Death Whisperer 2023

Death Whisperer 2023 Full Movie

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Director: Taweewat Wantha
Writers: Thammanan Chulaboriruk , Sorarat Jirabovornwisut
Release Date: October 26,2023
Language: Thai

Review: Thai horror has been making waves in recent years, and honestly, Thailand is up there with Japan when it comes to extremely terrifying movies. Death Whisperer is a recently added horror film. Upon searching, it was a hit on Thailand because the story itself was from the viral online thread.It’s not every time that we get a chance to see stories from online threads to become a film. 

Death Whisperer, or Tee Yod, is about an online story named Ghost Fever…  It recently became a novel by the same author, which was later adapted to this highly regarded film. Back to the story, Tee Yod is the story of a Thai-Chinese farmer family living in a remote village in 1972. Their lives take a turn for the worse when their young daughter, Yam, becomes mysteriously sick. As Yam's health declines, the family experiences a series of creepy events. They see a ghostly woman dressed in black, hear strange whispers that sound like "Tee Yod," and feel a dark presence in their home. Of course, as family, they tries everything to save their daughter. Since the Thai culture also believes in superstition, they had to consult both modern doctors and traditional medicine people to help with their daughter’s case.

However, neither modern medicine nor traditional rituals seem to help Yam. The whispers grow louder, the ghostly sightings become more frequent, and the family becomes increasingly desperate. They soon realize they might be facing something far more sinister than a physical illness.

We won’t go into detail because we don’t want to spoil the entire story for you, but this is basically the plot of the story.

Smile (2022)

Smile (2022) Full Movie

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Director: Parker Finn
Writers: Parker Finn
Release Date: September 22, 2022
Language: English, Spanish

REVIEW: Initially appearing as a standard spookfest, at its core, ‘Smile’ offers a disturbingly creepy proposition. Writer & director Parker Finn takes an otherwise comforting facial expression - a smile - and weaponises it effectively. He creates a constantly eerie atmosphere with chilling sound design, interesting camerawork that often keeps you guessing, and some disconcerting visuals likely to leave a mark. While most horror fare tends to abuse the jump scare tactic, Finn sets them up well enough to be often unpredictable.

Built around Dr Rose Cotter’s experience as a psychiatrist dealing with mental illness, the screenplay delves into her psyche, especially her history of family trauma. Everyone around Rose thinks she’s burnt out or reacting to past trauma, except for her and the audience. It’s a tried and tested formula in the genre, but Sosie Bacon is authentic and compelling in the lead role, making Rose Cotter easy to sympathise with. Jessie T. Usher convincingly plays her fiancé Trevor, with Kal Penn going against type as her concerned supervisor Dr Morgan Desai. Some other performances are frightfully freaky as well, but Sosie Bacon carries most of the film.

After its first grisly encounter, the plot loses steam with a pace likely to test some viewers’ patience. The conclusion may also be unsatisfactory and suffers from Hollywood sequelitis, leaving the door open for the grim grin to continue terrorising its unfortunate victims. Rather than further exploring the psychological impact of certain events, Parker Finn resorts to imagery to make the film unnerving. Try as he might, the writer & director cannot escape genre tropes and struggles to keep things fresh and engaging throughout. But as his first full-length feature movie, Finn proves to be a talent to watch out for. His skills, combined with Sosie Bacon’s work, make ‘Smile’ an anxiety-inducing horror watch that should make your skin crawl.

Bhool Bhulaiyaa 3 (2024)

Bhool Bhulaiyaa 3 (2024) Full Movie

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Director: Anees Bazmee
Writer: Aakash Kaushik
Release Date: November 1, 2024
Language: Hindi

Review: Keeping with the theme of the franchise, Bhool Bhulaiyaa 3 also pits an unassuming cheeky protagonist against a spooky haveli with a buried past. The century-old mansion needs to be restored to its former glory and sold, but Manjulika’s terrorising presence in it forbids the owners from doing so. The royal family in dire need of resources, seeks Rooh baba’s intervention. The fraudster takes up the lucrative offer only to find himself tangled in a mess as he discovers two dark forces who claim to be Manjulika.

Close on the heels of Stree 2’s thumping success, comes yet another horror comedy. Anees Bazmee returns to direct BB after his 2022 hit, having taken over from Priyadarshan, who helmed the Akshay Kumar original (2007). Bhool Bhulaiyaa 3 is structured more as a comedy with elements of horror. Ensemble comedies have been Bazmee’s forte (Welcome, No Entry) after all, so the departure from Priyadarshan’s psychologically tense theme is understood. A particular scene revolving around a superstar is the highlight of this film and one of its finest scenes.

BB3 keeps you invested, and nowhere does it get tiring but it does have its static phase where the comic punches don’t quite land as much as they should. The story takes a considerable amount of time to build up, but the wait feels rewarding, thanks to a thoughtful twist in the climax. You don’t see it coming at all and the makers succeed in giving a sensible and mature spin to a massy entertainer. The art direction deserves a mention too. The production value is a notch above the previous instalments.

Kartik anchors the film as he reprises the role of Ruhaan/Rooh baba. He has the maximum screen presence and owns the role. Though this is a Kartik Aaryan show all the way, the women have been a solid backbone and crowd pullers in this franchise. Be it Tabu in the previous film or Vidya Balan and Madhuri Dixit in this one, the celebrated actresses are absolute scene stealers and stunners.

The film marks the return of Vidya Balan to the franchise after her stellar portrayal of Manjulika in 2007. She lets her eyes do the talking. Vidya has Madhuri Dixit for company and together, they are like fire and ice. Madhuri with her million-dollar smile, powerful presence and graceful dance moves is a sight to behold. Their iconic dance-off in Ami Je Tomar, where each performs a distinct classical dance form - Madhuri predominantly Kathak, Vidya - blend of Bharatnatyam-Odissi, is worth the hype. It’s tough to match up to Madhuri as far as dance is concerned but Vidya pushes herself skilfully. The song placement feels a bit sudden. However, the visual appeal and riveting performances make up for it. Rajpal Yadav, Sanjay Mishra and Ashwini Kalsekar, are extremely talented and deserved better lines. Triptii Dimri’s character arc could have been fleshed out better.

BB3 has its share of highs and lows but it delivers what you expect from a Diwali family entertainer. Make sure you guard the climax for others to enjoy the film, too.

The Mummy Full Movie

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Director: Alex Kurtzman
Writers: David Koepp, Christopher McQuarrie, Dylan Kussman
Release Date: June 9,2017
Language: English

The Mummy Review: Tom Cruise manages to stay fit at the age of 54 because he spends a lot of time running in his action movies. He also endures copious amounts of physical abuse, ranging from getting beaten up to thrown around; all for our viewing pleasure, while he gets a hefty paycheck in return. It's a fair trade for the most part - these are popcorn blockbusters that are mindless fun, and everyone is reasonably entertained. So it's hardly a shocker that Cruise ends up going through his tried and tested 'Mission Impossible' motions in ‘The Mummy’.

Unfortunately, the entertainment value in this franchise-building reboot is thinly spread, leaving you feeling deprived if not cheated. This is a shoddy stab at merging action, mythology, horror and comedy resulting in conflicting tonality. Even the occasionally surprising, massive set pieces with elements flying at you in 3D, are interspersed between two-dimensional characters who exist merely to cater to movie tropes.

Cruise’s protagonist is his version of a lovable rogue, in the same vein as Indiana Jones, making some seriously questionable decisions throughout the movie. Annabelle Wallis wanders around as the damsel-in-distress in need of constant rescuing. Russell Crowe hams it up as a Nick Fury-ish leader with ambiguous motives spewing campy exposition. There’s even the sidekick (Jack Johnson) whose weary sense of humour brings out eye-rolls, amongst even more exposition. If there’s one character your eyes will be glued to, it’s Sophia Boutella. Adequately mesmerising as Ahmanet a.k.a. the mummy, she transitions from a creepy, violent monster to a seductive goddess with ease, but her impact is reduced by the screen time devoted to convincing us of Cruise and Wallis’ love angle, even though that’s devoid of any chemistry.

There’s enough gruesome eye candy, and in-your-face action to enjoy in ‘The Mummy’ if you ignore the plot holes and frustrating characters. But the first entry in Universal Pictures’ monster franchise comes across as a desperate attempt by the studio to capitalise on Hollywood’s current world-building frenzy. The amount of effort taken to construct the inevitable sequels is staggering. Admittedly, there's been some intrigue since we saw the heavily photoshopped picture of Cruise, Boutella and Crowe alongside Johnny Depp and Javier Bardem promising a lot more from the ‘Dark Universe’. But in the absence of quality writing, gripping plots and characters to truly care about, perhaps some monsters are best left buried.

Meg 2: The Trench (2024) Full Movie

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Director: Ben Wheatley
Writers: Jon Hoeber, Erich Hoeber, Dean Georgaris
Release Date: August 4, 2023
Language: English

Meg 2: The Trench review: The movie’s predecessor, Meg (2018), was a campy fare that gave a nod to cult outings such as Jaws, Jurassic Park, and their ilk. In this one, director Jon Turteltaub has handed over the helm to Ben Wheatly. The canvas is bigger and the threat meaner, but Meg 2: The Trench does not fully exploit it, and fails to play to its strength or reach its potential. It ends up as a generic creature feature with a predictable premise and stereotypical characters.

The movie begins with a fight between monstrous creatures, one that’s a cross between a lizard and a crocodile, a T-Rex and the titular megalodon, and moves on to an eco-warrior Jonas Taylor (Jason Statham) singlehandedly taking on a group of miscreants dumping toxic waste into the ocean. That sets the film's tone, and you can predict what’s in store. But things get exciting when a billionaire owner of an oceanographic institute, Jiuming (Wu Jing), demonstrates that he has a bond with a meg in their captivity. Soon after, as the crew embarks on an exploratory mission, one is treated to bioluminescent flora and enigmatic fauna. Things go downhill when their mission is sabotaged. The part where they fight for survival and reach the rescue station three kilometres away wearing high-tech suits is thrilling and well-executed. But soon, the narrative tanks like their vessel.

The plot gets convoluted when the group needs to deal with terrorist-like villains, lizard crocodiles, a group of megs and a giant octopus! And in between, there’s cheesy humour from the crew members—DJ (Page Kennedy), Jiuming and James Mac’ Mackreides (Cliff Curtis). Out of nowhere comes a Fun Island where beach bums are holidaying and must be saved, adding to the movie’s length without doing much for the plot.

The performances are nothing to write home about, including Jason Statham, who doesn’t seem to put his best foot forward for this one. His scenes with Jiuming’s niece Shuya Sophia Cai are only intermittently heartwarming.

The megs swimming across the ocean often look gimmicky, but the main fight is done well. Meg 2: The Trench is not a monster masterpiece and is passable if one wants cheesy fun.

Speak No Evil (2024) Movie

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Director: James Watkins
Writers: James Watkins, Christian Tafdrup, Mads Tafdrup
Release date: September 13, 2024
Language: English

Review: As a thriller, ‘Speak No Evil’ constantly plays with the audience's mind, thanks to director James Watkins' sharp and incisive approach. The film begins with a seemingly simple premise – two couples, initially strangers, become friends during a European vacation. Paddy, the more eccentric and unpredictable one, invites Ben and Louise to his home in the middle of nowhere. The Daltons, dealing with their own internal struggles, decide to accept the offer, not knowing they are walking into a situation far more twisted than they could ever imagine.

This deceptively simple setup is where the crux of the film lies. From the start, there's an unsettling aura surrounding Paddy, played with perfection by James McAvoy. He’s socially disruptive and a bit too adventurous, but just within the realm of plausibility, never setting off alarm bells right away. His wife Ciara and their mute child, Ant (Dan Hough), also seem to fit the mold of a typical family. But as the plot progresses, it becomes evident that nothing is what it seems like.

Psychological thrillers can often veer into over-explanation or unnecessary verbosity, but ‘Speak No Evil’ mostly manages to avoid these issues. The pacing is slow by design, but it keeps the audience on edge, feeding curiosity without becoming tiresome. There's a lingering sense that something is wrong, but the film never reveals too much too soon. Writers Christian and Mads Tafdrup, and James Watkins play with a constant undercurrent of tension and keep the narrative focused around just a few characters. Some of these characters are extreme yet believable. McAvoy’s Paddy is dangerous yet magnetic, a man whose unpredictability drives the plot. The actor’s portrayal is mesmerizing—he manages to infuse Paddy with a blend of charm and menace that makes him impossible to look away from. On the other hand, Scoot McNairy’s Ben embodies vulnerability and strength in equal measure, making his character’s journey deeply engaging. Mackenzie Davis, as Louise, is the film’s emotional anchor, providing the voice of reason amid growing chaos. Her portrayal of fear and resolve adds layers to the narrative, ensuring that the audience feels connected to her plight.

The performances across the board are outstanding, with even the child actors Alix West Lefler as Ben and Louise’s teenage daughter Agnes and Dan Hough as Ant holding their own. This is crucial in a film like this where the plot hinges on a few key characters and their interactions. The script brings them to life, but it’s the actors who make their dynamics believable.

The setting—a remote house in the woods, adds to the eeriness quotient. The disturbing silence, the isolation, and the creeping sense of dread in every scene are aided by the cinematography (by Tim Maurice-Jones). The environment acts almost as a character in itself, amplifying the psychological unease. The subtle background score enhances the suspense without being overbearing.

While some plot points may be predictable for seasoned thriller fans, the film still manages to deliver gut-punch moments that send chills down your spine. Even when you think you’ve guessed what’s coming, the sheer intensity of the revelations and the finely tuned performances keep you riveted. There are moments when the audience may question the characters' decisions or motivations. However, these never descend into absurdity or compromise the film's overall believability. The tight focus on a limited cast keeps the story contained and avoids the common pitfalls of over-explaining or stretching the narrative too thin.

‘Speak No Evil’ is a twisted, suspenseful experience that keeps you engaged despite being a slow-burn. If you’re looking for a thriller that is unsettling without being unnecessarily convoluted, this one’s a must-watch.

Bramayugam 2024 Full Movie

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Director: Rahul Sadasivan
Writers: Rahul Sadasivan , T.D Ramakrishnan
Release Date: February 15, 2024
Language: Malayalam

Bramayugam Movie Review : Mammootty seems to have thrown a challenge to Malayalam filmmakers to give him roles that push him and audiences out of their comfort zones. And for his part, he goes all out to create characters that surprise, fascinate and leave us awestruck.

Rahul Sadasivan directorial Bramayugom, which he co-wrote with TD Ramakrishnan, is a period horror drama with elements of local fantasy. Mammootty plays Koduman Potti, who is the only surviving member of a crumbling, dilapidated mana, at which Siddharth is the help. Arjun Ashokan, a low-caste singer named Thevan, trying to escape slavery, ends up in the mana, which is surrounded by forests. Koduman Potti takes a fascination for Thevan’s singing and kindly offers him food and lodging, much to the irritation of Siddharth’s character.

But when Thevan explores the sprawling house and goes out into the overgrown grounds, he realises that the house harbours dark secrets. Siddharth tells him that a chathan (demon) had killed generations of the Potti family, till Koduman finally arrived to lock him away. But perhaps, he has not been successful. The second half of the film is about how the duo join hands to try and free the house of the curve of the chathan, but will they be successful.

The script, the direction and the art direction by Jothish Shankar brilliantly cultivates the eerieness and makes the film scary. Shehnad Jalal's camera work is complemented perfectly by Shafique Mohamed Ali's editing, particularly in the bits where Thevan and the help are caught up in almost hallucinatory horrors, while trying to capture the demon. Christo Xavier’s music is also fantastic and there is a moment when Thevan remembers his home and the music changes to a melodic tenderness, which is lovely.

But having said that, the story, with bits of class politics and religious philosophy, sometimes lacks a flow and does not make things very clear. That takes away from the storytelling.

Mammootty keeps the viewers spellbound throughout, with the way he looks, his resounding laugh and the horrors he conveys. Siddharth plays down his character and you feel, at the start, that he could have taken it up a notch, but even with his even voice and demeanour, he is striking when the tempo of the story rises. He has done a great job with the overall look of his character. Arjun Ashokan is also good.

Apart from doing a great job of causing delightfully scary chills, Bramayugam also has the nostalgic appeal of a grandmother’s tales.

The Deep Dark movie

The Deep Dark Full movie

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Director: Mathieu Turi.

Writers: Mathieu Turi.

Release Date: November 15, 2023

Language: France

Review: Directed by Mathieu Turi, ‘The Deep Dark’ is a claustrophobic thriller set in the shadowy confines of a subterranean cave. The film opens in 1856 with an explosion that causes a tragic collapse, hinting at the dangers that await a new group of miners tasked with recovering valuable artifacts. The story centers around professor Berthier (Jean-Hugues Anglade), who leads a team of young men into a mine with the promise of riches. However, the team's collective greed and the professor's insistence on going deeper into the cave result in a landslide, trapping them inside. As they attempt to find a way out, they awaken a deadly creature that was best left undisturbed.

One of the film's most striking features is its use of black and white cinematography (by Alain Duplantier), which effectively underscores the dark theme and creates a sense of claustrophobia. However, the monochrome visuals can be tiring over time, and you might find yourself craving a splash of color to break the monotony. Turi's direction emphasizes the eerie atmosphere of being trapped in an enclosed space with threats lurking around. The film's slow-burn approach allows for a gradual build-up of tension, but the real action doesn't kick in until later, which can test your patience.

Once the killing starts, however, ‘The Deep Dark’ delivers relentless bloodshed with some of the most gruesome and creative slayings seen in a horror film. That said, faster pacing of this Lovecraftian horror with more spooky action and less talk would have been ideal. Performances are decent but Amir El Kacem as Amir and Diego Martín as Miguel stand out. Also, because their characters have been fleshed out better than the others. 

The film relies heavily on jumpscares and special effects, with mixed results. The creature design is appropriately grotesque, but it at times feels gimmicky rather than genuinely terrifying. Despite this, the overall atmosphere and the sense of impending doom keep the audience on edge.

‘The Deep Dark’ succeeds in its primary goal of creating a tense and unsettling horror experience, though it struggles with pacing and character development. Once the action gets going, the film becomes a relentless bloodbath, leaving the audience gasping for breath and longing for daylight. While it's not without its flaws, Turi’s commitment to a dark and suspenseful narrative makes it a decent addition to the horror genre.

Silent Hill Movie

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Director: Christophe Gans

Writer: Roger Avary

Release Date: April 21, 2006

Language: English

Review: I had a nice conversation with seven or eight people coming down on the escalator after we all saw "Silent Hill." They wanted me to explain it to them. I said I didn't have a clue. They said, "You're supposed to be a movie critic, aren't you?" I said, "Supposed to be. But we work mostly with movies." "Yeah," said the girl in the Harley t-shirt. "I guess this was like a video game that you like had to play in order to like understand the movie

I guess. I was out in Boulder last week on a panel about video games and whether they can be art, and a lot of the students said they were really looking forward to "Silent Hill" because it's one of the best games and they read on the internet that the movie was supposed to live up to the game. That was all speculation, of course, because Sony Pictures declined to preview the film for anybody, perhaps because they were concerned it would not live up to the game, or because they were afraid it would. When I told one student that the movie was not being previewed, there was real pain on his face, as if he had personally been devalued.

Not only can I not describe the plot of this movie, but I have a feeling the last scene reverses half of what I thought I knew (or didn't know). What I can say is that it's an incredibly good-looking film. The director,Christophe Gans uses graphics and special effects and computers and grainy, scratchy film stock and surrealistic images and makes "Silent Hill" look more like an experimental art film than a horror film -- except for the horror, of course. The visuals are terrific; credit also to cinematographer Dan Laustsen, production designer Carol Spier, and the art, set and costume artists. But what are we to make of dialogue such as I will now describe?

A group of undead citizens of the ghost town of Silent Hill have gathered for some witch-burning. The town was abandoned 30 years ago because of the fumes from mine fires which still smolder beneath the surface. Grey ash falls like rain. "Something terrible happened here," a character says perceptively. The townspeople pile wood on a bonfire in the center of an abandoned church, and tie an alleged witch to a ladder which is then lowered over the flames until the victim's skin gets extra crispy. Next up: Little Sharon (Jodell Ferland), the daughter of the heroine Rose .She is tied to the ladder and prepared to be lowered and roasted, when her mother bursts into the church and cries out, and I quote, "It's OK, baby. Everything's gonna be OK!"The people who live in Silent Hill are dead, I guess. Some of them glow like old embers on a fire, which is not a sign of life. They live in abandoned buildings and in the mines and in a Smoke and Flame Factory, which you will recall from my Little Movie Glossary is a factory-like location of uncertain purpose which generates a lot of smoke and flames. Also sharing their space are rat-like little CGI insects, who scurry around thinking they look a lot scarier than they do.

 

Now here's a funny thing. Although I did not understand the story, I would have appreciated a great deal less explanation. All through the movie, characters are pausing in order to offer arcane back-stories and historical perspectives and metaphysical insights and occult orientations. They talk and talk and somehow their words do not light up any synapses in my brain, if my brain has synapses and they're supposed to light up, and if it doesn't and they're not, then they still don't make any sense Perhaps those who have played the game will understand the movie, and enjoy it. Speaking of synapses, another member of that panel discussion at Boulder was Dr. Leonard Shlain, chairman of laparoscopic surgery at California Pacific Medical Center, and an author whose book Art & Physics: Parallel Visions in Space, Time and Light makes you think that if anyone could understand "Silent Hill," he could.

Prey For The Devil Movie

Prey For The Devil Horror Movie

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Director: Daniel Stamm

Writers: Robert Zappia , Eari Richey Jones, Todd R. Jones

Release Date: Octobert 28, 2022

Language: English, Bulgarian, Spanish, Latin

Review: “Prey for the Devil” is another example of how difficult it is for exorcism-based movies to escape the shadow of William Friedkin’s “The Exorcist.” The syntax for telling horror stories that “The Exorcist” established 50 years ago is still in vogue. This horror-thriller adopts the same style sheet and follows a formula that so many other movies have done before and has nothing unique to offer. The movie's plot unfolds slowly, and its jump scares aren't really effective. Although the acting is generally passable, the plot is nonetheless stale and does not provide viewers with much to think about.

 

“Prey for the Devil” deals directly with possession and its final exorcism rather than delving into the psychological world. It won't be a stretch to say that most of the scenes and occurrences are things we've seen several times in horror movies and that this doesn't add anything fresh. The worst aspect is that you know exactly what will happen next and that it takes a direct route to reach its target. If only the plot had meandered for a little while. There isn't much in the movie that sticks with you, except for a few disturbing images.

Ann, a nun of the Roman Catholic Church that is now battling the surge in demonic possession cases, is the protagonist of this horror thriller. In response, the Vatican decides to establish a number of exorcism schools outside of Rome. As a nurse and a patient care specialist, Ann is assigned to one such school in Boston, Massachusetts. Nuns at these institutions are not allowed to participate in exorcism rituals, but Father Quinn offers to train Sister Ann and subsequently permits her to assist in a demon possession case after noticing that she has the skills to handle such instances.

“Prey for the Devil” is no exception, as it adheres exactly to the guidelines set forth by William Friedkin's "The Exorcist" decades earlier. In this movie, the creators haven't bothered to clarify the demon's motivation or what exactly they're after. There is not a single unique element in the movie that would keep you interested. In fact, this movie is so strikingly similar to “The Exorcist” that there are points when you question why you're even watching it. When imaginatively plotted horror movies like “Smile”, “Babadook”, and “The Hereditary” are winning awards, it raises doubts about movies with exorcism as their central theme. How creative they can be when few movies have essentially catered to all the clichés in the past.

While Colin Salmon as Father Quinn and Jacqueline Byers as Anna both deliver respectable performances, it is difficult to say the same about the rest of the film’s departments. It has a plot that has been recycled several times and now has reached a point where viewers have lost all interest. “Prey for the Devil” is an ordinary film that does everything to frighten viewers, but regrettably none of it works.

Get Gone Full Movie

GET GONE HORROR MOVIE

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Director: Michael Thomas Daniel

Writer: Michael Thomas Daniel

Release Date: July31, 2019

Language: English

Review : Apparently starring in terrible VOD genre movies is becoming a family business, because both Nicolas Cage’s son and his nephew show up in Get Gone, a laughably inept horror movie with a plot ripped right out of The Texas Chain Saw Massacre, The Hills Have Eyes and their dozens of imitators, delivered without any suspense and (perhaps most egregiously for this kind of movie) virtually no onscreen blood and guts. The Cage cousins, Weston Cage Coppola and Bailey Coppola, play the sons in a Leatherface-style clan living in the Oregon woods, led by frail patriarch Don Maxwell (Robert Miano) and his sharp-tongued, clearly unhinged wife (horror icon Lin Shaye, the only cast member who seems like she knows what she’s doing).

The Maxwells have been living undisturbed in the forest for years, apparently, but now the land has been sold to an energy company, and they’re being forced out to make way for fracking drills. Although local forest ranger Rico (Rico E. Anderson) is sympathetic to their plight, the Maxwells won’t listen to him, and their solution is to brutally murder all of the employees who show up on the land just trying to do their jobs. It’s not easy for a movie to get the audience to root for fracking, but there’s nothing sympathetic about the Maxwells once they start killing people, especially since they quickly move on from the drillers to a bunch of hapless hikers who have nothing to do with the fracking at all.

Those hikers open the movie with a cheap fake-out that involves their plan to expose urban-legend hoaxes, but the nature of their work is unclear, and while there are a lot of references to the Maxwells as the topic of local rumors, the characters aren’t actually in the woods to expose the legend of the Maxwells. Instead, they are on a team-building retreat led by an irritatingly chipper guide (Adam Bitterman), but the reasoning behind the entire exercise is never explained. Do these people work for a hoax-exposing company? How does that business model function? Writer-director Michael Thomas Daniel provides just enough back story to make things more confusing, without adding anything to narrative or character development.

Whatever reason they have for being in the wrong place at the wrong time, the hikers are really just there to increase the body count, although Daniel shoots almost all of the kills from obscured angles, like the movie’s budget ran out before they had the money for fake blood. In the only scene with any kind of gore, a character lies next to a wall that looks like it was splattered with red paint, so maybe leaving that stuff offscreen was the best idea after all. Horror movies can be scary and suspenseful without being explicit, but nothing about Get Gone is tense or disturbing in any way. The Maxwells are seen clearly and often, and have plenty of dialogue, so there’s nothing mysterious or unsettling to discover about them.

Sons Patton and Apple supposedly suffer from a condition that renders them freakish albinos (hence their prevalence in local lore), but the Coppolas are covered with ridiculous white makeup that makes them look like the members of a redneck goth-metal band, not dangerous mutants. Weston Cage Coppola has inherited a bit of his dad’s penchant for bug-eyed overacting, but he doesn’t have the same level of charisma needed to make oddball line readings charming rather than irritating. Of course, Daniel’s dreadful script doesn’t help him any: All of the actors are saddled with clunky dialogue, including some particularly cringe-inducing attempts at sexual harassment-related comic relief.

Apple wears a white mask with a sinister smile carved into it that’s clearly meant to establish him as the bargain-basement Jason Voorhees or Leatherface, but like everything else in Get Gone, it’s a haphazard imitation of more memorable horror movies. The fracking angle hints at a level of social commentary that could have added some valuable subtext to an otherwise formulaic story, but Get Gone isn’t remotely coherent enough to espouse a compelling point of view. Not even Nicolas Cage himself could save this one.

Forensic HD Movie

Forensic HD Movie

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Directors: Anas Khan , Akhil Paul

Writers : Anas Khan, Akhil Paul , Ravi Rajput

Release Date : February28,2024

Language : Malayalam

Forensic Review: Does Forensic move at the fast pace that a thriller ought to, with twists that keep you guessing and moments that make you gasp with astonishment? Yes, yes and yes. Is it always logical? No. Not always. There are some glaring omissions and questions that the film, co-written and directed by Akhil Paul and Anas Khan, raise, though it is a sleekly directed film.

Samuel John Kattukaran is a police forensic personnel, who is assigned to the case of a serial killer targeting little girls. Mamta Mohandas plays Chief investigating officer Rithika Xavier. To steer clear of spoiler alerts, let's just say, both parties are slightly uncomfortable to be working on the case together, though thankfully, there is no long-drawn-out drama. Is the case related to a similar one that took place a decade back? If so, the film turns on its head the big reveal that it made at halftime.

Tovino is his usual charming, cheeky self, as the Forensic expert. He manages the drama, the humour and the stunts with equal ease. Speaking of which, special mention for the humour in such a dark film. In fact, it's so dark that there's a patricide even before all the title credits have rolled out.

Mamta is eminently watchable, balancing the role of a tough policewoman with an emotional side. Saiju Kurup and Renji Panicker are solid as always, lending support and adding to the guessing game. In this, the film is quite different to earlier thriller Anjaam Paathira, which was more a story of an investigation, rather than a whodunnit.

Jakes Bejoy's music adds tension to the creepy moments, while Akhil George's camera work is sleek and gritty in turns.

Forensic calls for a bit of a strength of the imagination, but if you get a kick out of putting on an investigator's hat to play a guessing game, this could be just the thing for you.