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Paco Plaza’s ‘Verónica’ is Full of Terror and Tenderness [Review]

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Verónica

We had recently shared the news that Paco Plaza (of [REC] fame) has a brand new film that – to everyone’s surprise – dropped on Netflix without warning. Netflix took a page from their own playbook with the release of Verónica, a Spanish possession horror that premiered at the Toronto International Film Festival in 2017.

Based on the true events of the supposed possession of Estefanía Gutiérrez Lázaro, Verónica takes place in Madrid in 1991. It’s been hailed for being so scary, some viewers can’t finish it.

via IMDb

So, that being said, let’s get something out of the way here.

Yes, this is a Spanish film with subtitles. If you’re avoiding watching it just because you don’t like watching a movie with subtitles, I’m disappointed in you. You’re closing yourself off to a whole world of absolutely incredible horror films. I’m not trying to lecture, but seriously. You will get used to subtitles, I promise you.

Additionally, let yourself be scared! If you’re going into a film with a defiant attitude, you’re not going to actually enjoy it as much as you were hoping to. There are no awards for remaining stone-faced during a movie. Just have fun.

Moving along.

Plaza masterfully weaves a tale of terror with Verónica. The titular character (played by newcomer Sandra Escacena) meets with two of her friends during a total solar eclipse, taking advantage of the supercharged natural phenomenon to try and contact her recently deceased father with an Ouija board.

via IMDb

As this is a horror film, their seance doesn’t go as planned, and soon Verónica is plagued by suspicious and discomforting unexplained activity. She placed a call to the other side and someone – or something – answered.

As an audience, we’re drawn in by the relationship that Verónica has with her young siblings – twin sisters Lucía and Irene and little brother Antoñito. With their mother working long hours at a local restaurant, the teenaged Verónica is left in charge of caring for the children.

As we observe this bright young girl though her daily life – waking, dressing, feeding, and bathing her siblings as the primary present caregiver in the home – it’s easy to understand why she would long for a connection with her father.

via IMDb

She has essentially taken over the duties as a parent and – under enormous pressure to “grow up” – you can absolutely sympathize with her for wanting to be able to act as a daughter again, even for just one brief conversation with an Ouija board. She is unable to properly grieve for her father – there’s no time in her day or room for weakness in front of her siblings.

We are constantly reminded of her youth – from the oversized school uniform and braces to the band posters decorating her room. She’s not a confident, rambunctious, wild teenager. She’s a girl who is desperately trying to maintain normalcy for the sake of those around her.

via IMDb

Once the threat becomes more and more apparent, Verónica is dedicated to protecting her siblings. An effective and often-used horror trope is childhood isolation – that sense that the monsters are real and there’s no one there who can protect you. Verónica thrives on this.

Fans of [REC] will notice that Plaza’s Verónica shows a stylistic maturity. The camera movement is sometimes subtle, but at the climax of the film it tracks the action so deliberately that you feel like you’re part of it. These frantic finale scenes are finessed with long takes and constant movement to drive the horror forwards.

via IMDb

Music is also a key component. The score is dissonant and unsettling, but offset with pop hits provided by Verónica’s walkman (from her favorite band, Heroes Del Silencio). This builds atmosphere while adding a personal touch to our connection with the character.

The film builds dread in an incredible way – some scenes are so thick with tension that you feel like you could cut it with a knife.

All of the young actors are phenomenal in their roles; while Escacena does the heavy lifting as Verónica, we should definitely acknowledge the wee Iván Chavero as Antoñito. He’s absolutely adorable and steals every scene with a sweet innocence.

via IMDb

Also, a shout out to Consuelo Trujillo as Hermana Muerte (aka “Sister Death”) for nailing the dichotomy of a wise and good-intentioned yet terrifying nun.

Overall, Verónica is a solid film with a healthy balance of fear-inducing dread and genuine heart.

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Hugh Jackman & Jodie Comer Team Up for a New Dark Robin Hood Adaptation

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A report from Deadline details director Michal Sarnoski’s (A Quiet Place: Day One) newest project, The Death of Robin Hood. The film is set to feature Hugh Jackman (Logan) and Jodie Comer (The End We Start From).

Michael Sarnoski will write and direct the new Robin Hood adaptation. Jackman will be reunited with Aaron Ryder (The Prestige), who is producing the film. The Death of Robin Hood is expected to be a hot item at the upcoming Cannes film market.

Hugh Jackman, The Death of Robin Hood
Hugh Jackman

Deadline describes the films as the following. “The film is a darker reimagining of the classic Robin Hood tale. Set of its time, the film will see the title character grappling with his past after a life of crime and murder, a battleworn loner who finds himself gravely injured and in the hands of a mysterious woman, who offers him a chance at salvation.”

Lyrical Media will be financing the film. Alexander Black will produce the film alongside Ryder and Andrew Sweet. Black gave Deadline the following information about the project. “We are thrilled to be part of this very special project and to be working with a visionary director in Michael, a phenomenal cast in Hugh and Jodie, and producing with our frequent collaborators, Ryder and Swett at RPC.”

“This is not the story of Robin Hood we’ve all come to know,” Ryder and Swett stated to Deadline “Instead, Michael has crafted something far more grounded and visceral. Thanks to Alexander Black and our friends at Lyrical along with Rama and Michael, the world is going to love seeing Hugh and Jodie together in this epic.”

Jodie Comer

Sarnoski seems to be excited by the project as well. He offered Deadline the following information about the film.

“It has been an incredible opportunity to reinvent and freshly innovate the story we all know of Robin Hood. Securing the perfect cast to transform the script to screen was essential. I could not be more thrilled and trusting in Hugh and Jodie to bring this story to life in a powerful and meaningful way.”

We are still a long way away from seeing this Robin Hood tale. Production is expected to begin in February of 2025. However, it does sound like it will be a fun entry into the Robin Hood canon.

That’s all the information we have at this time.

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Mike Flanagan In Talks to Direct New Exorcist Movie for Blumhouse

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Mike Flanagan (The Haunting of Hill House) is a national treasure that must be protected at all costs. Not only has he created some of the best horror series to ever exist, but he also managed to make a Ouija Board movie genuinely terrifying.

A report from Deadline yesterday indicates that we may be seeing even more from this legendary storysmith. According to Deadline sources, Flanagan is in talks with Blumhouse and Universal Pictures to direct the next Exorcist film. However, Universal Pictures and Blumhouse have declined to comment on this collaboration at this time.

Mike Flanagan
Mike Flanagan

This change comes after The Exorcist: Believer failed to meet Blumhouse’s expectations. Initially, David Gordon Green (Halloween)was hired to create three Exorcist films for the production company, but he has left the project to focus on his production of The Nutcrackers.

If the deal goes through, Flanagan will take over the franchise. Looking at his track record, this could be the right move for the Exorcist franchise. Flanagan consistently delivers amazing horror media that leave audiences clamoring for more.

It would also be perfect timing for Flanagan, as he just wrapped up filming the Stephen King adaptation, The Life of Chuck. This isn’t the first time he has worked on a King product. Flanagan also adapted Doctor Strange and Gerald’s Game.

He has also created some amazing Netflix originals. These include The Haunting of Hill House, The Haunting of Bly Manor, The Midnight Club, and most recently, The Fall of the House of Usher.

If Flanagan does take over, I think the Exorcist franchise will be in good hands.

That’s all the information we have at this time. Make sure to check back here for more news and updates.

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A24 Creating New Action Thriller “Onslaught” From ‘The Guest’ & ‘You’re Next’ Duo

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It’s always nice to see a reunion in the world of horror. Following a competitive bidding war, A24 has secured the rights to the new action thriller film Onslaught. Adam Wingard (Godzilla vs. Kong) will be directing the film. He will be joined by his longtime creative partner Simon Barret (You’re Next) as the scriptwriter.

For those unaware, Wingard and Barret made a name for themselves while working together on films such as You’re Next and The Guest. The two creatives are card carrying horror royalty. The pair have worked on films such as V/H/S, Blair Witch, The ABC’s of Death, and A Horrible Way to Die.

An exclusive article of out Deadline gives us the limited information we have on the topic. Although we don’t have much to go on, Deadline does offer the following information.

A24

“Plot details are being kept under wraps but the film is in the vein of Wingard and Barrett’s cult classics like The Guest and You’re Next. Lyrical Media and A24 will co-finance. A24 will handle worldwide releasing. Principal photography will begin in Fall 2024.”

A24 will be producing the film alongside Aaron Ryder and Andrew Swett for Ryder Picture Company, Alexander Black for Lyrical Media, Wingard and Jeremy Platt for Breakaway Civilization, and Simon Barret.

That’s all the information we have at this time. Make sure to check back here for more news and updates.

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