Evil Wants You to Say it’s Name! “The Bye Bye Man” review!


Elliot, Sasha, and John move into an old manor home just off the university’s campus. The tight knit three friends stumble upon a tattered nightstand with scribbled nonsense inside the drawer and underneath the incoherent writing and scratched into the wood is The Bye Bye Man. Once you hear the name, a searing imprint has been made into the mind, opening up a layer within the universe that invites a grim reaper-like figure to come horrifically collect individuals who have been infected with the name. The mysterious malevolence will impose hallucinations, or tricks, upon the mind to induce others to commit evil acts on another and will stop at nothing until those who know his name are either end up dead or spread his vileness. For Elliot, Sasha, and John, their close relationships will be tested, they’re bodies will be challenged, and their minds will be altered in a race against the clock in order to beat death, to defeat The Bye Bye Man.

“The Bye Bye Man” is an Universal Pictures and STX Entertainment distributed boogeyman concept from 1995’s “The Last Supper” director Stacy Title. Title, who hasn’t been active for about ten years since her last directorial, helms the project written by her husband, an appropriately named Jonathan Penner, who also had a co-starring role in “The Last Supper.” The inspiration stems from a collection of horrific tales from Robert Damon Schneck’s “The President’s Vampire: Strange-but-True Tales of the United States of America,” but “The Bye Bye Man” borrows heavily from well-crafted horror brethren too, birthing a mythological personification of death that doesn’t wield a scythe, but rather being a master, underneath a dark hooded cloak, to a hellish beast that munches on the faces of The Bye Bye Man’s victims. “A Nightmare on Elm Street,” “Final Destination,” and a little bit of “Scream” become the selected examples that are the genetic makeup of TItle and Penner’s film, but doesn’t grossly rip from the said works, two of which are the late Wes Cravens masterpieces. Instead, Jonathan Penner reconfigures the nightmare man, a modern day Freddy Krueger type stalking every soul during the day and night hours, whom establishes his own brand of Rube Goldberg deaths through deadly vision inflictions that pray upon a human’s moral subconscious. “Don’t say it. Don’t think it” sets as the 2017 film’s tagline with the notion that perhaps little white lies are, literally, lifesavers or that the truth can be hurtful, and or knowledge can be powerful, but can also lead to your own demise.

“Ouija’s” Douglas Smith succumbs to his lead role of Elliot, an educated and patient young man who seems to have everything despite tragic misfortune that’s whisked through the character development. From friends, to a supportive brother, to a loving girlfriend, Smith transition seamlessly to languishing burden during a spotlight scene with co-star Carrie-Anne Moss (“Matrix”) that’s raw and cuttingly empathetic. The story centers around Elliot, but Sasha and John have pivotable relationships to Elliot, two essential roles given to two British actors, former girl of Prince Harry, Cressida Bonas, and television actor Lucien Laviscount. Both Bonas and Laviscount expensed drab performances, mechanically and, often, monotonically coming and going from scene-to-scene without mingling well into the rest of the film’s grim and dire trimmed overalls that basically left Smith out to pick up the slack. Along with Carrie-Anne Moss, who always seems to be typecast in a women of power role and, in this case, a detective, “The Bye Bye Man” sports other veterans of both horror and general film, but; instead, take a backseat to a younger generation of actors. “HellBoy’s” Doug Jones silently strolls through one of the easiest prosthetically garbed performances of his illustrious career as the titular character, genre stable Leigh Whannell (“Saw”) commits to a haunting performance as a murder-suicide martyr, and the legendary Faye Dunaway portrays a longtime widow of the aforementioned madman. Michael Trucco (“Wishmaster 4: The Prophecy Fulfilled”), Jenna Kanell, Cleo King (“Hood of Horror”), and Erica Tremblay round out the supporting cast.

Universal picking up a horror title resembling an infantile kids feature and releasing it theatrically might with relatively unknown, mostly non-American cast, will scratch some questioning heads, but with a well oiled supporting cast consisting of many years of guild service, a director, despite being inactive for many years, maintaining a sensible and visionary eye, and a story, aside from a few underdevelopments, that captivates with edge of your seat scares and with next moment eagerness, “The Bye Bye Man” has great potential. With smoothing out details of Elliot’s and The Bye Bye Man’s backstories and construing more of a slow burn method when getting the characters involved with the ‘don’t think it, don’t say it’ villain name, Universal would have increased their gross profits by double and the world would be happy once again. Unfortunately, that scenario was not the case as credits bombarded “The Bye Bye Man” as about as borrowed and as hokey as any low-budget horror film can be, but “The Bye Bye Man” surpassed the production budget by triple and to me, someone who generally has the same stance as most credits, that’s a win for Stacy Title and company.

The Intrepid Pictures and Los Angeles Media Fund production “The Bye Bye Man” makes a Universal Pictures Home Entertainment debut on a two-version unrated Blu-ray and DVD combo. The MPEG-4 AVC, 1080p Blu-ray disc contains a razor sharp image in the 1.85:1 presentation. Depth and shadows phenomenally define the space, especially in closer quarters and the ariel shots. A motif of bleak black and grim grey is consistent throughout, creating a tone through the darker shades, with vivid hues to gloriously fend for themselves amongst the achromatic reel landscape. The English DTS-HD Master Audio 5.1 surround sound doesn’t feign in the balance category with dialogue prevalence not short of excellence and, much like other atmospheric horror, the spooky elements are outlined in various levels from a coin dropping to a train horn. Bonus features are surprisingly zilch with no extras on either format; I guess there wasn’t much to say during or post-film. In all, “The Bye Bye Man” is a total hack with plot holes. A completely borrowed and revamped product with a terribly childish title promising nothing to the genre, but that doesn’t necessarily mean “The Bye Bye Man” can’t be entertaining, providing a wicked sense of humor and a morbid final destination outlook with unexpected casting choices and a barely bordering PG-13 horror rendering.

Say Buy to “The Bye Bye Man” at Amazon.com!

In-And-Out Evil! “The Diabolical” review!

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Single mother Madison lives with her two small children in their presence-plagued home. When money becomes severely tight and her son’s violent behavior erupts once again, the family of three are hesitant to leave their home, but once one of the apparitions transmit something to the children that won’t allow them to leave the house without becoming severely ill, the family is forced to remain stuck in their abode cell. Madison’s scientific boyfriend Nikolai looks to help the weary family fight this evil that won’t let them leave, but when Madison digs further into the apparitions, she discovers that their is more to their sudden and random appearances and that the once trusted Nikolai might somehow be maliciously involved.

“The Diabolical” is an interesting horror film from first time feature film writer-director Alistair Legrand. Legrand, whose credits mainly include music videos, opens the story up to a withering family on the verge of destruction with the father-husband having already left due to a lingering love-hate relationship between him and Madison and they’re well aware of the presences, some more grotesque than others, that come and go with a sudden spark of electricity. No set up laid out to introduce the initial contact between apparition and family; instead, the characters, though still unsettled by each frightful visit, continue to live life amongst the paranormal. Not even paranormal scientists have the fortitude to challenge the eidolons, which pokes fun at films like “The Conjuring.”
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I say that “The Diabolical” is an interesting film because the apparitions have complexities that are not made clear until near the end, but hints are strewn through to give that something isn’t exactly clear sensation. However, Legrand doesn’t quite piece together the story to deliver a packed full package to feel the full effect. The story feels undercooked and when the finale is revealed, many of the previous events in the film don’t quite add up to conclude nicely the twist ending. The apparitions have qualities that are never explained and don’t contribute to their reason for being. Another frustrating underdevelopment is with Madison, the family, and their relationship with Nikolai. Were not quite sure if Madison’s husband left because of Madison, a little exposition states that’s the case, or if their son Jacob did something to harm him fatally. The father just doesn’t exist and his presence felt neglected, ignored, and forgotten to the point where there was really no need to have the off-screen existence. Nikolai fills in that father shoe, but his relationship with Madison seems very casual as if Madison didn’t just come off a serious relationship and was dating for the first time.
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Madison is not the kind of typical role for lead actress Ali Larter. The Resident Evil and Final Destination star has been an archetype of strong female characters in most of horror movie credits and while Madison is a strong female lead, envisioning Larter as a mother of two children sits unimaginably. Besides, Legrand doesn’t make the beautiful and unflinching Larter seem like a worn and torn down person whose husband has is gone, bills are piling up to the ceiling, and harmful apparitions are popping up all over the house. Legrand also doesn’t necessarily pit the evil apparitions against Madison until near the tail end, painting the apparitions almost as if their part of the family’s imagination in the beginning. The sense that the family is completely cool with these ghost-like-gruesome and terrifying presences does nothing to motivate the family, especially Madison, to move out form the house.
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The special effects department delivers top notch phantasms even if some of the apparitions move around the house like Bill Cosby in “Ghost Dad” or look like creatures from the “Silent Hill” films. Nothing from the practical or the computer generated effects appeared shoddy. I’m pleasantly appeased by the work special effects artist Jason Collins and his colleagues have conjured up. However, the story doesn’t reflect the effects as the story loses steam abruptly for a knockout ending; the ending felt, as it looked, rushed. Tying up the mystery of the apparitions into a brief, underdeveloped scene. Then to top off the ending, leave an open ending scene that doesn’t quite work to solidify an understanding.
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“The Diabolical” is truly diabolical as Alistair Legrand’s horror film with a Sci-Fi flair teases a good and fascinating story, yet only manages to founder with an over saturated underdevelopment. I really wanted to like this movie, especially since I’m fond of Ali Larter and her work, but trying see past the Alistair Legrand’s flaws is like throwing a no hitter and still walking half the batters that come to the plate – its not a perfect game. In any case, I would still recommend “The Diabolical” from the UK distributor High Flier Films for a unique story, eye glazing CGI, and, of course, the gorgeous Ali Larter!