Review: ‘The Djinn’
There were two films released this year and both were the products of writing-directing duo David Charbonier and Justin Powell. Both films, The Djinn released on May 14, 2021, and The Boy Behind the Door just two months later on July 29, 2021, are two very different stories with their own individual atmospheres yet oddly enough they feel like a packaged set. Despite their differences in quality, story, themes, and amounts of passion that went into the productions, you can watch them both back to back and not only see the fingerprints of the pair that made them but you will get the feeling that one is an afterbirth of the first.
This may be a review for The Djinn but I feel that it is impossible to properly discuss it without also discussing The Boy Behind the Door because watching it alone, and then watching it as a companion piece results in two very different opinions. At least, from my perspective. The Boy Behind the Door is perfectly capable of standing on its own and does so with incredible suspense that will keep you clenched tight in your seat the entire time. It is a must-see, but The Djinn isn’t so lucky. The quieter, shorter feature comes off as its experimental half-brother that likes to half-ass its homework until it’s too late to turn it in. Taking on a look, feel and tone of a short film that was designed to be expanded into a feature-length one, a blueprint that never got fully mapped out, it never reaches its full potential and needs its smarter, more focused sibling to help them out.
Despite being released first, The Djinn was actually made after The Boy Behind the Door and yet it’s the one that comes off like first-time filmmakers testing the waters. There is a dreadful atmosphere and tone, with both films revolving around a boy, who is alone for the majority of the runtime, that is forced to deal with a horrible situation that forcibly exposes them to very adult themes but as I said, it never takes what it has and properly runs with it but rather sleepily walks its way through the story until the end credits start to roll.
The Djinn opens with young Dylan, a mute and asthmatic boy, walking in on his mother’s suicide. She’s standing in the kitchen with her backside to him, and only after he realizes what she’s doing, does she turn around and face him. It cuts to black and we jump ahead just a few months later as Dylan and his father are moving into a new home. This right here is the whole focus of the story, so just keep that in mind. While exploring his new home, Dylan finds an old book that offers instructions on granting people’s wishes explaining that a creature called a “Djinn” will appear to grant your deepest desire. Dylan waits until his father goes to work to get busy, and he asks exactly what you’d expect a mute little boy to ask for– he asks for a voice.
When the djinn arrives Dylan finds out that there is a catch to getting what you want. The djinn will only grant you your wish if you can survive one hour in its presence as it viciously tries to kill you. This is why you need to always read the fine print. A fairytale framed in a modern setting, the message can be boiled down to “be careful what you wish for.” There are heavy themes at play that stay way past the line of playing it safe, but I think that really all comes down to the runtime. Coming in at just 82 minutes, there is no room for anything but the plot. No time to diddle dally around, and no time to expand on what could have been some incredible psychological warfare between a boy consumed with guilt over something that wasn’t his fault, and a mythical creature that can literally bend reality.
I’m actually unsure of how to properly describe my feelings for this film. It’s short, slow but also compact, and features an incredible performance by Ezra Dewey but it never goes anywhere beyond the safe and decent resume builder that it ultimately is. At the same time, I find it impossible to simply cast it aside as a mediocre film. Whether it’s the aesthetics, tone, or the fact that there is actually an incredibly fascinating film somewhere in here, it has struck a chord with me.
Final Verdict
The Djinn is a fascinating movie wrapped inside a constipated one and while I wouldn’t say it’s by the numbers, it’s very predictable. There is a haunting and painful presence that vibrates throughout the whole story that’s amplified by Dewey’s terrified facial expressions, this alone makes it worth a viewing, and the story itself is captivating with room to branch off into many different directions but the way its executed makes it seem like an unoriginal supernatural thriller.
Is this film worth a watch? I’d say yes. I’d recommend it to someone but not to anyone looking for anything other than a slow creeping story accompanied by little to no dialogue.
(3 / 5)
Episode two of Dexter, Original Sin, was just as wonderful as the first. As a long-time Dexter fan, I find it added so much to the background of the story. And if you’re a new fan, I promise you won’t feel left behind.
The story
At the start of our episode, Dexter is learning the ropes of his new internship at Miami Metro. He’s getting a little hazing but is learning how to fit in.
Especially when he starts digging into the old files and finding new playmates for his Dark Passenger.
Meanwhile, Deb is struggling. She feels underappreciated and ignored at home. So, she decides to steal some jewelry from around the house for some quick spending money. Having little in the house in the way of jewelry, she happens upon a pair of earrings in Dexter’s room.
Nurse Mary’s earrings, to be specific.
And finally, in what will probably be the storyline for the series, a little boy is kidnapped. While he looks like a victim from the first episode of Dexter, or at least dressed in the same school uniforms, we soon find out that he’s the son of a judge. And his kidnapping might have something to do with the death of Dexter’s biological mother.
What worked
I’ve often complained about slow episodes in a TV season or mini-series. The episodes that just don’t have anything going for them. The episodes that are needed to set up the story, but otherwise are kind of dull.
This is an example of that sort of episode done well. It is true that there were no murders in this episode. There was only one dead body, and it was already dead when we got there.
But that didn’t mean the episode was uninteresting. There was character development. There was comedy. And most importantly, it had a storyline that had a satisfying conclusion. Specifically, Deb stealing Dexter’s trophy earrings and trying to sell them.
This little storyline worked on so many levels. One, it heightens tension because we know those earrings can lead the police to Dexter for the murder of Nurse Mary. Two, it shows how frustrated Deb is with her life and how far she will go to have a little fun. Three, it shows how far she won’t go when she refuses to sell her mother’s pearls. And four, it gives us a satisfying beginning, middle, and end of a story while we’re doing the necessary work of laying a foundation for the rest of the series. This was a masterclass in subplots.
I also want to point out that, so far, this series works by itself as much as it works as a prequel. I would watch Dexter Original Sin if I’d never heard the name Dexter Morgan before. And while it certainly benefits from its predecessors, it isn’t only relying on that.
What didn’t work
All that being said, I’m afraid there is still one glaring issue with this series. I hate Gellar’s character.
Yes, I am biased. But hear me out.
Tanya is supposed to be Dexter’s mentor. She got him the job as a paid intern. It would stand to reason that she did that because she wanted to take him under her wing. And yes, I am aware that a certain kind of teacher likes to knock their students down a peg or two. But she seems more interested in proving what a Strong Female she is to this college student than actually teaching him.
And frankly, this is some of the most sexist stuff I’ve ever seen on Dexter. This show has a long history of being pretty good about gender relations. It passes the Bechdel test. All of the female characters have flaws, strengths, and personalities. It’s almost like they’re, gasp, real people. None of them have been the girl hero with no personality other than being the Strong Female until Tanya was introduced. And given how similar she is to Buffy, and how unlike the rest of the cast this character is, I sense some meddling from Gellar herself.
Do better.
I am so pumped for the rest of this mini series. It is clear that everyone working on this series, except Gellar, are huge fans of the original show. Everyone is going a great job, the story is great, and I cannot wait to see what happens next.
(4 / 5)
Movies n TV
Heretic: ‘It’s a simple choice that should not be made simply: Belief or Disbelief?’
‘It’s a simple choice that should not be made simply: Belief or Disbelief?’
A24‘s chilling religious horror film, Heretic, arrived in theatres this November, forcing viewers to confront the unsettling line between faith and doubt. Directed by Scott Beck and Bryan Woods, this edge-of-your-seat thriller will leave audiences deeply disturbed as Sister Barnes (Sophie Thatcher) and Sister Paxton (Chloe East) pass over the threshold of Mr. Reed’s (Hugh Grant) home where they undergo a terrifying experience that shatters their beliefs.
The Plot.
Sister Barnes and Sister Paxton are Mormon missionaries for The Church of Jesus Christ of Latter-day Saints. As the opening scenes roll they are visiting houses in an unnamed, rural Colorado town. These houses are from a list of people who have shown interest in joining the church. After being rejected and ignored several times, they arrive at the door on Mr. Reed, a pleasant gentleman who invites them in the discuss the church, promising his wife is home in the kitchen to put the Sister’s minds at ease.
Welcoming the women to sit in his living room, Mr. Reed initiates what amounts to be an awkward conversation, questioning the faith of the missionaries. Sensing that something is amiss, with Mr. Reed’s wife still not coming to meet them and a storm brewing outside, the women decide it is time to leave. Sneaking to the front door when Mr. Reed leaves the room they find the front door locked, and the only way out is to go deeper into the strange house.
Highlights.
I have never really understood the appeal of Hugh Grant. I found him lackluster in Love Actually and just plain annoying in Bridget Jones’s Diary. After watching Heretic though I think the problem is that his career focus has been on the wrong genre. Hugh Grant is terrifying, but not in the conventional sense, in the creepy religious uncle that you only see on Boxing Day sense. It might be in the jerky way Mr. Reed walks, or the near-whispered dialogue throughout the movie. Also, whoever put Mr. Reed in those glasses is a genius, they give chilling Jeffrey Dahmer vibes.
I must also note the intense monologues that Hugh Grant delivers in Heretic. It is hard to take your eyes off him. The ideas and theories that are presented are not unknown and rather convincing. I was surprised to find myself nodding in agreement with an obviously deranged and hostile character.
Drawbacks.
It is hard to explain the main drawback of this movie without spoiling the ending, but let me try. The explanation and big reveal at the end of Heretic was a bit… on the nose. I just couldn’t hitch myself to that wagon. I understand what the writer was trying to say. That there are people who have such strong faith that they are willing to give up their lives to prove the belief true. It is the way this is presented in the plot however… I didn’t like it and wonder if there might have been another way to present this idea.
The Final Take.
Ahh, how I loved this movie. Never mind National Lampoon’s Christmas Vacation, Krampus or Die Hard, Heretic is my new favorite Christmas film. There is nothing more to be said.
(5 / 5)
Movies n TV
Returning to the Soothing World of Evil with “The Demon of Death”
“The Demon of Death” is the season 3 premiere of the supernatural drama Evil, created by Michelle King and Robert King.
“The Demon of Death” is the season 3 premiere 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. As of this review, it’s available through Netflix and Paramount+ and its add-ons.
The assessors investigate the weight of a soul. Father Frank Ignatius (Wallace Shawn) agrees to participate in this test despite his growing disillusionment. David (Mike Colter) and Kristen (Katja Herbers) deal with the ramifications of their confessions. Kristen’s girls go on the warpath with Leland (Michael Emerson). Andy (Patrick Brammall) signs his death warrant.
What I Like about “The Demon of Death”
As season 2 ended with a cliffhanger, “The Demon of Death” picks back up with an interesting addition. The episode provides a more obvious stopping point that Season 2 should have taken advantage of. It dumbfounds me because this addition makes for a more interesting and darker cliffhanger. The added context would have made the cliffhanger more palatable. However, it’s a nice twist for the episode.
Dr. Boggs (Kurt Fuller) and Sister Andrea (Andrea Martin) make an interesting pair that adds complexity to both. We even explore some of Sister Andrea’s character flaws, best displayed by her interaction with Kristen in the next scene. Few wise sage characters that display flaws, making this addition appreciated.
Father Ignatius’ introduction adds layers of interest for a character who will play a recurring role, tying into Monsignor Korecki directly. The yet-to-be-explored relationship between Father Ignatius and Monsignor Korecki (Boris McGiver) evokes an interest.
While “The Demon of Death” isn’t a haunting episode, but explores the mysteries and terror of death through science to provide an interesting environment for an episode. It introduces a new character that adds to the cast.
Tired Tropes and Triggers
There’s not much to report here that particularly crosses the line and what teeters on the line holds a dark comedic tone.
Perhaps Sister Andrea’s flaw might rub some the wrong way, as it deals with her overwhelming faith. However, it’s a minor point at the moment. Again, I lean on liking some complexity for the wise sage archetype.
What I Dislike about “The Demon of Death”
“The Demon of Death” still plays it safe with its supernatural elements, but that does seem to be Evil’s standard. At this point of the series, it seems a strange restraint. However, the new normal remains functionally paranormal.
While the premiere starts with an interesting procedural plot, it doesn’t direct the season like prior premieres. This episode doesn’t deliver a massive refocus as season 2’s premiere, but that’s because its conclusion doesn’t deliver as focused of a direction. Regardless, “The Demon of Death” is still an episode that slips away despite its premiere status.
Ben (Aasif Mandvi) seems needlessly hostile as they investigate a soul’s potential weight. The study delivers a thorough scientific process, which makes his resistance linger on the “angry atheist” archetype.
The demon shown on screen certainly isn’t the demon of death the title suggests. While the plot revolves around the mystery of death, there is a demon with a more carnal domain. As future episodes dive into their respective demons, it does seem to be an inaccurate title. However, the demon of the episode will get further focus in a different episode.
Final Thoughts
“The Demon of Death” doesn’t stand out as a premiere but provides an interesting procedural episode. As Father Ignatius will become another key character in the series, giving him an entire episode to introduce him is a nice strategy. While it’s not a haunting episode, it still provides a level of camp with interesting characters to pull it off. (3 / 5)
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