Episode dated 8 March 2000 (2000)
N/A|News|08 Mar 2000
Rating: Metascore: N/A
N/A

The horror specialist producer Jason Blum is now back with his latest film, Freaky. Freaky was directed by Christopher Landon, who collaborated with Blum through a unique film, Happy Death Day. With a relatively small budget, US 6 million, Blum again tried his luck by casting young stars who are not yet familiar to the ears, such as Kathryn Newton, Celeste O’Connor, Dana Drori, and senior actor Vince Vaughn. For movie lovers, this story is too familiar, but there is a new touch here.

Ahead of the Blissfield Valley High School farewell party, a brutal murder kills several teenagers.  Millie (Newton), who came home late at night during the match, had to deal with the killer. In a critical moment, a strange event occurred. The next day, Millie finds herself changing bodies with the killer who tried to kill her last night. The soul of the killer is now exchanging bodies with Millie. With the body of the killer who is currently being targeted by the police, Millie must race against time not to let “herself” kill the next victims.

The title alone seems to refer to “Freaky Friday,” a fantasy comedy film that tells the story of a mother who changes bodies with her daughter. Whether this was meant as a tribute, but Freaky packed it with a different genre, horror. Even the opening feels very similar to the Friday the 13th series with Jason’s figure. You could say the plot adopts the two film stories above. It’s sure not fresh, but it’s fun!

With supernatural elements as his motive, Freaky effectively played the audience’s laughter through this premise. Millie’s passive and insecure figure suddenly turns cold and looks different at school. Then the killer, who was big and cruel, turned into a gentle figure who looked like a girl. Of course, this transition is more than enough to make the story interesting and entertaining to the audience through both suspense and action. The two cast figures, Vaugn and Newton, work as expected. Of course, this is easy for a senior actor like Vaugn.

Freaky uses old ideas about soul transition, which is packaged freshly through horror and comedy sides. This film offers a lot of ridiculous jokes between the side of the action suspense. Landon is indeed very skilled at playing these kinds of scenes, as he did in Happy Death Day. Unfortunately for us, this film cannot be enjoyed on the cinema screen. You can imagine the laughter and screams of the audience throughout the film. For viewing during a pandemic, this kind of entertaining film feels more appropriate to relieve fatigue.

 Stay safe and Healthy!

 

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PENILAIAN KAMI
Overall
70 %
Artikel SebelumnyaBuku Harianku
Artikel BerikutnyaHonest Thief
A lifelong cinephile, he cultivated a deep interest in film from a young age. Following his architectural studies, he embarked on an independent exploration of film theory and history. His passion for cinema manifested in 2006 when he began writing articles and film reviews. This extensive experience subsequently led him to a teaching position at the esteemed Television and Film Academy in Yogyakarta. From 2003 to 2019, he enriched the minds of students by instructing them in Film History, Introduction to Film Art, and Film Theory. His scholarly pursuits extended beyond the classroom. In 2008, he published his seminal work, "Understanding Film," which delves into the core elements of film, both narrative and cinematic. The book's enduring value is evidenced by its second edition, released in 2018, which has become a cornerstone reference for film and communication academics across Indonesia. His contributions extend beyond his own authorship. He actively participated in the compilation of the Montase Film Bulletin Compilation Book Volumes 1-3 and "30 Best Selling Indonesian Films 2012-2018." Further solidifying his expertise, he authored both "Horror Film Book: From Caligari to Hereditary" (2023) and "Indonesian Horror Film: Rising from the Grave" (2023). A lifelong cinephile, he developed a profound passion for film from an early age. After completing his studies in architecture, he embarked on an independent journey exploring film theory and history. His enthusiasm for cinema took tangible form in 2006 when he began writing articles and film reviews. This extensive experience eventually led him to a teaching position at the esteemed Television and Film Academy in Yogyakarta. From 2003 to 2019, he enriched students’ understanding through courses such as Film History, Introduction to Film Art, and Film Theory. His scholarly pursuits extended well beyond the classroom. In 2008, he published his seminal work, Understanding Film, an in-depth examination of the essential elements of cinema, both narrative and visual. The book’s enduring significance is reflected in its second edition, released in 2018, which has since become a cornerstone reference for film and communication scholars across Indonesia. His contributions to the field also encompass collaborative and editorial efforts. He participated in the compilation of Montase Film Bulletin Compilation Book Volumes 1–3 and 30 Best-Selling Indonesian Films 2012–2018. Further establishing his authority, he authored Horror Film Book: From Caligari to Hereditary (2023) and Indonesian Horror Film: Rising from the Grave (2023). His passion for cinema remains as vibrant as ever. He continues to offer insightful critiques of contemporary films on montasefilm.com while actively engaging in film production with the Montase Film Community. His short films have received critical acclaim at numerous festivals, both nationally and internationally. In recognition of his outstanding contribution to film criticism, his writing was shortlisted for years in a row for Best Film Criticism at the 2021-2024 Indonesian Film Festival. His dedication to the discipline endures, as he currently serves as a practitioner-lecturer in Film Criticism and Film Theory at the Indonesian Institute of the Arts Yogyakarta, under the Independent Practitioner Program from 2022-2024.

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