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Shudder's theatrical releases usually signal something special, a cut above their streaming fare. Sadly, The Rule of Jenny Pen breaks that trend. While the film taps into a genuinely unsettling fear - the isolating and degrading reality of aging in a poorly managed care facility - (well at least for me), it ultimately fails to deliver a compelling horror experience.

James Ashcroft's direction certainly sets a bleak and claustrophobic tone, effectively portraying the decaying environment of the rest home. The performances are strong, particularly Geoffrey Rush's portrayal of the stroke-ridden Judge, Stefan Mortensen. Rush conveys a chilling vulnerability and simmering rage despite the limitations of his character's physical state. John Lithgow and Nathaniel Lees also deliver solid performances, adding to the ensemble of troubled and vulnerable residents.

However, the film's central conceit - an elderly psychopath using a child's puppet to inflict abuse is menacing and truly terrifying. Unfortunately, this underlying dread is weighed down by a plodding pace and a lack of genuine scares. The film drags on far too long, dwelling on the misery of its setting without offering sufficient narrative momentum or tension. The result is a film that is more depressing than terrifying.

The real horror of The Rule of Jenny Pen lies in its depiction of the dehumanizing aspects of elder care. The film effectively portrays the sense of helplessness and isolation experienced by the residents, and the casual cruelty of some of the staff. This is where the film succeeds, tapping into a genuine and deeply unsettling fear.

While The Rule of Jenny Pen may resonate with those who find the inherent horror of aging and institutionalization compelling, it ultimately fails to deliver the thrills and chills expected from a Shudder theatrical release. It's a somber meditation on mortality, but a disappointing horror film.

Osgood Perkins' The Monkey begins with a palpable sense of dread, evoking the clever, darkly comedic horror of Final Destination. The opening sequence, with its Rube Goldberg-esque chain of unfortunate events triggered by a seemingly innocuous toy, sets a high bar for suspense and originality. The film initially feels like it's building towards something special, a clever blend of supernatural horror and darkly comedic mayhem.

Unfortunately, The Monkey begins to unravel as it progresses. While the premise of a cursed toy monkey that orchestrates gruesome deaths has potential, the execution becomes increasingly erratic. The film suffers from a tonal imbalance, awkwardly shifting between moments of genuine horror and forced, often cringe-worthy attempts at humor. The kills, while initially creative, become increasingly random and gratuitous, lacking the carefully constructed cause-and-effect that made the early sequences so effective. It feels like the filmmakers are throwing everything at the wall to see what sticks, rather than building a cohesive narrative.

Theo James and Tatiana Maslany deliver solid performances, but their efforts are undermined by the inconsistent script. The characters, while initially intriguing, become less defined as the story progresses, and their motivations often feel muddled. The film also suffers from pacing issues, with certain plot points feeling rushed while others are dragged out unnecessarily.

What starts as a promising horror film with a unique premise ultimately devolves into a frustrating mess. There is some saving grace here however, gather a group of friends together, grab some drinks, and have fun with it. The Monkey is a movie that is so bad, it's good to be watched and have fun with.

Marvel Studios has been in a bit of a slump lately, delivering projects that often feel more like obligatory content than truly compelling storytelling. Captain America: Brave New World is a welcome shift in momentum-one that shows signs of course correction-but it still falls short of greatness.

At its best, Brave New World recaptures some of the grounded tension and political intrigue that made The Winter Soldier a standout in the MCU. Anthony Mackie steps into the lead role with confidence, proving that Sam Wilson is more than capable of carrying the mantle of Captain America. His performance brings both heart and gravitas to the film, making him an inspiring yet relatable hero. The action sequences, while not groundbreaking, have a raw, practical feel that's been sorely missing from recent Marvel outings.

However, while the film succeeds in some areas, it struggles in others. The story, though engaging, doesn't quite reach the heights of the best Captain America films. Some characters feel underdeveloped, and the pacing occasionally stumbles, making certain stretches drag when they should be thrilling. The villain, while serviceable, lacks the complexity or presence of past MCU antagonists, leaving the film without a truly memorable foil for Sam.

Still, compared to recent MCU misfires, Brave New World is a solid effort. It's not a return to peak form, but it's a step in the right direction-one that offers hope that Marvel can find its footing again. If nothing else, it proves that Captain America's legacy is in good hands.