“If I’m promoting a movie or on a movie on my birthday, it’s gonna be a great year,” she tells Den of Geek magazine over Zoom from her Los Angeles home-from the same room, in fact, where she first spoke with director Peyton Reed about the possibility of playing teenage superhero Cassandra Lang: “I remember finishing the Zoom and telling him, ‘This is going to be a really great movie, and whoever plays Cassie Lang is gonna have the time of her life.’” 17.Įven though she’ll be boarding a red-eye to Toronto instead of blowing out candles, Newton feels very lucky to combine these personal and professional achievements. Never one to shy away from setting ambitious goals, she told herself that “if you don’t get to be a Marvel superhero by the age of 25, get something else going-don’t quit acting, but find something else, go back to college.” So what a birthday gift it is to hit that career milestone right under the wire: The actress, who has been working in Hollywood almost her entire life, will turn 26 while jetting between premieres for Marvel Studios’ Ant-Man and the Wasp: Quantumania, out Feb. Kathryn Newton is having the opposite of a quarter-life crisis. 6/10.This article appears in the new issue of DEN OF GEEK magazine. It isn't brilliant, but it's good enough for what it is. If you're willing to overlook some of its more glaring issues, it's generally an entertaining experience. Plus, the piece does a good job of maintaining a tight pace and interspersing its sillier stuff with some fairly accomplished scare scenes. The characters are mostly compelling (the Vaughn as Newton and Newton as Vaughn dynamic is mostly entertaining, if not quite as convincing as it could have been) and the kill sequences are effectively gruesome. However, the film is a solid slice of fun fluff pretty much for its entire duration. The ending, too, feels like a reshoot and is honestly kind of underwhelming, appropriately blunt conclusion aside. The main concept of the feature is slightly underused and the overall narrative seems sort of slight overall. It's at its best when its body-swap story is in full swing because it stops feeling as though it's trying to ape a sub-genre and starts feeling as though it's trying to create its own. ![]() Though it starts out a little shaky and is, in general, rather stereotypical in an ever-so-slightly unsatisfying way, the flick eventually settles into itself and becomes quite a bit of fun. Still, this is a fairly small issue in the grand scheme of things. ![]() While this mimics the effect of his most direct inspiration, it undeniably makes for a less compelling presence - especially since the picture is more-or-less a two-hander that splits its time evenly between its hero and its villain. The downside of this is that he's a mostly silent enigma whose motivations aren't clear. ![]() The Butcher is a solid slasher villain, as stereotypically stoic and menacingly strong as he needs to be. ![]() Indeed, the opening sequence could be ripped straight out of a 'Friday The 13th (1980)' sequel, with Vaughn's gigantic Butcher basically being a stand-in for Jason Voorhees (with a dash of Michael Myers for good measure). Where that film leans further into the whodunnit elements of its genre, this leans into the 'creative kill' gore that perforates many of its own genre's more derivative entries. 'Freaky (2020)' is similar to Landon's previous 'Happy Death Day (2017)' it takes a well-worn trope first established in a classic comedy and puts a horror movie spin on it while keeping its tongue planted firmly in its cheek. Originally titled 'Freaky Friday The 13th', this comedy-horror body-swap slasher is a mash-up of the two films squashed together to form that name.
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