Tag Archives: Horror


Film Review: “The Last Voyage of the Demeter” – A Haunting Missed Opportunity

Clemens (Corey Hawkins) and Anna (Aisling Franciosi) Pictures courtsey of Universal

Where to Watch: In theaters

Release Date: August 11

Runtime: 1h 59m

Rated: R

Cast: Corey Hawkins, Aisling Franciosi, Liam Cunningham, David Dastmalchian

Synopsis: Sinister and chilling occurrences besiege an ill-fated crew as their struggle for survival on the perilous journey from Transylvania to London is marred by haunting events. Night after night, an unrelenting malevolence (embodied by the legendary vampire Dracula) lurks onboard, casting a shroud of terror. The voyage culminates as the Demeter approaches English shores, its once-proud form now reduced to a smoldering, desolate wreck, devoid of life. A haunting mystery lingers, with the crew’s fate cloaked in an enigma, leaving behind an eerie void.

In the dimly lit sea on a 19th-century ship, the stage seemed set for a nightmarish horror film moviegoers could enjoy. The prospect of Dracula, the iconic vampire, trapped onboard the vessel as the focal point intrigued me along with other fellow movie lovers. However, despite its chilling premise, The Last Voyage of the Demeter (LVD) struggles to harness its potential, leaving audiences yearning for the true terror that should have been.

As the film unfurls, the narrative’s pacing reveals its first flaw. Tediously introducing the ship’s crew, the characters (for all their stereotypical personas of boisterous sailors) fail to distinguish themselves. Even the protagonist, Clemens, portrayed by Corey Hawkins (yes, the same Corey Hawkins who played Dr. Dre in the NWA biopic), only gradually unravels his background, leaving an underwhelming impact. Clemens, an educated Black doctor, promises layers of complexity. Still, his origin story (including the impact of his race) remains frustratingly underexplored until the film’s third act, devoid of the empowering or emotional revelation one would expect. I’m not saying that Hawkins is a bad actor; honestly, he plays the role well, but the direction and writing of the character did not fair well. 

Also, I don’t understand why the men hired to pack and staff the ship didn’t detail what the evil specimen was onboard. They all just repeated, “That’s the devil’s marking, I’m not getting on this boat with that evil spirit”. Why not just disclose there is a monster in there that will suck your blood and/or kill you? 

There is a  stowaway named Anna, played by Aisling Franciosi, who appears on the ship as a pivotal figure in the unfolding narrative. However, the film’s potential is undercut by perplexing plot holes that cast a shadow over her impact. As she speaks and responds to the shipmates’ demise, a barrage of unanswered questions looms, leaving myself and other audience members confused. The intended chemistry between Anna and Clemens fails to ignite as anticipated. While the actors perform admirably, the characters’ development fails to evoke the intended emotional resonance.

Javier Botet as Dracula Pictures courtesy of Universal

The film does, however, boast some commendable elements. Notably, the meticulous attention to lighting, costume design, and set construction transports the audience to the grimy, vermin-ridden ship of yore. These moments provide immersive glimpses into the harrowing voyage. Yet, these flashes of authenticity are fleeting, as the film stumbles to maintain its grip on the audience when Dracula is shown on screen, or when the ship’s inhabitants go into exposition about their lives. 

Enter Dracula, whose appearance fails to evoke the dread and terror synonymous with his name. The decision to portray him with a Gollum-like visage, marred by a grotesque set of jagged teeth, falls dishearteningly flat. The film’s few instances of genuine tension stem from the subtle glimpses of the vampire lurking in the shadows. These moments serve as a testament to the potential that remains unfulfilled by the rest of the film.

Clemens (Corey Hawkins) and Anna (Aisling Franciosi) Pictures courtsey of Universal

When assessing the fear factor, The Last Voyage of the Demeter falls short. Dracula’s appearance fails to inspire dread, and the kills lack the spine-chilling impact necessary to qualify as a true horror experience. One notable exception is a sequence involving the pursuit of a young boy, which briefly taps into an elusive sense of fear. The visceral reaction from my friend beside me during this scene validated the experience that I, too, had during that scene. 

In conclusion, The Last Voyage of the Demeter struggles to capture the essence of horror that its premise promises. While the film boasts moments of visual immersion and fleeting tension, it ultimately pales in comparison to the book’s sinister chapters. One may find a better experience in revisiting the source material and imagining their own vision of Dracula’s terror. As the credits roll, the verdict is clear: this voyage does not necessitate a hasty trip to the theater.


The Blackening – a Horror-Comedy That’s Unapologetically Black and Utterly Hilarious

Antoinette Robertson as Lisa, Grace Byers as Allison, Jermaine Fowler as Clifton and Dewayne Perkins as Dewayne in The Blackening. Photo Credit: Glen Wilson

Starring: Melvin Gregg as King, Grace Byers as Allison, Antoinette Robertson as Lisa, Sinqua Walls as Nnamdi, Jermaine Fowler as Clifton, Dewayne Perkins as Dewayne, Xochitl Mayo as Shanika, Yvonne Orji as Morgan and Jay Pharoah as Shawn

Director: Tim Story

Where to Watch: In theaters

Date of Release: June 16th

Length of Time: 1hr and 36mins

Fear and laughter go hand in hand in Tim Story’s latest offering, The Blackening. This horror comedy is hilarious, a laugh-out-loud blend of satire and humor that just works. And it’s about time someone put the actions and thoughts of real people on screen during a horror movie. Just to think, this all started from a viral short film on Youtube of the same name.

On the surface, The Blackening seems like your typical horror comedy. A group of friends travel to a cabin in the woods to celebrate Juneteeth ( I don’t know to many Black folk that would celebrate Juneteenth in the woods, which is acknowledged in the film.) Who becomes hunted by a killer in a creepy house and tormented by a mysterious killer, Black Face, who wants the group to play a game…until the last man or woman stands. The usual horror movie cliches are all there: weird police officers, bumps in the night, and an eerie atmosphere. But The Blackening takes these Black tropes and turns them on their head, so we end up with something fresh, fun, and absolutely bonkers.

Melvin Gregg as King, Grace Byers as Allison, Antoinette Robertson as Lisa, Sinqua Walls as Nnamdi, Jermaine Fowler as Clifton, Dewayne Perkins as Dewayne, and Xochitl Mayo as Shanika in The Blackening. Photo Credit: Glen Wilson

The tone of the movie is its biggest draw. It doesn’t take itself too seriously, which makes for a refreshing change of pace. Horror comedies are nothing new, but what sets Tim Story’s movie apart is that it doesn’t rely on cheap scares to get a reaction out of its audience. Instead, it finds humor in the absurdity of the situation, poking fun at horror movies and the Black experience in equal measure.

The entire cast is a delight and funny, but special mention Dewayne Perkins, who plays Dewayne in the film, returns as he starred in the short film that The Blackening was based on, he is more knowledgeable about the horror genre and the more believable and entertaining character. There was also, Clifton, played by Jermain Fowler, who was the nerdy archetype, think Urkel except weirder. There were several moments Fowler had campy moments on screen with the other characters, and when it comes to seeing who is the Blackest, he stuck out like a sore thumb because of his awkwardness. 

The horror elements are solid, but the comedy shines here because the characters react the way I, or any other Black person, would during these scenarios in the film.  Whether it’s a running joke about the town’s “blackening” or a ridiculous chase scene involving a 6’6 athletic man in a Black Face mask trying to murder a group of friends, there’s always something to laugh at. Basically, the antagonist is a hybrid of The Jigsaw killer, Ghost face from the Scream movies, and Jason from Friday the 13th. And it’s not just the quips and one-liners – the movie is packed with visual gags and absurd set pieces that had me howling with laughter. It’s not often you see Black characters in horror films live to fight the villain and, better yet, outrun them. The best I can remember is the Black character Julius in Jason Takes Manhattan, where he tried to fight Jason on a rooftop in New York. He threw a barrage of punches that barely affected Jason, only to have his head knocked off with one punch. Then there’s Joel ( Duane Martin) in Scream 2, who decided to do what I would do, leave the location where people are dying. I’m still cracking up at the fact he left Gale’s ass at the college with the camera and like, “People are getting murdered, and I’m out!”

The movie’s pacing is sometimes tight, and there’s never a dull moment. The jokes come fast and furious, but it never feels overwhelming. And while there are certainly some cringe-worthy moments – the gore factor is relatively high – Tim Story’s deft direction keeps everything in balance. The movie knows when to ramp up the tension and when to let loose with some ridiculousness, resulting in a thoroughly entertaining experience from start to finish. 

There may be some comparisons to Scary Movie and there but the film is more rooted in the completely Black experience in a horror movie, where the characters are predominantly Black, and they are completely different is personalities and how they interact with each other. 

Grace Byers as Allison in The Blackening. Photo Credit: Glen Wilson

Horror comedies are a tough nut to crack, but The Blackening hits the mark perfectly. It’s a movie that manages to be both genuinely funny and genuinely scary, a rare feat in a genre that usually leans too heavily on one or the other. But with Tim Story at the helm, we get a movie that’s both a love letter to the horror genre and a biting satire of it. It’s the kind of movie you’ll want to see again and again to catch all the little jokes and visual nods you might have missed the first time. I am sure this movie will have clips plastered all over social media and trending for weeks. 

In short, if you’re looking for a horror comedy that delivers laughs and scares in equal measure, look no further than The Blackening. It’s a wild ride that’ll have you cackling with laughter and cringing of your seat at the gore. And honestly, we could all use a good laugh right about now.


‘An Angry Black Girl and Her Monster’  Challenges Preconceptions Through Powerful Storytelling

Synopsis: Vicaria is a brilliant teenager who believes death is a disease that can be cured. After the brutal murder of her brother, she embarks on a dangerous journey to bring him back to life.

Starring: Laya DeLeon Hayes, Chad L. Coleman, and Denzel Whitaker

Director: Bomani J. Story

Where to Watch: In theaters and On-Demand

Date of Release: In select theaters on June 9th. On-Demand and streaming on June 23rd.

Length of Time: 140 mins

An Angry Black Girl and Her Monster is a powerful and thought-provoking movie exploring racial injustice and socioeconomic inequality. The movie tells the story of a young black girl struggling to navigate a world that often feels stacked against her. Despite her many challenges, she refuses to let her spirit be broken and instead finds solace in her studies and her pursuit of finding the cure for death…resurrection. 

Laya DeLeon Hayes brilliantly plays Vicaria, a poster child for STEM in the Black community. She is not only brilliant but also confident and loves her family…qualities we want to see more of in Black youth. She shares a close bond with her father, Donald (played by Chad L. Coleman) who struggles with drug addiction after the loss of both his wife and son, Chris. What is so interesting about the dynamic of Donald and Vicaria’s relationship is that even though Donald struggles with addiction, Vicaria still supports her father and is not ashamed of him. After all, they both have an addiction; hers is simply science-focused. 

Denzel Whitaker as the local drug dealer, Kango, is a character who is not reduced to just a lowly drug dealer. We see his character has more layers than he puts off. Only Whitaker could make this role work in this type of film. During an interview with director Bomani J. Story and actor Chad L. Coleman, we learn that Whitaker is one of the reasons some of the cast joined the project in the first place, including Coleman himself.

What makes An Angry Black Girl and Her Monster compelling is its unflinching honesty. The movie doesn’t shy away from complex topics, but instead dives headfirst into issues like police brutality, racial profiling, and poverty. Through its nuanced and thought-provoking storytelling, it encourages viewers to think critically about the systems of oppression in our society and consider how we can work together to bring about real change. I found the film intriguing because there is no real antagonist; like in the real world, for these characters there are only obstacles and their reactions based on their experiences. 

The film also touches on how Black men view themselves and their mental health. This is artistically depicted in Donald’s transitions into Chris, his Frankenstein-type monster. This is one specific reason why I feel a connection to the film and believe it could be used as a discussion piece for many others who want to have the discussion but don’t know where to begin. 

In addition to its powerful message, An Angry Black Girl and Her Monster is a wonderfully crafted movie. Its visual style is stunning with vibrant colors and intricate details that make each scene feel like a work of art. I applaud Costume Designer Cailey Breneman for the unique and creepy look of the monster, Chris, who is absolutly terrifying. Many gory horror films have cheap props and, instead of grossing out audiences, cause people to laugh or think “a 5-year old could do better”. That is not the case in this film, as the death scenes look convincingly real and can traumatize you if you are not a fan of gore. Story’s feature film debut is a success, lending him a promising future in the realm of not only horror but any genre into which he decides to venture.

Overall, An Angry Black Girl and Her Monster is a must-see movie that should be part of the cultural conversation. From the onset of the Black Lives Matter movement in July of 2013 up to recent events, this movie challenges us to take a hard look at our world and strive toward a better, more equitable future. I don’t expect all audiences to understand the film’s underlying messages and themes; however, I do expect the movie to spark more conversation about oppressed communities and discrimination…hopefully productive conversation that can lead to the further empowerment of Black communities nationwide.


Behind the Scenes: A Conversation with Director Bomani J. Story and Chad L. Coleman About An Angry Black Girl and Her Monster

“An Angry Black Girl and Her Monster” is making waves in the independent film world with its 94% Rotten Tomatoes score. In this exclusive interview, Taji Mag sat down with director Bomani J. Story and veteran actor Chad L. Coleman to discuss the inspiration for the film, the creative process, and their aspirations for the future of Black Cinema in the horror genre. 

Dapper Dr. Feel (DDF): This is a fascinating film. I think of it as a horror concept film. Bomani, how did you come up with the idea? 

Bomani J. Story (BJS): It started with the literature. I read Mary Shelley’s Frankenstein and was just floored by it. It gave me an anxiety attack. I loved it. After that, I knew I needed to do something with it because so much was left on the floor. I wanted to do something with it mixed with the muse of my two older sisters. It’s like I wanted to capture them and have them be an homage to it. That’s what spurred this story. 

DDF: Chad, how did you become involved with this project? 

Chad L. Coleman (CLC): Oh, I got a call about it from my agent. Then I found out that Denzel Whitaker would be a part of it. So I called him to vet out the director because I wasn’t familiar with Bomani J. Story. Mm-hmm. Once I found that information out and got more details, I knew it was going to be dope. To hear it from somebody I respect, like Denzel, it was a no-brainer. 

DDF: What was the process of creating and casting the Vicaria character played by Laya DeLeon Hayes?

BJS: As I mentioned before, it started with my older sisters. They were both my first contact with intelligence, you know? It’s like you don’t want to listen to your fucking parents say anything. The older sisters are old enough for you to respect and young enough for you to admire. So they took me under their wing. So it was just capturing my thoughts on them, how they move, and things of that nature. As for the casting, I mean, as soon as you see her (Laya DeLeon Hayes) audition, you just immediately [know]… it couldn’t be anyone else. I didn’t want to see anybody else after that. She was just fantastic. 

DDF: In the film, Vicaria mentions the women who inspire her. This includes Valerie Thomas (Data Scientist), Alice H. Parker (Inventor), and Marie Maynard Daly (Biochemist). How did you decide which historical figures to choose? 

BJS: To me, it was more of an exploration of how people are like, “I look up to certain people to do amazing things”; like notable inventors who created something incredible, started a movement, or did something unprecedented. There are many people one can place in this category, but for me, these were names that spoke to me.

DDF: Tell me about the development of Donald (Vicaria’s father), played by Chad L. Coleman. 

BJS: People can relate to that character. Wanting to protect your daughter and holding onto [personal] demons is something everyone faces on their own. I’m looking at my dad and how he raised us, things like that are what I could pull from.

DDF: Chris (the monster) has a unique relationship with his daughter Jada. Can you explain their relationship? After all, Chris is now an undead monster. 

BJS: I want to leave it up to the audience to interpret. You know what I mean? But I think Jada (Chris’ daughter) will look at things differently than an older person. As a child, the world is still so new to you. You’ll be more interested in things and look at life from a very innocent viewpoint.

DDF: Chad, what approach did you take to bring to life the Donald character? 

CLC: My life being a father and having a brother who faced many challenges in terms of substance abuse, but mainly being a father. Grieving for my Black sisters and brothers in marginalized places resonated deeply. The level of hurt, pain, and violence… the magnitude it has on the family. I think I was just excited that this dude’s exploration of it would not be candy-coated, that he went deep, and it had the resonance of The Wire for me, you know? I was excited that he could play on a classic like Frankenstein. When you think of Frankenstein, you don’t think of people of color. You don’t see the story’s relevance to us, and Bomani put that thing together amazingly. This will be an instant classic.

DDF: In the film, Donald struggles with drug addiction. Can you dive into this aspect of the character a bit?

CLC: He’s dealing with pain, feeling paralyzed, and feeling as if he isn’t completely able to protect his children. He’s unable to change his community and be that leader, the leader of his family in the way he wishes he could. So he had to inevitably self-medicate after losing the love of his wife and son. The family’s decimation carried a huge effect on this man, and it was essential to show that vulnerability.

DDF: This film resembles some of the obstacles Black men face today. Can you give your thoughts on this topic? 

BJS: Particularly for our situation, systematic pressure is multifaceted; it rears itself in different ways. Sometimes I like to think of it as a three-headed hydra. Whether it’s prejudice, classism, or sexism, they’re always just jumping and playing off each other. It’s like once you get rid of being impoverished, now we’re dealing with fucking prejudice, then sexism. When we get out of one, now you’ve got to deal with the other, you know? They’re constantly all just picking at you. That’s the type of shit we deal with. 

DDF: Chris’ physical character is akin to that of Frankenstein. How were you able to create the look for this monster? 

BJS: Yeah. With the book, one of the things that spoke to me was its themes of prejudice, how the monster is treated before he even opens his mouth. Today, that’s something, unfortunately, that we still have to face. People may not do it outright, and it’s slightly more subtle. It’s like another microaggression, they don’t humanize you or recognize you as human. The story was evolved around that.

DDF: Is there a film out there right now that you love, specifically a horror movie?

BJS: Yeah, I mean there’s been a lot of, like, this new, I don’t want to call it new age, but this wave of horror that’s been happening right now. I’ve been a big fan of films like Hereditary and The Wig. Then, you know, even further back to films like Black Swan, which I think is a horror film but not recognized. I feel like it introduced a new era of horror. I’m obsessed with the movie Pearl. Oh my gosh! That film is underrated, man. It’s a beautiful film! Yeah, it should have been nominated. Mia Goth’s performance is just insane. She’s fantastic! 

CLC: I’m an old-school guy. I like Carrie, The Thing, Aliens, The Exorcist, Rosemary’s Baby, and The Shining.

DDF: Chad, is there a horror film you would like to reimagine? 

CLC: I know it’s not considered a horror film, but I would recreate The Elephant Man. I would also like to play The Elephant Man because he doesn’t have to be a particular age. I think there’s so much in that story; just like An Angry Black Girl and Her Monster deals with so many social and political issues, so could The Elephant Man

DDF: What advice would you give to Black men?

CLC: We’ve got to be able to love ourselves, and we’ve got to take personal responsibility for the vulnerability. And it’s okay to be vulnerable, and it’s okay to go to therapy, and it’s okay to show love to one another. It does not make us weak. We’re going to be more robust when we stand up and bond with each other and understand that we are not each other’s enemy. It’s time for us to come together and support one another. It’s not just because I can rap or play basketball or I’m the most muscular guy. It’s because we got true love for each other. Stop judging each other, and stop bullying each other. Don’t be mad at me because I’m as smart as you. You know, I’m not judging you because you have challenges. Brothers of color need to come together. I tell my friends, we gotta stop worrying about somebody perceiving us a certain way. We need to look out for each other. It isn’t going to stop if we don’t stop it. 

DDF: Could you compare Tyreese, your character from The Walking Dead, and Donald in how they survive their environments? 

CLC: I think the similarities in the characters are the love of family and vulnerability. I believe [the concept of] a man who’s unable to be vulnerable is problematic for me, even though it may appear to be a sense of strength to society. How do you relate to your family? If you’re like a dictator, everybody’s scared of you. That’s not the most influential leader. So, I appreciate Donald doing his best and Tyreese doing the same with his sister. If you can’t model any level of vulnerability to the women in your life, that would be a problem.

DDF: What do you think people will get out of this film? 

BJS: I hope they get a little bit of intensity. You know, I hope they’re able to think a little bit. My greatest hope would be that people walk out of the theater with more than they thought they would get.

Catch An Angry Black Girl and Her Monster in theaters on June 9th.


Barbarian: An Unconventional, Jaw-Dropping Horror Film With an Ending That Will Piss You Off!

Georgina Campbell as Tess in 20th Century Studios’ BARBARIAN, exclusively on Hulu. Photo courtesy of 20th Century Studios. © 2022 20th Century Studios. All Rights Reserved.


Starring Georgina Campbell, Justin Long, and Bill Skarsgard

After watching the first trailer, I thought to myself, “How in the hell is this film going to turn out and what’s in the basement?” Given that Bill Skarsgård (who played IT, the clown) stars in the film, Barbarian looked like a horror film worth watching. Boy was I right! This film had a bunch of “What in the f*ck!” moments and some really scary stuff in it. 

Let’s start off with Georgina Campbell: I give her two thumbs up as a horror protagonist. Her reactions to certain situations and actions are 100% believable and exactly what you’d expect. Campbell’s awkward chemistry with Skarsgard (Keith) in the Airbnb was spot on. I think two people would be awkward in this situation. With Skarsgard giving all sorts of creepy vibes, all I could yell at the screen is, “Tess baby, what is you doin’ baby?” but then Tess became warmer towards Keith as they both let down their guard and created a safe-feeling environment…well sort of.

I like that Tess was able to make smart decisions like most people would, such as not opening certain doors and staying out of certain areas. But you know it wouldn’t be a horror movie had she kept that same mindset throughout the whole film. Eventually, she let her curiosity get the best of her. 

When asked about how she became a part of the film, Campbell said, “I’ve always really wanted to do a horror film, but I hadn’t come across anything that was right, that I really, really liked. I just loved it. I thought it was fantastic. Then I spoke to Zach, and he was very passionate and knew exactly what he wanted to do and just seemed like he knew what he was doing, and yeah, I was in.” Campbell was right about her selection because this is not your typical horror film; nor does it follow traditional film beats. Her character, Tess, had to figure out how to survive, have sympathy, and learn who to trust. 

Outside of being creepy and awkward, Skarsgard straddles the line of trustworthiness. It works here because I couldn’t tell what the hell was causing the unusual activities in the house on that first night Tess and Keith stayed there. If you want a scary film, put Skarsgard in it! I think after IT, his performances will always fit this genre…or maybe it’s just something in his eyes. 

If you remember Jeepers Creepers, then you should remember Justin Long’s classic clash with an evil demon. Long plays AJ, an actor involved in a rape allegation who needs more money to keep his lawyers on staff. I’m not holding back any words when I say that Keith is a selfish, opportunistic asshole. Long brings a lot of humor to the film as AJ. There were also some moments when I thought he was worse than the villain. With all the flaws of this character, you can’t help but feel bad for him. You don’t want to see him suffer at the hands of the murderer… until the very end when you’re ready for him to suffer the worst death imaginable. Now that’s what I call a switch-up!

Justin Long as AJ in 20th Century Studios’ BARBARIAN, exclusively on Hulu. Photo courtesy of 20th Century Studios. © 2022 20th Century Studios. All Rights Reserved.

The set design was amazing. I give much kudos to the crew. From the Airbnb to the rooms in the basement, every environment helped set the tone for each scene. Especially when the characters ventured into the creepy basement, but I won’t give too much away. You’ll have to see for yourself.  

I can not express how awesome the sound design was. For example, as a character walks down a dark hallway, you can hear their increased heartbeat as they approach an unknown area. It had my heart pumping fast. The multiple times the victims tried to evade the killer felt like a thrill ride in the theater. 

Actress Georgina Campbell shares the same sentiments saying the experience was “just incredible.” She further explained, “The set design was just amazing. It was all set on a sound stage for the interiors. And just walking into the Airbnb, it was incredible because it looks just like an Airbnb would. It’s got that Airbnb feel, where everything’s probably from Ikea. It’s all not quite got a personality, really. But yeah, so I just thought that was amazing. And then once we go downstairs into the basement, it was very easy to get lost in the scenes because everything felt and looked really real.”

Director/Writer Zach Cregger’s flashbacks in the film were unique and provided enough information to know the motivation of the antagonist. It’s interesting how he developed the idea for this film. He explained, “I had read a book called The Gift of Fear by Gavin de Becker. There was a chapter primarily directed towards women, encouraging them to pay attention to these little minor red flags that men can give off in day-to-day situations. They can be very innocuous things that you might not notice. Things like complimenting you when it’s not necessarily appropriate or doing you a favor that you didn’t ask for or touching in a nonsexual way that’s not initiated by you, all these little things that seemingly don’t matter. He was basically saying [that’s] the gift of fear. It’s important to pay attention to these little red flags because you’re equipped with that to identify potential threats.”

Once the villain and its origin are revealed, the film heads into a series of chases, fights, and what the f*cks, but ends in an unexpected way. You’ll want to catch this film! And when you do, please leave a comment below on your thoughts. 

Watch Barbarian on September 6th, 2022 in theaters everywhere.


Beckett is a Horror Movie That Ended Like A WWE Match

Synopsis: While vacationing in Greece, American tourist Beckett (John David Washington) becomes the target of a manhunt after a devastating accident. Forced to run for his life and desperate to get across the country to the American embassy to clear his name, tensions escalate as the authorities close in, political unrest mounts, and Beckett falls even deeper into a dangerous web of conspiracy.

My Impression

My reaction to the Beckett trailer was, “Okay, so…this film has to be produced by Jordan Peele because it looks like a version of Get Out overseas.” I mean, the protagonist Beckett, a Black American, crashes a car his car into a house in Greece, and his white girlfriend ends up dying instantly. Yeah, I can see this story going in an interesting direction. A horror movie indeed. 

Does the writer give an exciting and compelling reason for Beckett to be on the run? Not in my opinion. The film had an unexpected twist, but my guess was the local authorities were trying to kill Becket because he unintentionally killed his wife, who we discover was a spy of some sort, but that wasn’t the case. By the end of the film, I was disappointed.

It was crazy that Beckett uncovered that the local authorities were trying to kill him to keep a politically driven kidnapping under wraps. Beckett saw the kidnapped child of an important political figure right after his crash. 

The chase and tension in the film were great. I felt like Beckett couldn’t catch a break though; the locals were surprisingly friendly and even knew how brutal the police were. Multiple tried to help him, despite facing terrible interrogations or maybe even death for their assistance. 

Beckett Beatings

Now for the many ass-whoopings Beckett took in this film. John David Washington made it believable that the character was a regular non-fighting citizen. I’ve known Washington to play some badasses and to see this character get destroyed the whole movie was a change. During the movie, I was like damn I hope he has some good health insurance.

One of the worst beatings he took was in the subway tunnel, where he was punched and stabbed multiple times. Becket was basically knife practice, but he kept fighting and escaped severely injured. During the film, I can say Becket was a survivor because he would run every time, but of course not before getting hurt in some way. 

Becket redeemed himself by not getting caught and killed by the U.S. embassy staff member, Tynan, and escaping the attempts on his life. Beckett’s fights with Tynan and the female antagonist were hilarious to me. I guess he had a “Karen” trigger moment because he smashed the hell out of her head into the concrete. 

But the ending, the ending had me like…

I couldn’t believe it? Beckett jumped off the parking garage and landed on top of the car like Macho Man Randy Savage doing a high-flying elbow in a WWE match. He landed on the car like a sack of potatoes and saved the day. I am sure he had some internal bleeding and probably needed medical treatment for the rest of his life. Of course, the audience is lead to believe Becket sacrificed his life for the child since he was the cause of death for his wife. Although it was an attempt to pay off the heart on Becket’s hand-drawn tattoo given by his wife, there could’ve been a better way to end the movie. 

The film has entertaining moments but I was not happy about the ending or the plot involving the mafia and politics. Maybe if Becket or his wife had direct involvement in the kidnapping it would’ve made for a better story. I am always going to cheer on John David Washington as an actor but I have to be honest, this film missed the mark for me.