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    Movie Review

    The monster in The Cursed has more bite than the film itself

    Alex Bentley
    Feb 17, 2022 | 1:33 pm
    Alistair Petrie in The Cursed.play icon
    Alistair Petrie in The Cursed.
    Photo courtesy of LD Entertainment

    When it comes to successful horror films, the number one factor is mood. If filmmakers hope to engage their viewers and have them on the edge of their seats throughout, they need to set the mood early. Without that crucial element, a horror film becomes much less compelling and, consequently, less watchable.

    That’s the fate that befalls The Cursed, a type of werewolf movie that spends too much time on setting one kind of mood when it should have been focused on another. Set in the late 19th century, it centers on an aristocratic family who, after gypsies lay claim to their land, violently eject the group off their property. However, just before being attacked, two of the gypsies conjure a curse involving attaching liquid silver to a skull’s jaw.

    The aristocrats, who do unspeakable things to those two gypsies, are soon cursed by those silver teeth, with everyone in the general vicinity dreaming about them. Soon, someone is transformed into a kind of hairless, slimy werewolf by the teeth, with nearly everyone in the area in danger of being attacked as well.

    Written and directed by Sean Ellis, the film has difficulty establishing any kind of suspense. Ellis cares way too much about setting up the bona fides of the aristocracy in the film than about making sure the threat that’s about to take a lot of them out is credible. Nearly every attack is telegraphed so much that any dread about impending violence is rendered null and void.

    Ellis also doesn’t do a great job getting the audience invested in his characters. Early on, he jumps from character to character so quickly that it’s difficult to know who the main protagonist is, something he never actually settles on. Boyd Holbrook plays John McBride, a pathologist who comes to help the family, but how exactly he can help isn’t clear until the plot has progressed too far for anyone to care.

    Then there are the smaller details that a better filmmaker would have nailed down. For example, if you go to the film’s IMDb page, it will tell you it’s set in rural 19th century France. However, everyone in the film speaks with posh British accents, and with names like Charlotte, Edward, and John, you’d be forgiven if you thought you were anywhere but England.

    The actors do their level best, although the way the film is staged, it doesn’t really matter who’s playing what role. Holbrook, Kelly Reilly, and perennial bad guy Alistair Petrie are the biggest names in the cast, and they play their scenes effectively. But they and the other actors are not showcased all that well, and so their performances wind up mattering little.

    The best that can be said about The Cursed is that at least Ellis chose to show his monster instead of keeping it hidden away. Overall, though, the film is very moody with little payoff, a story that — unlike its monster — has little bite.

    ---

    The Cursed opens in theaters on February 18.

    Boyd Holbrook in The Cursed.

    Boyd Holbrook in The Cursed
    Photo courtesy of LD Entertainment
    Boyd Holbrook in The Cursed.
    movies
    news/entertainment

    Movie Review

    Remake of Schwarzenegger classic The Running Man stumbles

    Alex Bentley
    Nov 13, 2025 | 2:21 pm
    Glen Powell in The Running Man
    Photo courtesy of Paramount Pictures
    Glen Powell in The Running Man.

    For all its cheesy ‘80s greatness, the original version of The Running Man starring Arnold Schwarzenegger was a very loose adaptation of the novel by Stephen King. For the new remake, writer/director Edgar Wright has tried to hue much closer to the story laid out in the book, a decision that has both its positive and negative aspects.

    Glen Powell takes over for Schwarzenegger as Ben Richards, a family man/hothead who can’t seem to hold a job in the dystopian America in which he lives. Desperate to take care of his family, he applies to be on one of the many game shows fed to the masses that promise riches in exchange for humiliation or worse. Thanks to his temper, Ben is chosen for the most popular one of all, The Running Man, in which contestants must survive 30 days while hunters, as well as the general population, track them down.

    Given a 12-hour head start, Ben earns money for every day he survives, as well as every hunter he eliminates. Since he only has a relatively small amount of money to use as he pleases, Ben must rely on friendly citizens who are willing to put their own lives on the line to help him. That’s a task made even more difficult as the gamemakers, led by Dan Killian (Josh Brolin), use advanced AI to manipulate footage of Ben to make him seem like a guy for which no one should root.

    Co-written by Michael Bacall, the film is shockingly uninteresting, working neither as an exciting action film, a fun quippy comedy, or social commentary. The biggest problem is that Wright seems to have no interest in developing any of his characters, starting with Ben. Our introduction to the protagonist is him trying to get his job back, a situation for which there is little context even after we’re beaten over the head with exposition.

    The situation in which Ben finds himself should be easy to make sympathetic, but Wright and Bacall speed through scenes that might have emphasized that aspect in favor of ones that make the story less personal. The filmmakers really want to showcase the supposed antagonistic relationship between Ben and Dan (and the system which Dan represents), but all that effort results in little drama.

    Ben has a number of close calls, and while those scenes are full of action and violence, almost every one of them feels emotionally inert, as if there was nothing at stake. It doesn’t help that Wright doesn’t set the scene well, making it unclear how far Ben has traveled or who/what he’s up against. There are times when Ben feels surrounded and others when he can walk freely, weird for a society that’s supposed to be under almost complete surveillance.

    Powell has been touted as a movie star in the making for several years following his turn in Top Gun: Maverick, but he does little here to make that label stick. With no consistent co-star thanks to the structure of the story, he’s required to carry the film, and he just doesn’t have the juice that a true movie star is supposed to have. Nobody else is served well by the scattershot film, including normally reliable people like Brolin, Colman Domingo, Michael Cera, and Lee Pace.

    The Running Man is a big misfire by Wright and a blow to Powell’s star power. On the surface, it has all the hallmarks of an action thriller with a side of social commentary, but nothing it does or says lands in any meaningful way. Schwarzenegger’s one-liners in the original film may have been goofy and over-the-top, but at least they made the movie memorable, which is way more than can be said of the remake.

    ---

    The Running Man opens in theaters on November 14.

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