Hanna Bergholm follows up her delightfully demented directorial debut “Hatching” with the less wacky and considerably more obvious “Nightborn”. Her latest is a Shudder Original that dips its toes into both Finnish folk horror and gruesome body horror. At the same time, her movie is a glaring allegory for young motherhood, hampered by a lack of subtlety that can be hard to look past.

Saga (Seidi Haarla) and her husband Jon (Rupert Grint) make the decision to leave the comforts of London and move to the Finnish countryside, into an old home that once belonged to her late grandmother. They arrive to find the house in serious disrepair. But with a little work, it should be the perfect place for them to raise the three children they plan to have. But the seemingly sentient forest that surrounds them appears to have other ideas for this family-to-be.

Soon Saga is pregnant with their first child, and following a hard labor, she gives birth to a baby boy they name Kuura. But the child has some noticeable abnormalities, starting with him being unusually hairy. Later it’s his sharp, fast-growing fingernails and sensitivity to sunlight. And perhaps most disturbing is his insatiable appetite for his mother’s blood rather than her breast milk. The borderline feral Kuura pushes Saga to her maternal limits, and feelings of dread, frustration, guilt, and isolation quickly set in.

Meanwhile Jon is written to be oblivious to the obvious signs. He insists Kuura is fine and believes Saga is the real concern. Jon isn’t portrayed as intentionally cruel. Instead he comes off as clueless, which may be a big part of Bergholm’s critique. Either way it takes Jon from being a supportive partner to unaware at best and doltish at worse. It’s hardly an unfair approach. But when taken with the film’s allegorical heavy-handedness, it somewhat undermines what Bergholm is going for.

Things only get worse when Saga’s domineering mother (Pirkko Saisio) and her cryptic sister (Pamela Tola) pay a visit. Both have their own concerns with Saga’s parenting and they express them in dramatically different ways. They end up fueling Saga’s feelings of alienation and self-doubt. Meanwhile the forest becomes more of an ominous and overpowering force, which itself is a metaphor for the inner battle going on within Saga. Animosity gives way to hostility as the new mother’s idealistic world crumbles all around her.

Bergholm conveys Saga’s disintegrating psyche in some creatively twisted and grotesque ways. It may be through the beautiful yet creepy forest routinely making its presence known, or some squirm-worthy body horror that can sometimes come when you’re least expecting it. But the story’s themes are blaring from the start. And there is a lack of subtlety and nuance that keeps us from connecting with the message in the way that Bergholm intends. It doesn’t fully derail “Nightborn”, but it’s a nagging issue that never goes away.

VERDICT – 2.5 STARS

In “Normal”, Bob Odenkirk plays Ulysses, but not the guy who undoubtedly first comes to mind when you hear that name. No, his Ulysses is a recently separated middle-aged man who arrives in the sleepy town of Normal, Minnesota to serve as the interim sheriff following the sudden passing of the previous one. But it doesn’t take long for Ulysses to realize that Normal is anything but what it’s name implies.

Directed by Ben Wheatley, “Normal” is the latest movie in what seems to be a growing wave of genre cocktails. And I’m happy to say it is one of the better ones. “Normal” is full of surprises, from its terrific assemblage of great characters to its free-wheeling gory violence to its insanely wacky sense of humor. It never shortchanges any of the three, making this an interesting, action-packed, and routinely funny 90-minute romp.

Ulysses is an easygoing lawman who fills various sheriff vacancies around the country without rocking the boat. His plans for his eight-week stint in Normal is to hold the fort down until the upcoming special election. While there, he encounters an entertaining assortment of locals, starting with his two chief deputies, the unintentionally goofy Mike (Billy MacLellan) and the overly ambitious Blaine (Ryan Allen). Both help to get Ulysses acquainted with his new constituency.

But his deputies only scratch the surface when it comes to the lively residents of Normal. The town’s smarmy Mayor Kibner (a very funny Henry Winkler), a razor-tongued barmaid named Moira (Lena Headey), and the late sheriff’s rebellious daughter Alex (Jess McLeod) are just a few who make up the film’s colorful and comical collage of characters. Wheatley has a blast with them, especially once his movie takes an especially bonkers and bloody turn.

The snowy Normal itself is not unlike so many other small American towns – vacant buildings, no industry, dwindling population, etc. Still it has its small-town personality which comes from its people. But not everything in Normal is as it seems. In fact, almost nothing is. And this vividly comes to light when a harmless, down-on-their-luck couple attempt to rob the town’s bank. It triggers an avalanche of twists involving a vault full of loot, the Yakuza, and an interim sheriff who has to sort it all out.

“Normal” is penned by Derek Kolstad, the screenwriter of the first three John Wick films and Odenkirk’s two Nobody movies. In “Normal”, Kolstad combines the stylish ultra-violence of “John Wick” with the amusing subversiveness of “Nobody” to tell a story that could easily fly off the rails if not for its hilarious self-awareness. Wheatley handles the rest – serving up a taunt and punchy buffet of B-movie thrills and kills. And Odenkirk is the perfect centerpiece, matching dead-on deadpan with go-for-broke physicality.

And as I said above, “Normal” is full of surprises. Whether it’s the story’s many wild and wacky turns or the deliciously brutal bursts of blood-spraying violence, it routinely hits us with swings we never see coming. Wheatley does a great job holding it all together. He sustains a wildly entertaining pace while finding a nice balance between well-timed comedy and hardcore action. And the aforementioned self-awareness turns out to be an essential ingredient in this proudly preposterous and unabashedly excessive genre feast. “Normal” hits theaters April 16th.

VERDICT – 4 STARS

“Night Patrol” shouldn’t be confused with the 1984 comedy of the same name that could be called a “Police Academy” knockoff if the two films hadn’t released mere months apart. No, this is a much different animal – a movie that defies categories. It’s as if you threw multiple genres and sub-genres into a blender and out came “Night Patrol”. Regardless of how you categorize it, this wild confection will still find ways to surprise you.

Directed by Ryan Prows, “Night Patrol” features equal helpings of supernatural horror, pitch-black comedy, social commentary, graphic gore, family drama, exploitation excess, and more. The story (written by Prows, Shaye Ogbonna, Tim Cairo, and Jake Gibson) comes packed with a wealth of themes that involve police corruption, racial injustice, gang violence, fractured families, economic disparity, and more. And they’re accompanied by no shortage of blood-spraying and gut-slinging.

The movie begins with Wazi Carr (RJ Cyler) sitting in an interrogation room at the LAPD police station, bleeding from the jagged black shard protruding from his side. As the questioning begins, Prows uses Wazi’s telling of events to frame his gonzo story. A fun ensemble fills it out, playing a medley of colorful characters that includes police officers, gangbangers, family members, and neighbors.

Much to the chagrin of his family, Wazi’s big brother Xavier (Jermaine Fowler) is an ambitious LAPD cop who’s hungry to climb the ladder. He’s jealous of his partner Ethan (played by scream king Justin Long) who was recently invited to join an elite anti-gang task force called Night Patrol. Not much is revealed about Night Patrol other than they’re intensely exclusive and they have their run of the police department. Oh, and they’re also secretly vampires.

Lest you feel that last sentence was a spoiler, Night Patrol’s identity is revealed pretty early on. It’s their ultimate goal that’s the bigger mystery. Prows uses Ethan’s initiation to plunge us into the dark, twisted, and zany world of Night Patrol. Overseeing the group’s operations is a street-tough cop called Deputy (Phil Brooks aka wrestling’s CM Punk). He reports to the organization’s mysterious leader referred to as “Sarge” (Dermot Mulroney). It only gets crazier (and bloodier) from there.

Things ratchet up pretty kick, especially after Wazi witnesses the brutal murder of his prospective girlfriend, Primo (Zuri Reed) at the hands of Night Patrol. The killing draws the attention of two rival gangs, both neighborhood offshoots from the Bloods and the Crips. The comically superstitious Bloods are led by Bornelius (Freddie Gibbs) and are always on the watch for demons, shapeshifters, and lizard people with acid tongues. The local Crips are headed by Wazi and Xavier’s mother, Ayanda (Nicki Micheaux), a Zulu mystic who always seems to know more than she’s letting on.

Everything ultimately propels us forward to an inevitable showdown at the Colonial Courts housing project. It’s there that secrets are revealed, new alliances are formed, and gallons of blood is shed. On the way there the pacing is a little wobbly, but it’s undeniably fun regardless of how bonkers things get. Visually, Prows gives his film a gritty and grainy texture. And the choice to employ practical effects ends up paying huge dividends.

“Night Patrol” tackles more themes than you can count on two hands with most handled surprisingly well. It also employs just as many metaphors, some of which start strong but get sillier over time, and others that veer close to heavy-handedness. Still, the film maintains a self-awareness that keeps things fun. And Prows’ clear love for exploring genres produces an infectious energy and a go-for-broke uniqueness that gives the movie an identity all its own.

VERDICT – 3 STARS

One of my favorite directors honors one of my favorite cinematic movements in “Nouvelle Vague”, Richard Linklater’s stunningly realized ode to the French New Wave. This time capsule masterpiece is not only a lesson in movie history. It’s also a celebration of the creative independence forged by the brilliant filmmakers at the heart of the movement – filmmakers who would reshape cinema from France to Hollywood.

The French New Wave holds a special place in my heart. Years ago, it ignited the cinephile within me by opening my eyes to international filmmaking. I had seen foreign language films and was even a big fan of some. But it was my dive into the Nouvelle Vague era that opened my eyes to the styles and influences that paved the way for so many movies and moviemakers who would follow. Even more, I adored the bold experimental style and the iconoclastic verve that were staples of the movement.

To no surprise, Linklater shows he has a firm grasp on what made the French New Wave special with “Nouvelle Vague”. Not only does he tell a story rooted in the movement, but he shoots his film like it’s a New Wave work. He uses the same black-and-white photography with a 1:37 aspect ratio. He uses similar editing tricks such as the hallmark jump cuts. He captures the spirit of spontaneity that was ever-present in the filmmaking of the era. And he sticks almost exclusively with the French language – a huge plus.

As for its story, “Nouvelle Vague” follows the filming of one of the Wave’s signature films, “Breathless” from one of its signature directors, Jean-Luc Godard (played with such comfortable ease by Guillaume Marbeck). Linklater begins in 1958 at the Paris premiere of “La Passé du Diable”. There Godard playfully critiques the current state of cinema with his friends and fellow cinephiles François Truffaut (Adrien Rouyard), Claude Chabrol (Antoine Besson), and Suzanne Schiffman (Jodie Ruth-Forest).

Frustrated that he’s the only film critic from Cahiers du Cinéma magazine who hasn’t directed a movie, Godard finally gets his shot thanks to his friend and producer Georges de Beauregard (Bruno Dreyfürst). He’s given “Breathless”, a story conceived by Truffaut who is just coming off the success of his debut feature “The 400 Blows”. With backing by de Beauregard, encouragement from Rossellini (Laurent Mothe), and advice from Melville (Tom Novembre), Godard begins his filmmaking odyssey.

Godard seeks out actor Jean-Paul Belmondo (Aubry Dullin) who ignores the misgivings of his agent and agrees to star in the film. But his most audacious catch is American starlet Jean Seberg (a delightful Zoey Deutch) who is persuaded to co-star despite her own reservations. With his two stars in place, Godard zips through pre-production and begins shooting his film, shattering conventions and making up his own rules along the way, much to the chagrin of his bewildered and often frustrated cast and crew.

Linklater spends a big chunk of his movie chronicling the twenty-day shoot of “Breathless”, honoring the headstrong director and his guerilla filmmaking along the way. We get to see the creative chaos at the heart of Godard’s process which was maddening to his producer and often perplexing to those working on set. His script was “fluid” and he often cobbled together scenes on the fly. Some days they would shoot scenes that came to Godard the night before. Other days were spent hanging out in café as Godard played pinball awaiting inspiration.

The lack of structure gets especially frustrating for Jean who nearly quits on several occasions. But like everyone else working on the film, Godard wins her over with his breezy demeanor and revolutionary spirit. Those same characteristics are found throughout Linklater’s film. There’s an inherent playfulness in his approach and an easygoing tenor that hearkens back to some of his best hangout movies. Yet there’s also a clear reverence, not just for the New Wave era, but for the filmmaking process itself.

“Nouvelle Vague” is unquestionably a movie made by a cinephile for cinephiles. It’s hard to guess the response of someone not familiar with the French New Wave movement. But there’s plenty here for anyone who generally loves film history and the creative process. Linklater keeps things light and flowing while still capturing the essence of the New Wave’s style and purpose. Marbeck’s uncanny likeness to Godard, Deutch’s effervescent charm, the stunning VFX shots that help recreate late 1950s Paris – it all contributes to this evocative love letter to cinema.

VERDICT – 4.5 STARS

Tis the season to be frightened. It’s October, and while it’s true that horror movies come all throughout the year, this is that special month where horror fans celebrate the genre they so passionately love. In keeping with the holiday season, what better time to check out one of the horror movies that I missed from earlier this year. I’m talking about “Night of the Reaper”, an old-fashioned slasher with a distinct mystery element to it.

After a well-done prologue, “Night of the Reaper” introduces us to Deena Golding (Jessica Clement) who is returning to her hometown after being away at college. Deena was reluctant to come back to the town where her sister Emily was murdered a few years earlier. But she decides to return despite her sad and life-altering history with the place. Once there, Deena checks in on her parents and reconnects with her old friend Haddie (Savannah Miller).

Later that evening Deena gets a call from Haddie who’s in need of a favor. Haddie was supposed to babysit the local sheriff’s son but has gotten sick. So she asks Deena to fill in for her. Deena agrees and promptly drives out to the sheriff’s rural rustic homeplace where she meets his son Max (Max Christensen). The two hit it off well and settle in for the evening. But their night will soon take a chilling turn with the sudden appearance of a masked killer.

While Deena is a central character, the movie alternates its time between her and Sheriff Rodney Arnold (Ryan Robbins). His story is fueled by tragedy, as he lost his wife and Max’s mother to a fatal car accident. As Rodney attempts to manage his grief while raising his son, he’s also put on the trail of several unsolved area murders. He begins receiving mysterious packages containing clues linking the murders together.

While the sheriff intensifies his investigation he makes more alarming discoveries. Meanwhile Deena finds herself in terrifying game of cat-and-mouse with a demented killer. As you can probably guess, the sheriff’s murder mystery eventually merges with Deena’s slasher story, but not in ways you might expect. Writer-director Brandon Christensen throws in some big twists that sees the final act taking some refreshingly wild turns.

The writing takes some big swings, and to its credit it always stays one step ahead of its audience. We’re kept guessing which is a big part of what makes the movie such fun. At the same time, the script doesn’t spend enough time on key people to allow the ending to land as intended. I know that’s a very vague criticism, but it has to be in order to avoid spoilers. Still it’s too big of an issue to miss as it lessens the impact of the otherwise big finish.

“Night of the Reaper” leans on a number of tropes that horror fans will spot a mile away. And its lack of attention to specific characters and their arcs has repercussions. But the film surprises with its genre fusion of slasher and mystery. It also cleverly channels its 1980s setting through the aesthetic as well as the filmmaking. And it makes good use of its small budget, especially in the gory kill department. As a result, “Night of the Reaper” ends up being a nice surprise and a little bit more than your run-of-the-mill slasher flick.

VERDICT – 3 STARS