Tag Archives: Maddie Hasson

God Bless America-2012

God Bless America-2012

Director Bobcat Goldthwait

Starring Joel Murray, Tara Lynne Barr

Scott’s Review #1,543

Reviewed August 4, 2026

Grade: A-

Made in 2012, God Bless America is a satisfying experience for viewers who enjoy seeing assholes and mean people get their due.

Its central characters (the heroes) blow the brains out of those miserable human beings we meet every so often and can only fantasize about taking to task.

Shrouded in dark humor and satire, not to mention gore, director/comedian Bobcat Goldthwait revels in situations that fulfill a desire for justice.

He thereby makes his two prominent characters extremely likable, and the rest of the cast hated.

Frank Murdoch (Joel Murray), who lives alone in Syracuse, New York, is middle-aged and works as an insurance salesman in a depressing windowless office.

His colleagues are trite and superficial and lead meaningless lives, finding satisfaction only in talking about a reality show or something mindless each morning.

After being fired for sending a colleague flowers after obtaining her address, Frank is told by his doctor that he has an incurable brain tumor. In addition, his ex-wife Alison (Melinda Page Hamilton) has custody of their daughter Ava (Mackenzie Smith), who has become a spoiled brat.

Frank is sick of how America has fallen into a state of depravity based on pop culture, TV, the Internet, and talk radio. He fantasizes about killing his neighbors, whose screaming baby worsens his migraines and keeps him awake all night.

After his string of missteps, he goes off the deep end, fed up with the cruelty and stupidity of American culture. He meets teenage Roxy Harmon (Tara Lynne Barr), who shares his rage, and they team up to whack reality TV stars, bigots, and other repugnant creatures.

While the premise is not meant to be taken seriously, viewers who go along with it, get the jokes, and understand the crazy situations will find much satisfaction in God Bless America.

The characters who are killed are so completely over the top and raucously annoying that not even a shred of decency emits from their pores.

We cheer and celebrate their demise.

Frank’s stupid neighbors who talk about the most uninteresting and superficial subjects, like a reality show or an action movie, are trite and guzzle whatever little pleasure they can muster.

In the husband’s case, it’s a tacky bright yellow sports car.

Later, a self-absorbed reality star named Chloe (Maddie Hasson) and her equally obnoxious parents are offed in appropriate and satisfying form.

These characters are a representation of the idiocy of America, whose attention is caught by American Superstarz, a talent show craze featuring an intellectually disabled man named Steven Clark, whom the judges mock for his attempts at singing.

Watching the film in 2026, fifteen years after it was made, is powerful and telling.

Four years before the terrible reign of Donald Trump, who ruined American politics and the United States as a whole, who knew that the characters in God Bless America would resonate even more years later?

In a 2026 world of MAGA, ICE, and incompetence in the White House, the United States is even worse than God Bless America states!

After all, it’s the stupidity of voters who would actually elect a baffoonish reality star as their national leader.

You might say ‘it served ’em right’ if not for the other sensible and intelligent portion of the United States.

Goldthwait clearly falls into this bucket as he writes a clever and brilliant screenplay crackling with wackiness that sadly holds in real life.

The people who see God Bless America are largely those who get the humor and are intelligent enough to understand what Goldthwait is going for.

The rest won’t have a clue, which is the reason the film was made in the first place.

The film slows a bit when Frank and Roxy suffer from a misunderstanding and a lie about her past life comes to light. There’s also a bit of sentimentality, which is not the strongest part of the film.

These aspects are not as interesting as the scenes of the pair traversing the United States shoot-em-up style or the wonderful hostage standoff finale.

God Bless America (2011) is a satirical, well-written, and well-produced film solely made for smart people.

Malignant-2021

Malignant-2021

Director James Wan

Starring Annabelle Wallis, George Young

Scott’s Review #1,294

Reviewed August 30, 2022

Grade: B

James Wan is a fantastic director responsible for co-creating the Saw (2003-2017) and Insidious (2010-2018) franchises.

Anyone familiar with those films will likely enjoy Malignant (2021), as it borrows from them and incorporates elements reminiscent of those films.

In particular, it taps into supernatural elements of Insidious and the mood and score from Saw. Malignant even copies the gruff and robotic phone caller’s voice that was Jigsaw’s trademark and used in Saw.

It’s not as threatening, but it brings back those memories.

The result of Malignant is mixed, with a mostly positive outcome. It’s not one bit scary like Insidious was, but not gratuitously gory like the Saw films, though it has its moments of butchery.

Though utterly ridiculous, the conclusion of Malignant contains a terrific twist and a weird supernatural CGI contortionist choreography extravaganza that somehow reminded me of The Matrix (1999).

The storyline twist must have been influenced by Sisters (1973), an early effort by director Brian DePalma. It may seem silly, but somehow it’s my favorite part of the film.

Wan reaches into his magical bag of tricks and pulls out some wins. He also demands suspension of disbelief, which is okay in supernatural horror films, but many points of the story do not add up.

Malignant begins in 1993 when Dr. Florence Weaver (Jacqueline MacKenzie) and her colleagues treat a violent, disturbed patient named Gabriel at Simion Research Hospital. Gabriel can control electricity and broadcast his thoughts via speakers. He kills several staff members, but Weaver survives and deems him untreatable.

Years later, Madison Lake (Annabelle Wallis) becomes paralyzed by fear from shocking visions. She slowly realizes that when a murder victim dies, she is in the room with them, witnessing their gruesome death.

Gabriel is on the loose and intent on killing Dr. Weaver and her colleagues for calling him cancer, and Madison is somehow involved.  She and her sister, Sydney (Maddie Hasson), must work alongside the police to get to the bottom of the mystery.

Malignant does well with the mood and tone of the filming. It has a dark grey quality plentiful in modern horror films, and fans of Insidious and Saw will enjoy this familiar style of filmmaking. It’s set in Seattle, which is a wise choice, though all we get are some aerial views of the city, specifically the Space Needle.

Because Wan directs it, it’s professional and contains the horror elements to be expected. There’s even a giant window fan that I swear I’ve seen in a Saw film. Wan knows what he is doing, and the name recognition alone was enough to get me to see the movie.

It’s not an ‘A’, but it does what a modern horror film is supposed to do, and that’s to entertain. Malignant is not groundbreaking, but it sounds good.

The plot holes are not worth dissecting beyond asking why there are no other patients in a large city hospital —a device that has existed since at least Halloween II in 1981 —but that’s just the beginning.

Malignant annoyed me when it decided to add some humor.

A sidekick character, Detective Regina Moss (Michole Briana White), bears an uncanny resemblance to the funny lady Wanda Sykes. Unfortunately, her one-liners feel thrown in for kicks, and a blossoming romance between Sydney and Detective Kokoa (George Young) goes nowhere.

During these scenes, I felt like I was watching Chicago Med or Chicago Fire or any one of those other generic network television shows.

Fortunately, the scenes were brief, and Wan returned to the point of the film- blood, killing, and chaos.

Lead actress Wallis is a fine casting choice. Pretty but relatable, she carries the film as the victim, especially as more of her backstory is revealed.

Films like Malignant (2021) require putting the brakes on any deep analysis and merely going along for the ride. It’s entertaining and that’s good enough for me. With Wan at the helm, I anticipated a particular type of horror film and was ultimately satisfied with what I was served.