Fantasy Island Review




To emit:

Michael Peña as Mr. Roarke

Maggie Q as Elena

Lucy Hale as Melanie

Austin Stowell as Sonja

Jimmy O. Yang as Brax

Ryan Hansen as JD

Michael Rooker as Morgan

Directed and co-written by Jeff Wadlow

Fantasy Island Review:

It has been 15 years since the public first entered the mind of writer / director Jeff Wadlow in criticism criticized. Howling Wolf and in the years since he tried his luck in everything, since the 2008 martial arts actor never back down to the adaptation of graphic novel of 2013 Kick-Ass 2 and the 2016 Netflix action comedy True memories of an international murderer. In 2018 he partnered with Blumhouse Productions to return to horror with Lucy Hale Truth or Dare and although it was demolished by critics, it was a blockbuster and helped cement the working relationship between the independent study of power and has given us a new horror image of the iconic series Fantasy island, and once again he dropped the ball so hard that the ground collapsed beneath it.

The reimagining follows a group of people, all with dark secrets in the past, as they are taken to the titular escape after winning a contest and the charismatic Mr. Roarke offers them the opportunity of his life to bring each of his fantasies . to life, with the only warning that once a fantasy begins, the guest must see it until its natural end and that they are only allowed to have a fantasy. But as their fantasies begin, dark events begin to appear and they realize that things are not as exciting as they originally appeared.

The original series certainly had the possibility of leading to some terrors, with its underlying theme of "Be careful what you want," and Wadlow certainly does everything possible to meet those scares, the problem is his excessive dependence on the scares of jump and failure to configure them in any type of suspense. As soon as a character enters a new area or thinks he sees something scary, he moves away from the screen just as quickly, without leaving the audience with any scary images to stay in the head until the next moment of "catching ". When the film begins to approach its conclusion, the tension begins to increase and the characters face what should be the most emotional enemy of all: zombie appearances of memorable people in their lives.

The problems with the film certainly do not lie in its rhythm, not even in its humor, which I need to return desperately, but in the history and writing of the film, as well as its scares. Every time the movie uses a troop widely used by the horror genre, it does so, from evil doppelgangers fighting their real counterparts to black-eyed aggressors and seemingly positive lines that persist without a follow-up to create a "subtle" sense of Threat and omen for the characters and the public alike.

When the movie is not boring and the story is no longer entangled … wait, correction, when the movie IS boring and the story becomes meaningless convoluted is when the film shines in the way it was not intended: a hilarious work of "art" along the same lines as Tommy Wiseau's The room. From his clumsy and direct dialogue to his predictable plot points and attempts to scare off cheap jumps and atmospheric construction, at the moment I began to laugh at the disbelief of his terribleness, I couldn't stop laughing at every revelation and effort of the plot. scare me.

One of the best and worst elements of the film came in every attempt to refer to its source material, including the iconic “The plane! The plane! "Phrase pronounced by Tattoo (Hervé Villechaize) and the classic telephone in Mr. Roarke's office. It seems that it should be a great honor for fans of the original series, but instead of feeling like a subtle nod to What came before, feels like a forced attempt to remind people that this is a different version of something that is mostly superior. Without spoiling the element itself, an important plot twist in the film is not just one of the most predictable parts in it, but also the most outrageous and delusional attempt to connect to the source material.

Overall, this may be one of Blumhouse's weakest efforts in recent times, even with December's Black christmas in mind, but in a strange way it is redeemed for its involuntary hilarity that permeates the entire 110-minute runtime that makes it a different kind of entertainment experience that could be enjoyed with a group of friends and maybe a drink .. .or five. In fact, I'm going to do some drinking games to watch this movie!


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