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Based on V. C. Andrews’ 1979 novel of the same name, Jeffrey Bloom’s Flowers in the Attic is a little better than some critics suggest. That’s not to say you’ll love it, but let me go through a few details here and make a light defense of the film. To begin with, plenty of horror fans will come forward and suggest it’s not a horror film. While I understand the sentiment, my initial response is usually, “Who cares?” However, I do think there are plenty of horror elements here. In fact, it doesn’t hurt that Wes Craven was originally considered to direct it. Obviously, if you’ve read the title, I think this movie has themes similar to those found in The People Under the Stairs, and I’ll elaborate more on that in a bit.

The second predictable critique of Flowers in the Attic will be of the acting. Yet again, I understand the criticism. Victoria Tennant, Kristy Swanson, and Jeb Stuart Adams don’t offer the most commanding performances committed to film. However, let’s not forget about Louise Fletcher, who definitely takes control of this film, giving a performance similar to what she accomplished in One Flew Over the Cuckoo’s Nest. As you watch, you may be enraged by her, as she puts everyone through hell due to sins of the past.

The result should make us ask: Should one’s perceived morality justify unrelenting cruelty? Might that urge exist beforehand, with the sadistic impulse requiring righteous justification? In fact, could it be that justification itself adds to the depravity of our actions, by masking punishment as a virtue? All of these disturbing (and, let’s face it, semi-kinky) questions unfold in Flowers in the Attic.

A Strange Tale

So, what specifically happens in this story? (Obviously, one might wish to avoid reading further if they don’t want any kinds of “spoilers.”) After the death of her husband (Marshall Colt), Tennant’s character, Corrine, moves into the mansion of her estranged father, Malcolm (Nathan Davis). She hopes her father will forgive her, then rewrite his will to hand over his estate after his death. However, Corrine’s mother, played by Fletcher, is perpetually going to punish Corrine and her children, Chris (Adams) and Cathy (Swanson) and 5-year-old twins Cory (Ben Ganger) and Carrie (Lindsay Parker).


Basically, these kids are, well, “kidnapped” for years by their grandmother’s estate as their mom tries to gain her father’s love (and fortune). At the same time, they are all ostensibly waiting for his funeral to escape the grandmother’s sadism. The siblings are imprisoned, only getting a sense of freedom when she’s out. Things get desperate when their mother gradually abandons them, with no plans to sneak the children out of the house. Basically, her greed ends up trumping their need.

Symbolism and the Comparison You Came Here For

Aside from flowers and an attic, Flowers in the Attic has some symbolism built into the plot. Obviously, these children live where their mother lives, yet they might as well be separated by thousands and thousands of miles. They first arrive in town as strangers to their grandmother, even though they’re related. It’s not like they have no place to stay, but end up feeling like they’d be better off lost. These are all themes of abandonment. Also, even though their grandmother considers herself well-raised and moralistic, she’s no better than the proverbial slob raised in a barn.

Again, people sometimes question if this is horror, but some of these family members are no better than deranged killers. In fact, considering that Wes Craven was considered to direct, I can’t help but wonder if this story partly influenced Craven’s later film, The People Under the Stairs. Both feature characters too psychologically damaged to defend themselves against their wealthy captors. Noticeably, they are basically disarmed (none of the victims carry a gun). Both stories feature perverted mother and father roles.

Then, of course, you have imagery like the attic door or, in The People Under the Stairs, kidnapped children locked away in a basement. In Flowers in the Attic, when the kids see their grandfather for the first time, it’s not like the old man simply refuses to accept them — he attacks them and seems like a monster.

Really, the main difference is that, in Flowers, the grandmother has hired some henchmen who prevent the kids from escaping. In People, the Mommy (Wendy Robie) and Daddy (Everett McGill) characters compel kids (Brandon Adams, A. J. Langer) into hiding, too. As perhaps the ultimate thematic crossover, kids also end up spying through walls in Flowers in the Attic. Though it lacks the bloody scenes prominent in The People Under the Stairs, the adults in Flowers in the Attic seem perfectly capable of burying young bodies in the woods.


One Last Bit of Trivia

The final scene of Flowers was filmed at Greystone Mansion in Beverly Hills, California. The 2007 film There Will Be Blood also filmed parts at Greystone Mansion, as well as films like Austin Powers in Goldmember, The Big Lebowski, Cabin Boy, Death Becomes Her, Eraserhead, Ghostbusters II, The Golden Child, The Muppets (film) (Kermit’s mansion), Sam Raimi’s Spider-Man franchise, Stripes, and The Witches of Eastwick. Also, soap operas like The Young and the Restless and The Bold and the Beautiful have used the location, and even the music video to “I’d Do Anything for Love (But I Won’t Do That)” by Meatloaf features Greystone.

What are your thoughts on Flowers in the Attic? Is it similar at all to The People Under the Stairs or does this idea belong locked away in a basement or attic?

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Movies n TV

You Reap What You Woe



Episode five of Tim Burton’s Wednesday was very busy. A lot is going on here, and most of it is quite fun. So let’s not waste any time getting into it.

First, we must discuss the fate of poor Eugene. If you’ll recall, the last episode ended with Wednesday finding him in the woods, covered in blood. 

Despite Principal Weem’s insistence that he’s resting up and healing, he’s actually in a coma in the local ICU. But maybe she has reason to gloss over that unfortunate fact. It’s parents’ weekend, after all. Probably not the best time to admit that a student was grievously injured. 

While there are certainly some Nevermore students who are happy to see their parents, none of our main characters are among them. We know that Wednesday isn’t thrilled to see her family, as she’s still resentful that they left her there. 

Family therapy scene from Wednesday

Still, she’s not exactly pleased when Gomez is arrested for the murder of a man named Garrett. This devastates the family and forces Morticia to reveal a secret she’s been keeping from Wednesday. 

Morticia also finally gets a chance to talk about Wednesday’s visions with her. She tells her that Goody Addams, who’s made psychic contact with Wednesday several times, is there to teach her about her visions. But Goody Addams is also super vengeful, and not to be trusted. I wonder why. 

While much of the episode is about freeing Gomez from jail, the subplots are no less interesting. 

Let’s start with Enid. As we know from the first episode, she has yet to grow into her full werewolf potential. If she can’t do this, she’ll be shunned by her kind and likely abandoned by her family pack. Her mother wants to help her, by sending her to a summer camp meant to help werewolves wolf out. Enid refers to these as conversion therapy camps. Which is clearly a problem. 

The story that shook me was Bianca. She’s outright afraid when her mother shows up. And the reason is soon made clear.

Her mother is part of a cult called the Morning Song. Bianca’s mother is married to the leader. She’s been using her siren song to trap people in the cult. But her powers are fading. She wants Bianca to come take her place. If she doesn’t, she’ll reveal a terrible secret of how Bianca got into Nevermore Academy in the first place. 


I honestly don’t have a lot of bad things to say about this episode. Except that wolf out is a ridiculous term and I cannot take anyone who uses it seriously at all. The characters were fun, the storyline was interesting, and it was satisfying to start getting answers. It helped that this episode included some real-world bad guys, like conversion therapy and cults. If every other episode of this season had been as good as this one, the show would be top marks from me all around. 

This episode was a dramatic example of exactly how parents can fail at their job of raising their kids. And, thankfully, how they can succeed. We see Enid’s mom refusing to let her grow at her own pace. We see Sheriff Galpin ignore a clear cry for help from his son Tyler. We see Bianca’s mother, involved in a cult, using her child for her siren powers. And of course, we don’t see Xavier’s parents at all.

Lucius Hoyos

But we also see Morticia being a good mom to a difficult kid who’s rebelling against her. We see Enid’s father supporting her, exactly as she is. We see Eugene’s moms by his side at the hospital. At the bedside of their son, they are still able to give comfort to Wednesday. That is some strength right there. 

Overall, this was a fun episode. We got some answers and were introduced to even more questions. I had fun watching it, and I’m looking forward to the next episode. 

4 out of 5 stars (4 / 5)

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Movies n TV

Solace, a Film Review

Solace (2015) is a mystery thriller directed by Afonso Poyart. This R-rated film stars Anthony Hopkins, Jeffrey Morgan and Abbie Cornish.



Solace (2015) is a mystery thriller directed by Afonso Poyart. This R-rated film includes Anthony Hopkins, Jeffrey Dean Morgan, Abbie Cornish, and Colin Farrell. As of this review, it is currently available to Netflix and Hulu subscribers.

As a string of murders leave FBI agents Joe Merriwether (Jeffrey Dean Morgan) and Katherine Cowles (Abbie Cornish) perplexed, Joe turns to an old FBI contact and friend, Dr. John Clancy. Dr. Clancy possesses psychic abilities that make him an essential asset, but tragedies in his personal life leave him distant and broken. Fearing a person with similar gifts as himself, Dr. Clancy cannot help but lend his assistance.

Anthony Hopkins stares with a blue tent over his right eye. Colin Farrel behind him. The background is blue with several faces.
Solace Alternative Cover Art

What I Like

This cast is great, with notable legends living up to their reputation. While by no means career-highlighting performances, they work well together and provide a weight that pushes past lackluster character roles.

As the main character, Anthony Hopkins’s Dr. Clancy stands out above the rest. Given the most screen time and plot relevance, this opinion comes easily. His role has the most opportunity to make us care for his character.

Solace creates fun and engaging scenes that tie directly to the characters’ psychic abilities, adding tension in unique ways. While other movies with psychics utilize similar strategies to convey this power–the movie Next comes to mind–the scenes add variety to otherwise lackluster cinematography. This decision also adds a somewhat strategic nature to the psychic battles.


Originally intended to be a sequel to Seven, this idea, thankfully, does not follow through to the final product. The story behind that is the typical Hollywood shuffle and brand recognition. I can’t exactly figure out a place to put this interesting fact, but the choice remains a benefit to the film.

White background, rubber stamp with disclaimer pressed against the white background.
Disclaimer Kimberley Web Design

Tired Tropes and Trigger Warnings

Slight spoilers ahead! Read this section with that in mind.

A closeted man contracts AIDS and infects his wife. As this goes into rather old homophobia and fears, I felt it needed mentioning. Considering the film’s release date, 2016 (US), the plot point feels uninspired.

Some gratuitous sex scenes tie into the above reveal. The dramatic reveal and voyeuristic nudity (of the wife) make for an odd viewing experience. When the reveal isn’t shocking, it doesn’t exactly add much weight to the elongated scenes.

Anthony Hopkins and Colin Farrel separated by a knife.
Solace International Cover Art

What I Dislike

There are no tactful ways to go about the low effort of the film. It’s surreal to see the names attached, the concepts addressed, and how it all fumbles. I imagine this discrepancy has something to do with the original sequel idea, but that remains speculation. Ultimately, the film feels awkwardly low budget for the cast it possesses.

Adding to this weakness are the underdeveloped characters and rushed plotlines. The film feels unfocused in direction, revealing things as they become relevant with fluctuating degrees of foreshadowing. Some of these revelations work, with some speculation, but adding them all together makes Solace weaker as a film.

This film isn’t scary, despite the premise being extremely promising. The idea of a potentially psychic killer does evoke a lot of possibilities, added with the exceptional cast, and it seems destined for success. Yet, the horror is middling at best.


Solace wants to be more and achieves some success in certain areas, but its inability to build and support these ideas hinders the overall quality. Perhaps Solace desires to upstage the twists of the typical mystery thriller that makes the film grasp too many new and interesting ideas. Regardless of the reason, the film suffers, and the viewing experience becomes underwhelming.

Final Thoughts

For a thriller killer, Solace doesn’t hold much water to competition. While the cast performs their roles perfectly and works well with each other, the notable weaknesses in writing and lackluster visuals don’t do the acting justice. A surprisingly exciting cast becomes a disappointing letdown. 2 out of 5 stars (2 / 5)

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Movies n TV

Woe What a Night



Episode four of Tim Burton’s Wednesday was one that plenty of people have been talking about. And now that I’ve seen it for myself, I can see why. It was memorable. Just not always in good ways.

We start the episode with Wednesday and Thing breaking into the morgue for clues. They discover that each of the monster’s victims has missing body parts. If you’ll recall, a homeless man was murdered at the end of the last episode.

While investigating, Wednesday finds Xavier’s secret art studio. He’s been drawing and painting the monster over and over. So, at least someone else has seen it. 

Of course, Xavier catches her skulking around his studio/abandoned building on school property. 


I honestly don’t understand why this school has so many buildings around campus accessible to students without teacher supervision. I wonder what the teen pregnancy rate is at this school.

Cornered, Wednesday invites him to the RaveN dance. This, of course, pisses off Tyler, who has a thing for her. An unrequited thing, might I add.

Not surprisingly, Wednesday doesn’t care about the dance. She cares more about getting information about the monster. She goes to Sheriff Galpin, who does seem to be an ally. At the very least, it seems like the two of them are the only ones taking the literal monster in the woods who is eating people seriously.

They agree to work together, to a point. She brings him concrete evidence of the monster, and he agrees to do a DNA test for her. 

Of course, we couldn’t just focus on that. There’s a dance to go to. 


If you haven’t seen a single episode yet of Wednesday, you at least know about this goofy dance the title character does in this episode. Everyone was doing it, from morning shows to teenagers on Tik Tok. And it’s fine. It reminds me of some dance scenes in Addams Family Values. It was awkward and a little funny. It wasn’t worth the hype, but it was charming.

Jenna Ortega in Wednesday.

Of course, while the kids are dancing, the town kids are planning to prank them. I mean, I guess this is a prank. They pump paint into the sprinkler system and set it off during the dance. Of course, everyone but Wednesday is wearing white. 

In the resulting chaos, Wednesday has a vision of Eugene, who went into the woods looking for the monster’s lair. This, of course, is exactly what she told him not to do. She runs out to find him but doesn’t beat the monster there. Strangely, she’s not the only one running around in the woods covered in blood. So is Ms. Thornhill.

Overall, this was a rather cliche and dull episode. But it wasn’t without its moments. One thing I appreciated was Bianca’s response to Xavier at the dance. Even though she was pretty desperate to go to the dance with him, she doesn’t allow herself to be disrespected. I appreciate that. She didn’t take her anger out on Wednesday, either, which was nice. It’s 2023. We don’t need girls being cruel to each other over boys.

I also like Wednesday going to Sheriff Galpin, and him believing her. We did not have to suffer through the cliche of a teen who doesn’t trust the adults around her. Neither did we see the pompous adult who doesn’t listen to the teens when they bring evidence to them. And this was so refreshing. I loved to see it. 

Now, let’s talk about what didn’t work here. Specifically, there were too many teenagers with moody, angry brooding moments. Everyone has a crush on everyone else, and nobody is handling it well. Shocker. 

Emma Myers in Wednesday

I am not entertained by teenage love triangles. Tyler likes Wednesday, who doesn’t care. Bianca likes Xavier who likes Wednesday, who still doesn’t care. It’s an irritating subplot and could have been replaced by any number of good stories. And yes, I understand that this is a kid’s show, intended for kids. Kids deserve smarter subplots. Kids are worthy of smarter subplots. If Disney can realize not every story needs a love component, everyone can.

All in all, this wasn’t a great episode. But it wasn’t terrible. There was way too much focus on dances and teenage relationships. But at least it moved the mystery forward. So there’s hope for the episodes to come.  3 out of 5 stars (3 / 5)

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