For It Is Man's Number: courtney taylor

Showing posts with label courtney taylor. Show all posts

Wednesday, 3 June 2026

Prime Time: Prom Night III: The Last Kiss (1990)

Are we all allowed to finally acknowledge that Prom Night isn't one of the great slasher movies? There are many times when I would much prefer to watch Prom Night II: Hello Mary Lou. And I can now say that I'd also happily revisit this third film in the series before wanting to go back to the original. It's perfectly fine, does everything that you need from a standard slasher, but both the second and third films are more creative and enjoyable. I assume I will be disappointed by the fourth film, but part of me can't help holding on to a small amount of optimism.

What we have here is something ridiculous and silly from start to finish, but it's also self-aware enough to make everything work. Some may not appreciate the emphasis on comedy in this horror comedy, but I think it works very well in balancing the supernatural horror plot elements with a surprisingly high number of successful gags.

Courtney Taylor is Mary Lou for this outing, and she's a lot of fun in the role (although I think Lisa Schrage could have done just as good a job, if only she'd been approached with an offer). Returning to her high school, Mary Lou decides to spend her time and energy on Alex Grey (Tim Conlon). Alex has a girlfriend (Sarah, played by Cynthia Preston, billed here as Cyndy Preston), but he also has a number of standard teen problems. Mary Lou can get rid of those problems, but her approach usually results in someone ending up dead.

Ron Oliver moves from his writing work in the previous movie to both writing and co-directing (with Peter R. Simpson) this. It may feel a bit crude and cheap in places, but that is part of the charm. This is a film that shows a young man seduced by a woman offering him easy solutions until he finally figures out just where this path of good intentions ultimately leads, and Oliver has great fun juxtaposing the traditional housewife imagery with entertainingly psychotic set-pieces.

Conlon and Preston are both fine in their roles, and David Stratton, Dylan Neal, and Lesley Kelly are highlights in supporting roles (the latter also the subject of a particularly great running joke about her status as a guidance counselor, as opposed to being a teacher or a "real person"), but the film belongs to Taylor, in her first feature role. Okay, she has the best role, but she also attacks both the comedy and the craziness of it with such gusto that she more than does enough to keep Mary Lou as one of the great "unsung" slasher movie villains in the stacked history of the sub-genre.

I can imagine a lot of horror movie fans being put off by the tone of this one, but I absolutely loved it. I didn't expect it to be so silly and irreverent, but I was absolutely on board when I saw what everyone was aiming for, and how well they were all doing in service of the material.

8/10

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Tuesday, 17 January 2023

The Invitation (2022)

If you're going to update a classic horror tale, but want to keep it all feeling like an old-fashioned slice of gothic, then you could do a lot worse than watching The Invitation, where director Jessica M. Thompson and writer Blair Butler show us exactly how it should be done.

Nathalie Emmanuel plays Evie, a young American woman who finds herself in a whole new world when a DNA/family tree test leads to her discovering relatives she was previously completely unaware of. They may be distant relatives, but it gives her a chance to visit their lavish home in England, where her distant cousin, Oliver (Hugh Skinner), does his best to ensure that Evie isn't made to feel too uncomfortable. Unaccustomed to mingling with the upper-class, Evie is both intrigued and upset by what she sees around her, particularly when it comes to the way the head butler (Sean Pertwee) treats the staff, but she soon becomes much more relaxed in the company of the charming Walter (Thomas Doherty), the lord of the manor. Maybe Evie will end up making a new home in England, but she will have to deal with the skeletons in the family closet first.

There's nothing in The Invitation that will surprise, or even impress, most viewers. Every main story beat feels familiar, and the execution of the scares, and how they are doled out en route to a third act that completely clarifies everything (not that this is a complex or unpredictable plot), is in line with 101 other horror movies. That doesn't make it bad though. In fact, the wonderfully traditional visuals and witty, self-aware, script come together to create something that is, first and foremost, fun. Thompson heads up a very talented crew, considering what we see onscreen, and Butler enjoys setting up the film in a very specific way, playfully revealing key details throughout the second half, and then having all of the pieces in place for the expected rip-roaring finale.

Emmanuel is an excellent lead, and this is probably the biggest movie role I've seen her given. Here's to many more. She's a naturally captivating screen presence, and convinces here as someone who can feel like a welcome breath of fresh air in a stuffy old English manor. Doherty is as suave and charming as he needs to be, Skinner does another one of his endearing "oh gosh, nice, posh" performances, and Pertwee is enjoyably blunt in many of his exchanges with people he considers beneath his employers. Carol Ann Crawford and Tian Chaudhry get to play supporting characters who are surprisingly integral to the main plot strand, and Alana Boden and Stephanie Corneliussen are two very privileged young women who couldn't be more dissimilar in the way that they act around Evie.

I'm sure that some will be put off by the decision to fill the frame with things like unsettling stonework figures, billowing curtains, and large rooms that people are forbidden to enter, it's all a bit more Shirley Jackson than Peter Jackson, but that's what helps it stand out. This isn't another new horror movie trying to break any kind of world record for bloodshed, nor is it a film trying to use new tech as the central "demon". It's a film that takes something old, twists and plays around with it for a while, then turns it into something that feels enjoyably different. Some people may resent the core of the premise, but I thought it was both witty and entertaining.

7/10