much that she sometimes passes out. Coral goes to great lengths to hide her depression by putting on a falsely chipper demeanor.

Blissfield Valley High School is having a homecoming dance, but Millie tells Charlene that she won’t be there. Why? Because Millie and Coral made plans to see a regional production of “Wicked” together. Coral thinks that homecoming dances are just excuses for teenagers to get drunk or cause mischief, so she’d rather have Millie be safe and keep her company. Charlene thinks it’s pathetic that Coral won’t let Millie have any fun in ways that teenagers in high school are supposed to have fun.

Millie’s two best friends at her school are smart and outspoken Nyla Chones (played by Celeste O’Connor) and openly gay and sassy Josh Detmer (played by Misha Osherovich), who think that Millie is also missing out on a lot of fun by catering to Coral’s needs over her own. Millie is very introverted and too shy to do anything about her crush on a fellow student named Booker (played by Uriah Shelton), who sits next to her in their woodworking class.

The instructor of the woodworking class is Mr. Fletcher (played by Alan Ruck), who belittles Millie any chance that he gets. Every teen-oriented horror movie seems to have clique of bullies. In “Freaky,” there’s not one but two of these cliques.

The “mean girls” clique is led by a queen bee named Ryler (played by Melissa Collazo), who corners Millie at her locker to make snide comments about Millie’s discount clothes. Ryler is a stereotypical, conceited snob who cares more designer labels and other superficial things instead of someone’s character. She’s also a gossip who like to get “dirt” on other people and use it to her advantage.

The “bullying jocks” clique—Phil (played by Magnus Diehl), Squi (Tim Johnson) and Brett (played by Ezra Sexton)—make sexist and crude comments about Millie. (One of them says they would only have sex with Millie if she had a paper bag over her head.) Booker is a friend to these lunkheads, but he doesn’t participate in bullying Millie. However, Booker doesn’t exactly stop his pals from making mean-spirited comments to Millie either.

Early on in the movie, before Millie goes through a transformation, certain students at the school make offhand comments implying that Millie a mousy plain Jane. It’s a little hard to believe, given that Newton looks like a pretty Hollywood actress throughout the entire movie. The way that some of the mean girls treat her, you’d think that she comes to school in rags, but Millie’s wardrobe isn’t out of the ordinary.

It isn’t long before news spreads all over the high school about the four murdered teens who were killed the night before. However, the homecoming football game that night isn’t about to be cancelled. Millie is a beaver mascot for the school’s football team, the Blissfield Valley Beavers. It’s a thankless job and she gets no respect for it. In fact, some of the “cool kids” make fun of Millie when she wears the costume.

We get it. Millie is bullied by a lot of people at school. And that means when a serial killer inhabits her body, watch out.

The body swap happens after the football game, when everyone has gone home and Millie is stuck on a bench outside the football field, waiting for her mother to pick her up. Coral hasn’t been answering Millie’s calls and text messages because she’s passed out drunk. It’s late at night, there’s a killer on the loose, and Millie is getting scared because her phone battery has died. Right before her phone stopped working, Millie was able to call home and talk briefly with her sister Charlene, who had just arrived at the house and told Millie that their mother was passed out drunk again.

It’s now past midnight. And it’s Friday the 13th. And then, just like a typical serial killer in a slasher movie, The Butcher appears from out of nowhere and chases after Millie. He catches up to her in the football field and stabs her in the shoulder with the dagger that he stole. The heavens open up and some strange mystical things happen because that particular dagger has been used.

By this time, The Butcher has his mask off and is about to kill Millie. Just then, Charlene shows up (because she knew that Millie needed a ride home) and sees Millie being attacked. Charlene fires her gun, the killer runs away, but the dagger is accidentally left behind. The dagger is brought to the police station as evidence.

The next morning, Millie wakes up in her bed. It must be the fastest recovery ever from a stab wound. There’s no mention of Millie ever being in a hospital to get the wound treated. Maybe that’s because the hospital would’ve found out the same thing that this person who’s woken up in Millie’s bedroom has found out: Although the body looks like Millie’s, the person inside the body is the Blissfield Butcher. Likewise, Millie has now discovered that she is in the body of the Blissfield Butcher, who lives in a creepy loft-like place that’s filled with morbid-looking souvenirs and decorations.

When Millie finds out that she now looks like The Butcher, she goes to school to tell Josh and Nyla about the transformation. Nyla and Josh are predictably freaked out and don’t believe it first. There’s a big chase scene where they think The Butcher is trying to kill them. A police sketch of the serial-killer suspect, which was presumably based on Charlene’s eyewitness description, has been shown in the media and it’s a pretty good composite drawing of The Butcher.

While Josh and Nyla run through a school hallway to try to escape what they think is The Butcher, Josh shouts to Nyla, “You’re black! I’m gay! We are so dead!” It’s snarky commentary on the stereotype of someone from a minority group dying first in a horror movie.

Millie ends up convincing Josh and Nyla that she really is in The Butcher’s body, by telling them things only Millie would know. Through basic research, the three pals find out something important about the dagger that was used in the attack on Millie: The dagger is an ancient Aztec artifact called The Dola, which was used in ritual sacrifices. If two souls swap bodies while The Dola is being used, the souls have 24 hours to get back in the correct bodies—using The Dola in the same way that it was used when the souls were transferred—or else they will be trapped in the wrong bodies forever.

And so begins the race against time to get the The Dola dagger. The expected hijinks ensue about mistaken identity. And because the two people in this body-swapping comedy are of opposite genders, there are the predictable gags about male/female body parts and sexually suggestive situations that happen with people who don’t know about the body swap.

Because so much of “Freaky” has a lot of teen slang and of-the-moment technology, the movie is eventually going to look very dated. But the performances from the cast will make “Freaky” a crowd-pleaser for generations to come. Newton and Vaughn are hilarious to watch as they inhabit the personalities of Millie and The Butcher who are trapped in the wrong bodies. The humor goes a long way in taking some of the disturbing edge off of the horrific murders that are depicted in the movie.

Meanwhile, Osherovich is a total scene stealer who has some of the best lines in the movie. Some people might take issue with how his Josh character might be perceived as a flamboyant gay stereotype. However, Osherovich brings a lot of authenticity and respect to the role, which shows what it’s like to be a teenager who’s proud to be gay. Rather than being marginal tokens, Josh and Nyla actually do a lot of heroic things in the movie.

“Freaky” does a great balancing act of embracing horror clichés in a satirical way while rejecting other horror clichés in a defiant way. And there are a few surprisingly sweet sentimental moments. “Freaky” has some plot holes and very predictable scenes, but that doesn’t take away from how well the cast members portray these characters under the competent direction of Landon. The violence in the movie is cruel, but the movie has an underlying message of tolerance in showing how people shouldn’t be judged by their appearances alone.

Universal Pictures released “Freaky” in U.S. cinemas on November 13, 2020.

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