Freaky review

For F*** Magazine

Director: Christopher Landon
Cast : Vince Vaughn, Kathryn Newton, Katie Finneran, Celeste O’Connor, Misha Osherovich, Uriah Shelton, Alan Ruck, Melissa Collazo
Genre: Horror/Comedy
Run Time : 1 h 43 min
Opens : 12 November 2020
Rating : NC16/M18

“Body swap slasher movie” – that’s a killer elevator pitch right there. This movie’s initial title was Freaky Friday the 13th, which was likely changed due to rights issues, but tells you all you need to know. Happy Death Day director Christopher Landon continues his collaboration with Blumhouse, Hollywood’s reigning horror studio, with this horror comedy.

The Blissfield Butcher (Vince Vaughn) is a serial killer who has become the stuff of urban legend. Millie Kessler (Kathryn Newton) is a shy Bayfield Valley High School student. After an altercation involving a cursed Aztec dagger, they swap bodies. Millie, now in the guise of the Butcher, must convince her best friends Nyla (Celeste O’Connor) and Josh (Misha Osherovich) of her far-fetched predicament. Meanwhile, the Butcher, inhabiting Millie’s body, sets about murdering the other high school students. Millie-as-the-Butcher must retrieve the dagger to reverse the transformation within 24 hours, or it will become permanent.

Landon began his career as a screenwriter and wrote four Paranormal Activity films, directing one. He directed the juvenile, largely off-putting Scouts Guide to the Zombie Apocalypse, before establishing himself as “the comedy slasher guy” with Happy Death Day and its sequel. Freaky sees Landon upping his game, refining a lot of the techniques he used in the Happy Death Day films. There’s an economy to the way Freaky sets things up and pays them off, and the structure works. This also looks slightly more expensive than many other Blumhouse movies do, with the opening sequence in a mansion filled with antiquities being an atmospheric way to begin the movie.

It’s been almost 25 years since Scream, the meta horror-comedy that defined a generation of slasher movies. Freaky follows in those bloody footprints with a healthy amount of wink-wink genre awareness, but never becomes self-indulgent. This is considerably gorier than Happy Death Day, which was a PG13 movie, while Freaky very much isn’t. Tonally, this works: it’s scary when it needs to be, it’s funny when it needs to be, and it’s a little emotional when it needs to be. There’s even a bit of social commentary, with the-Butcher-as-Millie taking on high school boys who behave in a sexually aggressive manner. The plot device of the dagger is efficient – there’s no need for circuitous explanations about the mechanics of the body swapping. There’s also an inspired visual effects flourish during one crucial moment that sells the body swap well.

While Landon generally has a handle on the tone, Freaky’s cheekiness can sometimes get the better of it. Bear McCreary’s heightened, arch score pretty much announces “hi, I’m a horror movie score, get ready for some jump scares”. Depending on your mood, this can either heighten everything else going on, or pull one out of it a bit. Some moments of comedy are a bit too broad, with the scene in which Nyla and Josh consult the Spanish teacher about the engraving on the dagger sticking out as quite silly. Plenty of the jokes land, but some of them don’t – several attempts at approximating Gen Z dialogue miss the mark, but it’s not as bad as it could have been.

A key ingredient to any body swap story is the differences between the two people doing the swapping. While Vince Vaughn and Kathryn Newton are physically distinct, there are times when it feels like the movie might have been a bit miscast. Vaughn’s casting is likely a nod to the misbegotten 1998 remake of Psycho that he starred in. He is very good at affecting the teenage girl-ness – not quite to the level of Jack Black in the Jumanji movies, but almost there. While Vaughn is physically imposing, he’s just not very scary in this, and for it to work completely, the Butcher must be convincingly frightening before the swap takes place. The excellent supporting cast does make up for it, with Celeste O’Connor and Misha Osherovich being very likeable as the stock best friends. Alan Ruck is also good as a particularly odious shop teacher.

Freaky largely plays by genre rules but has plenty of fun with them and makes the most out of its fantastic premise.

Summary: A teen horror comedy with a bit more kick than most examples of the genre, Freaky knows what it is and has fun while it’s at it.

RATING: 4 out of 5 Stars

Jedd Jong

Pokémon: Detective Pikachu review

POKÉMON: DETECTIVE PIKACHU

Director: Rob Letterman
Cast : Ryan Reynolds, Justice Smith, Kathryn Newton, Omar Chaparro, Chris Geere, Ken Watanabe, Bill Nighy, Rita Ora
Genre : Adventure/Comedy/Fantasy
Run Time : 1 h 45 mins
Opens : 9 May 2019
Rating : PG

            The hugely popular Pokémon multimedia franchise gets its first live-action movie in the form of Pokémon: Detective Pikachu, based on the 2016 spin-off video game.

The story follows Tim Goodman (Justice Smith), who has abandoned his childhood dreams of becoming a Pokémon trainer to work in an insurance firm. After the disappearance of his father, a police detective in Ryme City, Tim meets the Pikachu (Ryan Reynolds) who once belonged to his father. Together with Lucy Stevens (Kathryn Newton), an intern at a news network, Tim and Detective Pikachu attempt to solve the mystery of Harry’s disappearance.

They uncover a conspiracy that seems to implicate the wealthy Clifford family – Howard Clifford (Bill Nighy) is the benevolent visionary who built Ryme City, while his son Roger (Chris Geere) has wrested control of Clifford Enterprises from his father. Also figuring into the mystery is a serum that turns normally-friendly Pokémon into savage monsters. Tim, Detective Pikachu, Lucy and her Psyduck must prevent the enactment of a dastardly scheme that endangers the human and Pokémon residents of Ryme City alike.

There’s a fair amount of risk in making a movie like Pokémon: Detective Pikachu – video game movies haven’t exactly had the best track record, and Pokémon is such a sprawling, beloved franchise that a poorly-received live-action movie would be a significant misstep. The momentum behind this movie getting made owes mostly to the Pokémon Go augmented reality mobile game, which held the world in its thrall.

It’s a clever move to make a live-action movie based on one of the more obscure entries in the Pokémon oeuvre as opposed to making a movie about the characters featured in the Pokémon anime series. There’s a bit more room to experiment, and while Detective Pikachu does have an experimental feel to it, it also can’t help but feel like a corporate product. Director Rob Letterman, whose background is in animation, and who also directed Goosebumps, handles the integration of live-action and animated characters well.

The film’s plot is straightforward, its underlying mystery not exactly involving, and it often feels derivative of many movies that came before it. However, it’s also a movie that’s clearly made by people who care about and love the Pokémon franchise. The movie brims with texture and seems designed for audiences to point excitedly at the screen as they recognise various types of Pokémon. The film’s design is its strong suit: Ryme City feels like a hybrid of London and Tokyo, with a dash of Blade Runner neon-noir to its aesthetic. Some of the Pokémon redesigns work better than others. While plenty are still cute, Mewtwo suffers from what seems like a lack of texture, thus feeling more like a video game character than the other Pokémon who populate the film.

There’s a delightful incongruity in hearing Ryan Reynolds’ voice emanate from an exceedingly cuddly Pikachu. The character animation on the titular character is marvellous, incorporating some motion capture performed by Reynolds. While the Detective Pikachu of the video game had a gruff voice, Ryan Reynolds sounds like Ryan Reynolds, but that’s not necessarily a bad thing. There’s a mix of optimism and mischief that the character animation in combination with Reynolds’ voice work captures. There’s also the great device of giving Detective Pikachu an extreme fondness for coffee, as kind of a replacement for the cigarettes which detectives in noir movies would chain-smoke.

There is not very much to the human characters, but Justice Smith gives this his best shot. The character has left behind the dreams of his youth and has accepted a dreary existence, with the sudden entry of Detective Pikachu into his life reigniting his imagination. The Tim character is a cipher for viewers who grew up with Pokémon but may have moved on from the games, toys and cartoons as they’ve entered adulthood.

Kathryn Newton’s Lucy character is every bit the intrepid reporter archetype, combined with the giddy energy of a girlish anime protagonist. Her character is more heightened than Tim, and Newton and Smith don’t have great chemistry, but thankfully the film does not focus on a romantic subplot.

Ken Watanabe turns in a respectable supporting turn as Ryme City Police Lieutenant Hideo Yoshida, Harry’s boss, but the show is stolen by Bill Nighy. Nighy is a distinguished actor who has been in a fair number of silly movies but hearing him utter words like “Pokémon” and “Mewtwo” with a straight face is a thing of sheer joy.

Grading on the curve of video game movies, Pokémon: Detective Pikachu is an achievement. It does sometimes feel like a corporate, impersonal product, made to further expand an already-big brand, but there’s also an earnestness to it and a level of craftsmanship behind it that keep it a safe distance from being wholly soulless. There’s a cheery nostalgia that underpins this and a welcome familiarity to the elements that hark back to 80s movies. It’s not the most ground-breaking example of what it could’ve been, but there’s still plenty to like about Pokémon: Detective Pikachu.

RATING: 3.5 out of 5 Stars

Jedd Jong