Unfriended: Dark Web
by George Wolf, MaddWolf.com
The good news: this Dark Web isn’t searching for your credit card info.
That would be playing nice compared to what the sequel to the surprisingly effective Unfriended has in store. More good news: it’s mean is pretty damn lean, clever and creepy.
Like its predecessor, Dark Web does a great job upholding the integrity of the “real time computer screen” gimmick. But from the opening setup, this one carries more eerie authenticity.
First-time director Stephen Susco, a veteran writer with plenty of horror titles in his resume, knows the genre has always reflected the anxieties of the day, and his screenplay here feels as in-the-moment as a brand new laptop with all the latest add-ons.
And that’s just what Matias (Colin Woodell) needs for his new programming project, but funds are tight. He finds a used one on Craigslist that might do, but when he hooks it up for a Skype game night with his friends, the previous owner “slides into his DMs.”
That’s what the kids, say, right?
There’s some bad, bad, stuff on that hard drive, and Matias has to strike bargains with the bad guy if he wants his friends to survive the night.
Sure there are some preposterous turns, but as the upper hand shifts (and shifts again), Susco and his winning cast (including Blumhouse favorite Betty Gabriel) make it a suspenseful ride. We’re making these discoveries right along with them, and while true scares might be in short supply, there’s is no shortage of nasty and unpleasant.
As online cautionary films go, Dark Web gets it better than most. The original Unfriended debuted four years ago, or in tech/social media terms, the Stone Age. Susco finds a wry, self-aware groove to drive home just where we’re at today: manufactured reality, “swatting,” and even, yes, internet currency.
Word is, there will be two theatrical prints, each with different endings. I can think of one that would pretty well spoil all that Dark Web executes so well.
I didn’t see an ending like that.
I hope you don’t either.
The Equalizer 2
by George Wolf, MaddWolf.com
It still confounds me why John Wick gets more action cred than The Equalizer. Released less a month apart in 2014, Denzel and director Antoine Fuqua bettered Keanu and Chad Stahelski in nearly every respect. But, in fairness John Wick helped inspire Key and Peele’s very funny Keanu so I’ll move on.
JW already dropped its deuce (with part 3 currently in the works), and now The Equalizer 2 gets its director, star and screenwriter (Robert Wenk) back together for a slightly less satisfying dose of the same medicine.
Robert McCall (Denzel) has moved on from that big box hardware store he decimated in part one and settled in as a Lyft driver, making friends around his Boston neighborhood, and enemies when someone wrongs his friends.
E2 lets us see more of that random equalizing, which means more time before we get to the core conflict, but also more helpings of those bad guy beatdowns that bring such primal satisfaction.
Denzel is effortlessly good, which comes as a shock to no one. He digs deeper into the character this time out, maintaining the ticks that outwardly define McCall while sharpening the edges of a mysterious past that is never too far out of reach.
Secrets from that past begin to leave a bloody trail, and after a hit is ordered on his old boss Susan (Melissa Leo), McCall promises to make the guilty pay, his only regret being that he “can’t kill them twice.”
Denzel as a badass is so much cool fun, and he’s clearly the muse for Fuqua’s best work (Training Day, The Magnificent Seven). The stylized violence that so elevated the first film is here as well, but like most of the other elements, in lesser numbers.
The absence of a memorable villain is also felt. Marton Csokas was a great one, and E2 comes nowhere close to matching his simmering intensity. Substantive moral ambiguities are raised in fairly generic fashion, metaphors get a touch too weighty and the running time a bit too excessive.
The Equalizer 2 does offer plenty to like – Denzel, some scenes with unexpected turns, a surprisingly touching epilogue, Denzel – but little of it can match the style or the vibe of the original.
Mamma Mia! Here We Go Again
by Hope Madden, MaddWolf.com
You may be asking yourself, is Mamma Mia! Here We Go Again just 90 minutes of second-rate, b-side Abba songs? All those weird songs that no sensible story about unplanned pregnancy could call for? Songs like Waterloo?
Nope. It is nearly two full hours of it.
Sophie (Amanda Seyfried) wants to open her mother’s crumbling Greek hotel as an upscale island resort. She’s so terribly angsty about it! Will anyone come to the grand opening? Will her mom be proud of her? Can she handle the pressure if her husband’s traveling and two of her three dads can’t make it?
Transition to a simpler time, a time when her mom Donna was young (played by Lily James), bohemian and striking out on her own. She has chutzpah. She has friends who love her. She has great hair.
The majority of the sequel to Phillida Lloyd’s 2008 smash looks back on the romantic voyage that created the three dad business of the first film.
James is a fresh and interesting a young version of the character Meryl Streep brought to life in the original. Likewise, Jessica Keenan Wynn and Alexa Davies make wonderful younger selves for Tanya (Christine Baranski) and Rosie (Julie Walters).
The three dads have young counterparts as well, though only Harry (Colin Firth/Hugh Skinner) lands a memorable characterization. Firth is reliably adorable while Skinner’s socially awkward young man is as embarrassing and earnest as we might have imagined.
Also, Cher.
Expect an awful lot of needless angst and long stretches without humor. Whether present-time or flashback, the film desperately misses the funny friends. Desperately. But when they are onscreen, Here We Go Again cannot help but charm and entertain.
The story is weaker, although there is a reason for that. While the original gift-wrapped an origin story to plumb, the plumbing is slow going when you still have to abide by the Abba songtacular gimmick.
The sequel’s musical numbers rely too heavily on slow tunes and stretch too far to make the odder Abba songs work, but in a way, that is, in fact, the movie’s magic.
Your best bet is to abandon yourself to the sheer ridiculousness of it. There is literally no other way to enjoy it.
