Review: After Midnight (2019)
Dying relationships are their own kind of exquisite horror and much like horror films, moviegoers are drawn to serious, dramatic stories about relationships in peril. There is an element of voyeurism in it, a kind of an appeal to a desire to place oneself into the drama or at least identify with what is seen. After Midnight (2019) is relationship horror, mashing up a creature feature with a slow burn analysis of why a loving couple begin to split but does that combination work? Yes and no. Aesthetically and thematically, there is a lot to admire about the film After Midnight, but the whole of the project doesn’t quite land.
After Midnight follows Hank, a man who is grappling with the sudden disappearance of his romantic and business partner of ten years for over a month. During this time, between drinking and feeling sorry for himself, Hank finds himself stalked by a monster in the swamps outside his home every night. Directed by Jeremy Gardner (also credited as the writer) and Christian Stella, the film stars Jeremy Gardner as Hank, and Brea Grant as Abby, his missing partner. The film also features Henry Zebrowski and Justin Benson as confidants of Hank and Abby who he struggles to convince of the threat of the monster that attacks each night.
The film’s strengths lie in a number of elements, the central metaphor is a strong one, while the performances and aesthetics are, as a whole, excellent. The film’s linking of Hank’s anxieties and malaise about his relationship to the monster is excellent overall until the point in which is dropped, right around the time of Abby’s return back to their home. From there it becomes a sort of strange novelty that doesn’t really pay off until the end in a surprisingly bleak and hilarious moment. It’s there that the metaphor becomes far too obvious, however; Hank kills the “old Hank” with vigor and extreme prejudice, eager to move onto the next stage of his life and love, whatever it may hold. Despite the presence of a very real monster in the story, however, most of the dread is manifested in a powerfully awkward and frank argument between Hank and Abby near the end of the film. It’s here that the film is at its best and that the monster metaphor is at its most effective: the couple air their grievances, but Hank, unwilling to move forward keeps his hand on his shotgun on his porch, waiting for the monster to attack, not recognizing the monster that his inattentiveness has created. The sequence is slow and oppressive, the camera zooming in as more and more layers of Hank and Abby’s relationship are torn away from the core problem: Abby wants more from life, and Hank is content with things as they are. It’s the most compelling moment in the film and more raw and brutal than any of the few depicted monster attacks.
So much of the film’s success hinges on the performance of Jeremy Gardner and he does a fine job at playing a sulking manchild, which is absolutely necessary given the central tension of the film. He plays drunk well, and even at his most manic, mopey, or sloshed, there is still a sort of charm that persists and helps explain why Hank and Abby have remained together for over a decade, albeit unmarried. Hank is a functioning adult, but Gardner is able to give him that sort of necessary distractedness that plays out in his scenes with his friends; someone who is hearing how to solve his problems, but not really listening to the people who are saying them. Abby, played by Brea Grant, doesn’t get nearly as much to do in the film, but certainly leaves an impact. She is seen, initially, strictly through Hank’s rosy memories, but her sudden return at the midpoint of the film, however, gives her necessary depth by contrast; Hank saw things one way, but Abby introduces a cold, hard reality into the fantasy. Grant’s excellent in both cases, she looks and appears radiant in the memories, someone anyone can fall in love with, but she also plays someone deeply frustrated and bored when reality sets in on her return. It’s a largely thankless role, but she played it with aplomb.
The two other major performances in the film Henry Zebrowski’s Wade, and Justin Benson’s Shane are a little more uneven. Not necessarily bad, but their roles are largely stock, though they do present some fun moments. Zebrowski, for example, comes off as himself rather than a character, as though the role was written for him. The podcaster/comedian, known so heavily for his manic performances, does come off as slightly subdued, as fits the role of “Florida Man becomes Father” that Wade represents. He gets some fun dialogue and a memorable scene where here drinks from a bar mat, but his character does little else but provides a funny sounding-board for Hank’s thoughts and reflects Hank’s anxieties of being a “settled man.” Benson gets the tougher job playing the skeptical realist and a cop, no less, but holds himself well in the role. He is given the necessary role of drumming up conflict for the ending as the worst dinner guest in a film, second to a literal monster, but it works. His character does feel a bit one-note, however, the cold splash of water on Hank’s issues and little else.
The run-down house out near Florida swamps looks excellent, and as a whole, the cinematography puts in work visualizing the issues the film tackles. Hank’s perspective in his memories is quite literally played as angelic with halos of light around Abby. The violent contrast of the house upon his waking, which happens several times in the film, serves to emphasize the grim reality of his life decaying because of his refusal to move on. As for the monster? The design is fun, especially because the film subverts expectations quite a bit when it comes to how much they reveal. Just as one thinks the monster’s fleeting appearances are necessarily constrained by budget, one finds themselves surprised.
The uneven structure of the film is what harms it most, as it can never quite get the combination of creature-feature and relationship drama right. There are flashes where it happens, but overall, for a large portion of the film viewers may forget about the presence of the monster, more consumed by the horror of a dying relationship. When the frayed threads entwine at the conclusion, however, it is too late. Despite those issues, the film accomplishes a lot during an 83-minute runtime. After Midnight is worth a watch and offers some fun moments, some compelling relationship drama, and a cool-looking monster.
(3.5 / 5)
You can watch After Midnight on Shudder.
I’ve just finished watching the sixth episode of season three of American Horror Stories, titled Clone. In which a young man has to live with the clone of his lover after said lover has health complications. And, well, that’s 47 minutes of my life I’ll never get back.
The story
Our story begins with a quiet birthday celebration between our two main characters, John and David. David is a billionaire who’s getting on in years. He’s frustrated by what he perceives to be a lack of drive in his younger partner. But when David has a stroke and needs to seek serious medical care, he sends a clone of himself to keep John company.
At first, John is incredibly put off by the clone. Until he realizes that the clone might just be the real love of his life.
What worked
This wasn’t a completely terrible episode. There was a lot about the premise that I enjoyed.
Most of the tension in this episode comes from John feeling like he isn’t in control of his life. He feels, rightfully so, that David is simply telling him how to live. And this is something that I don’t think we talk about enough.
This also comes up when John’s horrible friend, Jordan, tries to assault him. Once again, John feels entirely out of control of his life. He feels like a victim, and rightfully so.
I enjoyed the scene in which the David clone kills Jordan and chops him up in little pieces. This was a delightfully bloody romp, funny and dark.
What didn’t work
Unfortunately, that’s where the good part of the story stops. And most of the good acting stops with it.
Look, I usually have high expectations for acting in American Horror Story. I was especially expecting good things when I saw that David was played by Victor Garber. And that man has never acted badly in his life.
While I won’t say that Garber did a bad job here, he’s far too professional for that, I will say that it felt like he was phoning it in. He just didn’t seem like he was having fun. And that’s the kindest thing I can say about the acting.
No one else knew what the hell they were doing. It’s impossible to tell whether the main character John, played by Guy Burnet, is emotionless or just high the whole time. He can barely seem to work up any emotions, even when being almost assaulted.
The poor acting plays a part in this story being very, very dull. There are a few fun scenes, like the slaughter of Jordan. But they are shoved between long boring scenes where characters talk to each other about nothing interesting and chop onions.
I’d also like to complain about the ending. I’m going to try not to spoil it, like I did for the last episode. So I’ll be as vague as possible. Yes, it’s true that I didn’t see the ending coming. But that’s because the ending makes no sense.
Look, we all want to be surprised by an ending. But that surprise only works if it makes sense. If we can look back on the story and see the breadcrumbs that brought us here, then it’s great. But if you just throw in a twist that doesn’t fit, just to have a surprise ending, then that just feels cheap. This ending felt cheap.
Finally, and this isn’t just a complaint about this episode, I am so sick of stories about rich people walking around their rich houses with their rich problems. I am, in short, sick of rich main characters.
Killer Queens, I am starting to feel discouraged. This episode of American Horror Stories was not good television. Neither was the last one. In fact, the whole last season of American Horror Story was pretty terrible. But there are three episodes left in this season. So I’m going to hold out hope that this season has some good chills and gore waiting for us still.
Hopefully, they won’t let me down.
(2 / 5)
Movies n TV
Juju Stories (2022), a Film Review
Juju Stories (2022) is a horror anthology of Nigerian folklore, evoking the directorial visions of C.J. Obasi, Abba Makama, & Michael Omonua.
Juju Stories (2022) is a horror anthology following tales of Nigerian folklore and juju, evoking the directorial visions of C.J. Obasi, Abba Makama, and Michael Omonua. This unrated film stars Belinda Agedah Yanga, Paul Utomi, Elvis Poko, Don Ekwuazi, Nengi Adoki, and Bukola Oladipupo. As of this review, the film is only available on Amazon Prime.
Mercy (Belinda Agedah Yanga) uses a juju potion to entice her lover (Paul Utomi as Leonard). Amos (Don Ekwuazi) wanders the streets, unaware his life will change forever. Chinwe (Bukola Oladipupo) suffers misfortune as others claim her friend is a witch (Nengi Adoki as Joy).
Thoughts on Juju Stories’ “Love Potion” by Michael Omonua
The first “chapter” of Juju Stories follows a story of false love and manipulation. While not a particularly scary story, it earns recognition as the most unsettlingly real. The juju empowers a type of manipulation that we find in too many relationships. Of the three short films, “Love Potion” provides an intimate cinematography, perfectly feeding into the delusion of the characters. This entry appeals to me most, though I admit it’s likely not the entry that haunts a viewer. It’s the least concerned in horrifying the audience, with only one moment of body horror that might get some level of engagement in said area. A final note of approval is Belinda Agedah Yanga’s Mercy. Her performance seems the strongest of the three shorts, though “Love Potion” gives her more to work with as the central character.
A few considerations for viewers are the concept of a love potion in general, forcing a victim to love the owner of said potion. Another consideration is the brief moment of body horror. Though, a more accurate description leans toward bodily horror. It intentionally indulges in the grotesque to solidify the dark implications. However, it’s not proper body horror or particularly grotesque for most horror fans.
Thoughts on Juju Stories’ “YAM” by Abba Makama
“YAM” provides the most politically charged entry of Juju Stories, following characters of different economic classes as they live their lives. This entry provides a fabulism to its horror that leans towards metaphor or symbolism. The focus feels too scattered for my liking, but I recognize my own ignorance of juju or Nigerian culture might make the social critique misfire for me. However, it balances three plotlines within its time frame. A full-length feature might better explore the message of “YAM.”
The only consideration that comes to mind is that of mental illness. However, the examples in question lean more toward the fabulism aspects of the short film. Still, the story does show a character’s breaking mental state.
Thoughts on Juju Stories’ “Suffer the Witch” by C.J. Obasi
Of the three entries in Juju Stories, “Suffer the Witch” earns a placement as the most horror-focused short film. As an anthology revolving around juju, it’s only natural a witch occupies space in Juju Stories. “Suffer the Witch” creates a more haunting and horrifying plot, producing a genuinely effective witch horror in a short runtime. However, it’s also the entry that targets the youngest audience, focusing on teens in high school. The tone reflects this target audience.
There is a brief moment of nudity. It’s not particularly exploitative, aside from the target audience being younger. Another point of consideration is the queer coding of the villain added at the end. It’s interpretable, but it’s a point worth mentioning for consideration.
Final Thoughts
Juju Stories provides three short films rooted in Nigerian juju folklore and culture. The concept stands out against other potential competitors. Each entry adds a different interest to appeal to a wider audience, but this decision also means not all will haunt said audience. When there are only three entries to discuss, that could mean one-third doesn’t hit the mark, if not more.
This film earned 4 awards and 1 nomination, making respectable waves with critics.
(2.5 / 5)
Movies n TV
“C is for Cannibal” (Evil: S2E13)
“C is for Cannibal” is the season 2 finale of the supernatural drama Evil. The assessors investigate a man struggling for long pig cuisine.
“C is for Cannibal” is the season 2 finale of the supernatural drama Evil, created by Michelle King and Robert King. The central cast includes Katja Herbers, Mike Colter, Aasif Mandvi, Michael Emerson, Christine Lahti, and Andrea Martin. It originally aired under CBS before moving to Paramount+. As of this review, it’s available through Netflix and Paramount+ and its add-ons.
The assessors investigate a man struggling for long pig cuisine. David (Mike Colter) nears his ordination to become a recognized priest of the Catholic church. Kristen (Katja Herbers) finds her family in danger and struggles not to fall down old cycles. Ben (Aasif Mandvi) throws a party. Leland (Michael Emerson) provides a service to the church.
What I Like about “C is for Cannibal”
While “C is for Cannibal” doesn’t imply a sole direction for season 3, it raises the stakes and shows a new willingness to explore the demonic and supernatural. This direction accumulates with an effective reveal at the midpoint of the episode. Most shows might include that reveal at the end, but Evil displays a growing confidence in its special effects.
The episode ends with a few great reveals, some dark and others optimistic, which will leave room for season 3 to explore. Viewers learn a lot about the forces in Evil, from the purpose of the sigils to demonic rituals. It retroactively contextualizes the last episode, though I won’t say it refutes the goofiness. However, “C is for Cannibal” shows a darker transformation.
Though executed in a different manner, the parallels to last season’s finale and the new responses show growth for all characters. This growth includes Leland taking a more direct approach to his plots. At this point in the series, viewers have seen the characters develop for better or worse.
While not the most haunting episode, “C is for Cannibal” delivers on many plotlines, finally paying off some of the most pressing mysteries. It also increases the stakes, exploring further how the supernatural remains an ever-growing and real threat to the characters involved.
Tired Tropes and Triggers
There are several fantasies that show nude bodies. These scenes are intentionally voyeuristic and exclusively include female bodies. Again, there’s a reason, and these moments are brief, but I’ll note it here.
There are some bad therapy moments for the plot, purposely done to express a low point and bring another character to their own low point. Another story development suggests future manipulations from similar positions of power.
Another point of infidelity might be an issue for some. As the episode ends with this moment, “C is for Cannibal” suggests that this relationship will remain a key plot point for season 3.
What I Dislike about “C is for Cannibal”
When one of her children comments on Kristen’s corpse smell, I find it odd that she jumps into strange assumptions when her assignment provides a good reason for the smell. This decision likely suggests guilt or trauma, but the point is unexplored.
As a finale of a season with an expected season, the ending’s cliffhanger undermines its impact. Now that season 3 is available, the ambiguous ending gets an immediate resolution, making it less effective.
There are 26 letters in the English alphabet and 13 episodes in season 2. Yet, Evil manages to repeat C for two of the episodes. I still love the title gimmick, and it’s the smallest issue, but it seems like a wasted opportunity.
Final Thoughts on “C is for Cannibal”
“C is for Cannibal” concludes season 2 by providing some needed clarity on relevant mysteries. While it ends in an ineffective cliffhanger, the episode raises the stakes for season 3. The procedural plot remains an interesting storyline that ties directly with what season 2 previously built. As a finale, it does lack the finality or direction one might expect.
(3 / 5)
Final Thoughts on Season 2
In 2021, Evil earned nominations for 9 awards, which likely includes some recognition for this season. In 2022, Evil’s Katja Herbers won Best Acting in an Underrated Drama Series from the Pena de Prata, the show and cast earning an additional 26 nominations.
Season 2 shows growing pains, perhaps related to the behind-the-scenes renewal and transfer. Regardless, there are excessively high moments and moderate lows. The biggest letdown comes from how season 1’s focus gets shelved. However, those good moments keep the show continuously engaging.
(4 / 5)
