I_Ailurophile
Joined Oct 2002
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I_Ailurophile's rating
I feel a little bad for Ishana Night Shyamalan. To read of the press surrounding this film, her directorial debut, she apparently thought the foremost question on people's minds was one of nepotism, whether or not her career received undue benefit from the fact of her parentage. In truth, the top question asked before this was released was "can the daughter make better movies than the father's slop?" That's kind of the opposite of nepotism. For my part I didn't get an immediate answer because I didn't see it in theaters, and because from my outside perspective 'The watchers' came and went in June 2024 without any buzz at all; I couldn't even tell you what the word of mouth was, because I gathered none - speaking, perhaps, to small attending audiences. Only in the past week or so, months later, did I finally see someone give a concrete statement as to the picture's quality, and when I say that it piqued my interest as a cinephile, do not make the mistake of thinking that statement reflected positively on Ishana. To at last sate my curiosity and watch this for myself: how is it, actually?
I'll allow the possibility that when expectations are low we may be especially prone to scrutinizing a picture for any possible flaw. At the same time, if there weren't flaws readily available to scrutinize, the question would never be raised of whether our judgment is too harsh. So when in only the opening scene I ponder the usefulness of what feels like needless opening narration, needless lines of dialogue, and questionably overt music, editing, and direction, it's because these thoughts came to me all too easily. So did the question of wondering how, in making a feature at this level - produced by M. Night, picked up for distribution by New Line Cinema, and released in 2024 - Ishana fell into the trap that I thought had all but vanished from cinema of shooting scenes at nighttime or in dim light, in the forest, in such a manner that it's difficult, as a viewer, to entirely see what's happening. Unfortunately, such issues will come to dominate the viewing experience, further reflected or borne out in additional information or development of characters, development of the story, and even during very early exposition.
I'm not familiar with the novel of A. M. Shine, though of course now I would be curious to compare. I recognize in Ishana's screenplay, presumably derived much more than not from the novel, a great deal of potential weaving together horror, dark fantasy, folklore, the tragic, and the psychological. Part of the trouble with Ishana's adaptation - which I hope is not also reflected in the novel - is that we are given considerable background for Mina as a character, but the story does nothing meaningful with it. It was a solid thread that could have been pulled to sinister, dramatic ends, but ultimately "Mina" doesn't need to be anything except a person who had a reason to drive through the forest. More pervasive than this, however, is that the apple doesn't fall far from the tree, and like her father, Ishana has not crafted a title with any subtlety. There were plentiful opportunities for her to do so, but from the start it kind of feels as if the presentation is being shoved in our faces: gently, perhaps, but shoved nonetheless, and maybe a bit carelessly. This extends through the second act, for example draining power from the appearance of the creatures since we see them so clearly in all their digitally-enhanced artificiality, and all the way through to the climax and finale when the chance is missed to strike upon emotional weight and themes that are simply absent.
With all this said, I don't think the flick is outright bad. Most everyone contributing turned in swell work, including the production design and art direction, and vivid sound. The cast are perhaps bound by the heavy hand with which Ishana directs, but at large their performances are fine; I think the computer-generated imagery used here already shows its limits upon release, meaning that it will age poorly and rapidly and that more practical effects should have been exercised, but it's not terrible. I don't necessarily like how Abel Korzeniowski's original score was employed throughout the length, but I do like that score in and of itself. And seeing as how this is Ishana's debut, I have hopes that she might yet learn the lessons that her father has not over his career; she is young, and her writing and direction are not outright bad either, in my opinion - just in need of further development beyond the influence of a key figure in her life. May she grow in her skills, and impress some day in the future.
No, this isn't rotten. But it's very upfront in how it tells its story, therefore offering no dynamics by which thrills, awe, or gravity might manifest, and therefore quashing the potency of any notions to unfold later in the narrative. Any ideal of what the material could have been was not unlocked, and in turn the whole makes no major impression at all at any time. I repeat my wish that Ishana Night Shyamalan take what she has already learned as a filmmaker and grow beyond it, for 'The watchers' illustrates baseline competency, and it will next be time to shape a movie into a form that best serves its moods and plot. As for this in and of itself - well, there are worse ways to spend your time, but there are certainly better ones, too. Unless you have a special impetus to watch, save it as something light and uninvolved for a quiet night, and keep your expectations in check, and maybe that's the best way to get the most out of 'The watchers.'
I'll allow the possibility that when expectations are low we may be especially prone to scrutinizing a picture for any possible flaw. At the same time, if there weren't flaws readily available to scrutinize, the question would never be raised of whether our judgment is too harsh. So when in only the opening scene I ponder the usefulness of what feels like needless opening narration, needless lines of dialogue, and questionably overt music, editing, and direction, it's because these thoughts came to me all too easily. So did the question of wondering how, in making a feature at this level - produced by M. Night, picked up for distribution by New Line Cinema, and released in 2024 - Ishana fell into the trap that I thought had all but vanished from cinema of shooting scenes at nighttime or in dim light, in the forest, in such a manner that it's difficult, as a viewer, to entirely see what's happening. Unfortunately, such issues will come to dominate the viewing experience, further reflected or borne out in additional information or development of characters, development of the story, and even during very early exposition.
I'm not familiar with the novel of A. M. Shine, though of course now I would be curious to compare. I recognize in Ishana's screenplay, presumably derived much more than not from the novel, a great deal of potential weaving together horror, dark fantasy, folklore, the tragic, and the psychological. Part of the trouble with Ishana's adaptation - which I hope is not also reflected in the novel - is that we are given considerable background for Mina as a character, but the story does nothing meaningful with it. It was a solid thread that could have been pulled to sinister, dramatic ends, but ultimately "Mina" doesn't need to be anything except a person who had a reason to drive through the forest. More pervasive than this, however, is that the apple doesn't fall far from the tree, and like her father, Ishana has not crafted a title with any subtlety. There were plentiful opportunities for her to do so, but from the start it kind of feels as if the presentation is being shoved in our faces: gently, perhaps, but shoved nonetheless, and maybe a bit carelessly. This extends through the second act, for example draining power from the appearance of the creatures since we see them so clearly in all their digitally-enhanced artificiality, and all the way through to the climax and finale when the chance is missed to strike upon emotional weight and themes that are simply absent.
With all this said, I don't think the flick is outright bad. Most everyone contributing turned in swell work, including the production design and art direction, and vivid sound. The cast are perhaps bound by the heavy hand with which Ishana directs, but at large their performances are fine; I think the computer-generated imagery used here already shows its limits upon release, meaning that it will age poorly and rapidly and that more practical effects should have been exercised, but it's not terrible. I don't necessarily like how Abel Korzeniowski's original score was employed throughout the length, but I do like that score in and of itself. And seeing as how this is Ishana's debut, I have hopes that she might yet learn the lessons that her father has not over his career; she is young, and her writing and direction are not outright bad either, in my opinion - just in need of further development beyond the influence of a key figure in her life. May she grow in her skills, and impress some day in the future.
No, this isn't rotten. But it's very upfront in how it tells its story, therefore offering no dynamics by which thrills, awe, or gravity might manifest, and therefore quashing the potency of any notions to unfold later in the narrative. Any ideal of what the material could have been was not unlocked, and in turn the whole makes no major impression at all at any time. I repeat my wish that Ishana Night Shyamalan take what she has already learned as a filmmaker and grow beyond it, for 'The watchers' illustrates baseline competency, and it will next be time to shape a movie into a form that best serves its moods and plot. As for this in and of itself - well, there are worse ways to spend your time, but there are certainly better ones, too. Unless you have a special impetus to watch, save it as something light and uninvolved for a quiet night, and keep your expectations in check, and maybe that's the best way to get the most out of 'The watchers.'
Though admittedly not until the past few years, I've seen the 1991 and 1993 movies with Raul Julia and greatly enjoyed them. It was only today, however, that I learned for the very first time that there was a third Addams Family movie made in the 1990s. Of course it behooves one to wonder how a new title in such a franchise could go so unremarked, but however one goes about discovery, it doesn't take long to find out. One could read of the production history, and learn how producers sought to create a rendition geared toward kids and emphatically stripped of much of the dark comedy that makes the titular clan who they are in the first place. I would say that there's something to be said for how this flick was originally intended to represent the point of origin for a new TV series, a medium that often lends itself to simplified and reduced writing, but again that returns us to the nature of the Addams Family. But if we sit to watch for ourselves, it becomes clear just as readily how 'Addams Family Reunion' went a little sideways.
It's not that this is entirely rotten, or wholly bereft of the wit and morbid humor we assume of the franchise. Familiar elements are represented to one extent or another: the playful combativeness between dry, brilliant Wednesday and high-energy Pugsley; the ravishing love between the joyfully sullen Morticia and the exuberantly weird Gomez; the madness of other family members including Uncle Fester and Grandmama; the twisting of facets of everyday life with notions drawn from horror, dark fantasy, science fiction, and the grimmer side of real life; the clash between the kookiness of the Addamses and conventional, vanilla townspeople. All this is further borne out in the aesthetics to greet us, including carefully considered production design and art direction, costume design, hair and makeup, and stunts and effects - not to mention instances of flavorful dialogue, gags and situational comedy, and the characters as written. For just one example of the latter, consider a scene in which Gomez and Morticia almost sensually wax poetic about the inevitable spiral of mortality that awaits them as they age. If you'll pardon the awkward phrasing, this isn't NOT an Addams Family film.
Even from the opening scene, however, we can begin to observe how the apparent intended slant of Saban and producer Mike Elliott informs the writing and execution. The outrageousness we rightly anticipate of the household and their shenanigans is sometimes reduced to abjectly cartoonish, childish, simple-minded silliness, the sort of overcooked, exaggerated tomfoolery which may get a rise out of the youngest of viewers for whom more clever frivolity is too intellectual, but which may be tired or even dull for viewers of more refined, discerning sensibilities, or a more mature sense of humor. This isn't to say that there's no fun to be had here at all - that's certainly not the case - but when your supposed laugh factory churns out a lot of "Haha! Look at this silly man! Isn't he so silly?!" or juvenility fit for 'Scooby-Doo,' you're asking for trouble. As these matters are reflected in not just the writing and direction but also in some of the acting, in the computer-generated imagery, and even in the cinematography, one recognizes swiftly how pervasive the issues are.
Earning further ire is how many effects are represented. The thing about CGI is that it almost invariably ages rapidly, and looks worse the more we see of it, or the more it is required to achieve. Practical effects will always, always be preferred; the black and white stop-motion animation of 1933's 'King Kong' will continue to reign supreme long after the digital wizardry of twenty-first century iterations has been more widely criticized in retrospect for its falseness. I can't fault the artists who worked on this for having limited resources and the contemporary technology that they did, but this doesn't change the fact that post-production visuals in this picture plainly do not blend into the filmed footage - and unlike, say, the otherworldly lightsabers and laser blasts of the original 'Star Wars' trilogy, details like the carnivorous mailbox of Fester's special dog are theoretically meant to be part and parcel of the world before us. Granted, such inclusions are relatively infrequent embellishments, but when they do come into play, the incidence is kin of unfortunate.
If all this sounds like a surfeit of criticism, though, I must emphasize that 'Addams Family Reunion' isn't totally as bad as all that. It has problems, and I can definitely understand why it's held in lesser regard than the prior theatrical releases, but I actually think that its lowly reputation is frankly undeserved. It may not inspire the hearty reactions we commonly want out of comedies, but even at its most ham-fisted it's wryly, cheekily entertaining in the way we want from the Addamses. The plot is a minor delight while laying the groundwork for the proverbial fireworks as the Addamses get mixed up with the wrong family reunion, and more than not the dialogue, scene writing, and details of the narrative really do fit neatly alongside all we presume of the oddball kin. Though they suffer from the flaws in the writing and direction I quite like the cast, including dexterous Christopher Hart and instantly recognizable Carel Struycken, Nicole Fugere and Jerry Messing, and those in secondary supporting parts like a young Haylie Duff, Ed Begley Jr., Rodger Halston, Heidi Lenhart, Hilary Shephard Turner, and Ray Walston. Above all, I think Daryl Hannah is an unexpected pleasure in her turn as Morticia, and it's safe to say that the inimitable, versatile Tim Curry is probably the top highlight as he succeeds with flying colors in embodying eccentric Gomez.
Weaknesses persist through to the end, including additional story ideas and scenes within the last twenty minutes that feel somewhat hastily tacked on, and which were unmistakably approached far less attentively than other material herein. Still, for all the difficulties that hound it, I can say in all sincerity that I had a good time watching. The tidbits that earn harder scrutiny may be roughly as numerable as those that earn praise, but I'm inclined to think that the latter manage to outshine the former. It's surely one of the lesser representations of the famous menagerie, but even at that it's not the worst, and provided that one is looking for something to watch of a lighter, less robust nature, in my opinion 'Addams Family Reunion' deserves a mild recommendation.
It's not that this is entirely rotten, or wholly bereft of the wit and morbid humor we assume of the franchise. Familiar elements are represented to one extent or another: the playful combativeness between dry, brilliant Wednesday and high-energy Pugsley; the ravishing love between the joyfully sullen Morticia and the exuberantly weird Gomez; the madness of other family members including Uncle Fester and Grandmama; the twisting of facets of everyday life with notions drawn from horror, dark fantasy, science fiction, and the grimmer side of real life; the clash between the kookiness of the Addamses and conventional, vanilla townspeople. All this is further borne out in the aesthetics to greet us, including carefully considered production design and art direction, costume design, hair and makeup, and stunts and effects - not to mention instances of flavorful dialogue, gags and situational comedy, and the characters as written. For just one example of the latter, consider a scene in which Gomez and Morticia almost sensually wax poetic about the inevitable spiral of mortality that awaits them as they age. If you'll pardon the awkward phrasing, this isn't NOT an Addams Family film.
Even from the opening scene, however, we can begin to observe how the apparent intended slant of Saban and producer Mike Elliott informs the writing and execution. The outrageousness we rightly anticipate of the household and their shenanigans is sometimes reduced to abjectly cartoonish, childish, simple-minded silliness, the sort of overcooked, exaggerated tomfoolery which may get a rise out of the youngest of viewers for whom more clever frivolity is too intellectual, but which may be tired or even dull for viewers of more refined, discerning sensibilities, or a more mature sense of humor. This isn't to say that there's no fun to be had here at all - that's certainly not the case - but when your supposed laugh factory churns out a lot of "Haha! Look at this silly man! Isn't he so silly?!" or juvenility fit for 'Scooby-Doo,' you're asking for trouble. As these matters are reflected in not just the writing and direction but also in some of the acting, in the computer-generated imagery, and even in the cinematography, one recognizes swiftly how pervasive the issues are.
Earning further ire is how many effects are represented. The thing about CGI is that it almost invariably ages rapidly, and looks worse the more we see of it, or the more it is required to achieve. Practical effects will always, always be preferred; the black and white stop-motion animation of 1933's 'King Kong' will continue to reign supreme long after the digital wizardry of twenty-first century iterations has been more widely criticized in retrospect for its falseness. I can't fault the artists who worked on this for having limited resources and the contemporary technology that they did, but this doesn't change the fact that post-production visuals in this picture plainly do not blend into the filmed footage - and unlike, say, the otherworldly lightsabers and laser blasts of the original 'Star Wars' trilogy, details like the carnivorous mailbox of Fester's special dog are theoretically meant to be part and parcel of the world before us. Granted, such inclusions are relatively infrequent embellishments, but when they do come into play, the incidence is kin of unfortunate.
If all this sounds like a surfeit of criticism, though, I must emphasize that 'Addams Family Reunion' isn't totally as bad as all that. It has problems, and I can definitely understand why it's held in lesser regard than the prior theatrical releases, but I actually think that its lowly reputation is frankly undeserved. It may not inspire the hearty reactions we commonly want out of comedies, but even at its most ham-fisted it's wryly, cheekily entertaining in the way we want from the Addamses. The plot is a minor delight while laying the groundwork for the proverbial fireworks as the Addamses get mixed up with the wrong family reunion, and more than not the dialogue, scene writing, and details of the narrative really do fit neatly alongside all we presume of the oddball kin. Though they suffer from the flaws in the writing and direction I quite like the cast, including dexterous Christopher Hart and instantly recognizable Carel Struycken, Nicole Fugere and Jerry Messing, and those in secondary supporting parts like a young Haylie Duff, Ed Begley Jr., Rodger Halston, Heidi Lenhart, Hilary Shephard Turner, and Ray Walston. Above all, I think Daryl Hannah is an unexpected pleasure in her turn as Morticia, and it's safe to say that the inimitable, versatile Tim Curry is probably the top highlight as he succeeds with flying colors in embodying eccentric Gomez.
Weaknesses persist through to the end, including additional story ideas and scenes within the last twenty minutes that feel somewhat hastily tacked on, and which were unmistakably approached far less attentively than other material herein. Still, for all the difficulties that hound it, I can say in all sincerity that I had a good time watching. The tidbits that earn harder scrutiny may be roughly as numerable as those that earn praise, but I'm inclined to think that the latter manage to outshine the former. It's surely one of the lesser representations of the famous menagerie, but even at that it's not the worst, and provided that one is looking for something to watch of a lighter, less robust nature, in my opinion 'Addams Family Reunion' deserves a mild recommendation.
While I had considerable doubts, I was pleasantly surprised by Greg Tiernan and Conrad Vernon's first parlay with the Addamses in 2019. It was enjoyable, with some fair bits of cleverness and decent writing - even if it also sometimes fell prey to tired, common tidbits (of action or humor) that seemed primed to cater or condescend to the youngest of viewers, among other subjective faults. With that in mind, one can't help but be all the more skeptical of this release of two years later. Sequels are dicey affairs to begin with, maybe more so with both animation and established properties, and the notion of taking the titular clan on a road trip doesn't outwardly inspire confidence. Be that as it may, could 'The Addams Family 2' still be worthwhile on its own merits?
The good news is that with the same filmmakers, much the same cast, and much the same crew returning to produce this successor, we can trust that it will maintain the same spirit to the greatest extent that it can. Once more, to one degree or another, we get all the familiar elements: the playful, combative relationship between dry, brilliant Wednesday and high-energy Pugsley; the grand, morbid love between joyfully sullen Morticia and exuberantly weird Gomez; the madness of Uncle Fester; the wry, clever twisting of everyday life with notions from horror, dark fantasy, science fiction, and the grimmer aspects of real life like murder, torture, illness, and so on; and the clash between the oddball Addams clan and conventional townspeople, etc. Composers Mychael and Jeff Danna return to provide a flavor score, the voice cast give swell performances, and even as a new writing team enters the fray, these ninety-odd minutes can boast some welcome, often fabulous cleverness including fun one-liners and quips, situational humor, gags, and the outrageousness that follows the Addamses and their uniqueness. Say what one will about this flick, it's not bad, and it really does offer some light entertainment just as its predecessor did, with plenty of smiles and even some laughs to come as the minutes tick by.
With that said, however, this picture also shares the same troubles as the 2019, and I don't think there's much arguing that they're more significant this time around. When it comes to the plot the writing leans even more toward thoughts that are fairly ordinary as Wednesday's origins are called into question, and in smaller B-plots, Wednesday seeks recognition and Pugsley gathers advice about girls. With a more plainly dramatic bent and even more concrete narrative - and villain - there are also distinct mood swings here that feel out of character with what we anticipate of the franchise. There's nothing wrong with any of this per se, and of course we are glad to see these thoughts twisted in the Addams fashion, but one does wish that something more creative could have been whipped up that was more appropriate to a bunch of characters as creative as these. More than this, however, it's the case that 'The Addams Family 2' also tends more than its forebear to rely on writing that caters and outright condescends to the youngest of viewers. There is plentiful wit here, yes, but other instances of intended humor slip all too easily from witty to wearisome, and still others are purely juvenile and unsophisticated. More than that, there are even more sequences here that reach for outlandish razzle dazzle for its own sake, seeking to "wow" the young ones for whom more shrewd writing would go over their heads. This includes action scenes, not least the climax; almost any scene involving Cousin Itt, who has a bigger presence this time around; and, worst of all, any scene involving pop, hip hop, or otherwise plays on popular music. In fact, within the last minutes the latter is so garish and off-putting as to single-handedly reduce whatever favor one may otherwise bestow.
I don't dislike this feature. On the contrary; I really did have a good time. Yet there's no getting around that the entertainment this has to offer tends to be of a more passive nature, and those ways in which 'The Addams Family 2' falters are pretty much as numerous as those in which it succeeds - and really, it's arguable that the balance shifts toward the former more than the latter. What it comes down to, I think, is that where the 2019 film ably came across as an entry in the overall franchise that wove in more typical ideas of family-friendly animation, the opposite is true here, and the 2021 sequel is more of a typical family-friendly animated film into which aspects of the kooky clan were infused. When all is said and done this is worthwhile to some extent, despite whatever criticisms we may lay at its feet. It's just that the amusement it offers is generally lesser and specifically more frivolous, so it's a movie that's really best left for a quiet lazy day when you mostly just want to relax. If that sounds like something you can get on board with, then maybe you can appreciate 'The Addams Family 2,' too.
The good news is that with the same filmmakers, much the same cast, and much the same crew returning to produce this successor, we can trust that it will maintain the same spirit to the greatest extent that it can. Once more, to one degree or another, we get all the familiar elements: the playful, combative relationship between dry, brilliant Wednesday and high-energy Pugsley; the grand, morbid love between joyfully sullen Morticia and exuberantly weird Gomez; the madness of Uncle Fester; the wry, clever twisting of everyday life with notions from horror, dark fantasy, science fiction, and the grimmer aspects of real life like murder, torture, illness, and so on; and the clash between the oddball Addams clan and conventional townspeople, etc. Composers Mychael and Jeff Danna return to provide a flavor score, the voice cast give swell performances, and even as a new writing team enters the fray, these ninety-odd minutes can boast some welcome, often fabulous cleverness including fun one-liners and quips, situational humor, gags, and the outrageousness that follows the Addamses and their uniqueness. Say what one will about this flick, it's not bad, and it really does offer some light entertainment just as its predecessor did, with plenty of smiles and even some laughs to come as the minutes tick by.
With that said, however, this picture also shares the same troubles as the 2019, and I don't think there's much arguing that they're more significant this time around. When it comes to the plot the writing leans even more toward thoughts that are fairly ordinary as Wednesday's origins are called into question, and in smaller B-plots, Wednesday seeks recognition and Pugsley gathers advice about girls. With a more plainly dramatic bent and even more concrete narrative - and villain - there are also distinct mood swings here that feel out of character with what we anticipate of the franchise. There's nothing wrong with any of this per se, and of course we are glad to see these thoughts twisted in the Addams fashion, but one does wish that something more creative could have been whipped up that was more appropriate to a bunch of characters as creative as these. More than this, however, it's the case that 'The Addams Family 2' also tends more than its forebear to rely on writing that caters and outright condescends to the youngest of viewers. There is plentiful wit here, yes, but other instances of intended humor slip all too easily from witty to wearisome, and still others are purely juvenile and unsophisticated. More than that, there are even more sequences here that reach for outlandish razzle dazzle for its own sake, seeking to "wow" the young ones for whom more shrewd writing would go over their heads. This includes action scenes, not least the climax; almost any scene involving Cousin Itt, who has a bigger presence this time around; and, worst of all, any scene involving pop, hip hop, or otherwise plays on popular music. In fact, within the last minutes the latter is so garish and off-putting as to single-handedly reduce whatever favor one may otherwise bestow.
I don't dislike this feature. On the contrary; I really did have a good time. Yet there's no getting around that the entertainment this has to offer tends to be of a more passive nature, and those ways in which 'The Addams Family 2' falters are pretty much as numerous as those in which it succeeds - and really, it's arguable that the balance shifts toward the former more than the latter. What it comes down to, I think, is that where the 2019 film ably came across as an entry in the overall franchise that wove in more typical ideas of family-friendly animation, the opposite is true here, and the 2021 sequel is more of a typical family-friendly animated film into which aspects of the kooky clan were infused. When all is said and done this is worthwhile to some extent, despite whatever criticisms we may lay at its feet. It's just that the amusement it offers is generally lesser and specifically more frivolous, so it's a movie that's really best left for a quiet lazy day when you mostly just want to relax. If that sounds like something you can get on board with, then maybe you can appreciate 'The Addams Family 2,' too.