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While living abroad the Dalton family, Ben, Louise, and Agnes (Scoot McNairy, Mackenzie Davis, and Alex West Lefler), are invited to vacation at the remote home of new friends of Paddy, Ciara, and Ant (James McAvoy, Aisling Franciosi, and Dan Hough). Oddly and subtly things seem off about their hosts, different cultures and customs can only go so far, the Daltons can’t quite place it, or can they? Could it be that their guests are misunderstood well meaning English country folk, or is there something much more evil at work? Written by James Watkins, Christian Tafdrup, and Mads Tafdrup, and Directed by Watkins, this re-imagining and Anglicizing of the the 2022 Danish film Speak No Evil from the Tafdrups works to create an effective and bleak psychological thriller that doesn’t work too hard to hammer home motivations but does deliver knockout performances. McAvoy in particular has the charisma of a nuclear dynamo and the rest of the ensemble is aptly energized to match; and, while we may have an inkling of where things are headed story wise, the effective teasing in acts I and II makes the payoff of act III even that much sweeter. Further, dialogue parsed with dashes of irreverent humor and rage make for a deliciously dark watch as we get one step closer to Halloween. Running one hour and fifty minutes, Speak No Evil is rated R.

It’s been thirty six years since the ghost with most, Beetlejuice (Michael Keaton) tormented the Deetz family in their Winter River home, and, while life has been anything but normal in the subsequent years for Lydia (Winona Ryder) and her daughter, Astrid (Jenna Ortega), there’s a new panic in the afterlife when Beetlejuice’s ex wife Delores (Monica Bellucci) rolls in; her appearance might just be enough to spur Beetlejuice back into the world of the living, things could get messy. Written by Alfred Gough, Miles Millar, and Seth Grahame-Smith and Directed by Tim Burton this family reunion of cast and crew delivers oodles of fan service to the highlights of 1988’s classic hit Beetlejuice. Sandworm’s, yep, afterlife nuttiness, mmmhmmm, shrunken heads, many of them, light black comedy, dim the lights yes, all the characteristics of a Beetlejuice tale are here, including the premise of a forced wedding…again. It’s as if to say, Burton and company waited all this time to really double down on their successes and throw in the kitchen sink while they’re at it, unfortunately, that’s not necessarily a good thing here in round 2. While nods and appreciation exist for keeping the tone, texture, and artistic aesthetic as close to the original, there’s also not a lot of advancement into the characters, that is to say, for its convoluted mess and many plotlines, there’s not much story arc happening, end result, a film that comes across a bit underwhelming for trying so hard. Sure the ensemble is clearly having fun with their assignment, it’s too bad they weren’t give much fresh material to really expand and explore in. Mediocre marks this go round, running a brisk hour and forty four minutes, Beetlejuice Beetlejuice is rated PG-13.

When a tech billionaire, Slater King (Channing Tatum), emerges from a self imposed social media blackout to make an appearance at a fancy soiree fundraiser, he appears smitten with cocktail waitress Frida (Naomi Ackie). Before the night is through Frida finds herself invited to vacation and party with Slater and his friends on a private island far from the disturbances of modern life and technology. But, before long odd events seem to have Frida questioning her own reality, what is she forgetting to remember? Written by Zoë Kravitz and E.T. Feigenbaum and Directed by Zoë Kravitz this psychological thriller/horror makes for a stylized and fun first attempt for Kravitz as a Director. Bringing sharp visuals and punchy sound design to the forefront Kravitz definitely has an eye and ear for the task, but towards act III, her initial efforts seem to make way for a more straightforward and pulpy reveal. Regardless, the ensemble including Christian Slater, Simon Rex, Haley Joel Osment, Kyle MacLachlan, and Geena Davis all bring sufficiently creepy, disturbing, and sometimes laughable performances to this wild romp. With echoes of A Cure for Wellness, and Bodies Bodies Bodies as possible recent shelf mates, it would appear Kravitz and company may be part of a bigger new wave for young cinematic minds and ready to carry the torch. Running one hour and forty three minutes Blink Twice is rated R.