Feng Shui (2004)
* * ½Oddly plotted with a first half that’s more about a cheating husband with random ghost people peppered in so you remember it’s a horror film. Back half is more assured, playing with deaths related to the Chinese Zodiac. The ghosts have more purpose and their appearances are scarier. Kind of mad that the solution comes from a phone call by a stranger. Dumb way to get your character out of their problem.
Seed of Chucky (2004)
* * Bride of Chucky was a real surprise when I saw it back in 1998, a reinvention of the franchise with a great balance of horror and laughs from writer Don Mancini. In 2013, Mancini did it again with the
underseen good time Curse of Chucky, which he also directed. In between Mancini made his directing debut with Seed, and it has two major problems. Mancini isn’t a strong director his first time out, nothing like the style he brings to Curse and lacking any scares, surprise or tension needed for a horror film. The script here is his most comedic, too much so, with way too many meta jokes, most of which don’t land. In other words, I was right to go from Bride to Curse and I recommend you do the same.
The Dark Hours (2005)
aka. Head Games
* * ½ One of those shots in the dark added by me because I heard it might be a discovery. Falls short, but I’d like to see director Paul Fox, writer Wil Zmack and star Kate Greenhouse get another chance because there’s definite talent in this tight, little cabin in the woods, home invasion thriller. Steps to the side of torture porn by focusing on psychological terror, but ends up a little obscure about what it wants to do and say.
Voice (2005)
aka. Whispering Corridors 4
* * * - Okay Another WC movie and my favorite so far because there’s an interesting whodunit around the student who’s murdered and haunts the school as a ghost trying to find her killer with the help of her best friend who learns how to talk with her. I initially bristled when the middle went into soap opera, but I learned to accept that’s what these films are, and it’s not as soapy as Wishing Stairs. I would love to watch the series with Sandy. They seem suited to her, unless she has one of those shocking un-positive reactions.
The Skeleton Key (2005)
* * The story beats unfold similar to Get Out, so the contrast shows what’s wrong here. Get Out’s suspense is the result of pointed and uneasy racial satire. Skeleton Key is built on a tourist’s idea of Voodoo in New Orleans. Director Ian Softley scoops in bayou mysticism for atmosphere, but it’s as phony as his portrayal of cyberculture in Hackers. Peter Sarsgaard is a good actor but he doesn’t know how to approach a character who is meant to initially appear helpful. He just waits for the script to tell us what he’s been letting slip the whole time. Despite all that, I really liked the way the ending plays out.