

Thirty years after NIGHTWATCH became a genre staple, writer-director Ole Bornedal delivers a Shudder Original sequel just as menacing and twisted as the original. NIGHTWATCH: DEMONS ARE FOREVER taps into our continued fascination with serial killers, true crime takes, and terror.
The film starts with a bang. Bravo to Casper Kjær Jensen for one hell of a performance. Nikolaj Coster-Waldau returns as Martin. We now know he and Kalinka married and had a daughter named Emma. After Kalinka’s suicide, Martin is distraught. Emma discovers the newspaper clippings about her parents’ traumatic ordeal. Seeking answers, she takes her father’s old job on night watch.
I highly recommend watching both films back to back. You will immediately notice the perfect visual and dialogue callbacks. Coster-Waldau is not the only cast member to return. Most of the original actors are back.
Kim Bodnia is the same thoughtless jackass settling right back into the role of Jens. The character’s development feels darker and more insensitive than before, but Bodnia’s chemistry with Nikolaj Coster-Waldau is still dazzling.
Speaking of, this second iteration of Martin oozes fear. Coster-Waldau exists almost entirely in his unresolved trauma, soaked in alcohol and pills. When he steps out of his grief, it is contagious.
Ole Bornedal makes the sequel a true family affair. His daughter, Fanny Bornedal, plays Emma. She is a pro. Ole gives her characteristics of Martin and Kalinka. Emma is a bold, bright, and fearless medical forensics student. Fanny commands each frame. She’s a star.
Once again, the soundtrack is meticulously curated. “I Fink U Freeky” by Die Antwoord was my favorite choice. The practical FX are squirmworthy. NIGHTWATCH: DEMONS ARE FOREVER cleverly mirrors the original. Ole Bornedal keeps us guessing with complex storytelling choices. The script is a fresh take, delivering badass female characters to immortalize in the genre library.
Streaming on Shudder May 17th
Screenwriter and Director: Ole Bornedal
Starring: Fanny Leander Bornedal, Nikolaj Coster-Waldau, Kim Bodnia, Sonja Richter, Ulf Pilgaard, Casper Kjær Jensen, Paprika Steen, Nina Rask, Alex Høgh Andersen, Sonny Lindberg, Niels Anders Thorn, Tina Gylling, Casper Phillipson, Vibeke Hastrup, Christopher Læssø
Producers: Thomas Heinesen, Christel C.D. Karlsen, and Signe Baasch
Executive Producers: Katrine Vogelsang, Henrik Zein, Peter Nadermann, and Doris Schrenner
Language: Danish
Running Time: 113 mins
Synopsis
22-year-old medical student Emma (Fanny Leander Bornedal) has just taken a job as the night watch in the same forensic department where her parents were once almost killed by the famed psychopathic police inspector Wörmer. The events led to her mother’s suicide, and her father Martin (Nikolaj Coster-Waldau) has turned to tranquilizers to suppress the memories. Determined to investigate what exactly happened to them, Emma tracks down and confronts Wörmer, only to unintentionally reawaken his bloodthirst and ignite a violent revenge on everyone who sealed his destiny years ago.
About Shudder
AMC Networks’ Shudder is a premium streaming video service, super-serving members with the best selection in genre entertainment, covering horror, thrillers and the supernatural. Shudder’s expanding library of film, TV series, and Original Content is available on most streaming devices in the US, Canada, the UK, Ireland, Australia and New Zealand. Over the last few years, Shudder has introduced audiences to groundbreaking and critically acclaimed films including Rob Savage’s HOST, Jayro Bustamante’s LA LLORONA, Phil Tippett’s MAD GOD, Coralie Fargeat’s REVENGE, Joko Anwar’s SATAN’S SLAVES, Josh Ruben’s SCARE ME, Kyle Edward Ball’s SKINAMARINK, Christian Tafdrup’s SPEAK NO EVIL, Chloe Okuno’s WATCHER, Demián Rugna‘s WHEN EVIL LURKS, and the latest in the V/H/S film anthology franchise, as well as the fan favorite TV series THE BOULET BROTHERS’ DRAGULA, Greg Nicotero’s CREEPSHOW, THE LAST DRIVE-IN WITH JOE BOB BRIGGS.



The script is equally as brutal as the first film. You have to respect it. WRATH takes us a step further into the depths of Nazi incels. The timely nature of the plot is brilliant and terrifying. Having Becky break the fourth wall is beyond satisfying. The mystery from the original begs for an extended storyline and a larger franchise.
Sean William Scott takes a page from his performance in
Becky represents every woman who is sick of your shit. This feminist horror icon, because that is precisely what she is to me, lets me live out my daily fantasies of earned rage. THE WRATH OF BECKY is a “fuck yeah” of a film. I implore Matt Angel and Suzanne Coote to keep this franchise alive and kicking (ass).
FIRST WAVE OF TITLES FOR ITS 27th EDITION



2022’s reboot thrived by finding the perfect balance of new + nostalgia. While that film could be seen as a symbolic passing of the torch from Neve Campbell’s Sydney Prescott to Barrera’s Sam, it is still jarring to watch a Scream film without Sydney. Especially when Scream 6 is so clearly inspired by Scream 2 (talk about sentences you never think you will write), which similarly followed Sydney as she escaped Woodsboro for a fictional college setting. This time though, Courtney Cox is the only original star returning, and she struggles to provide a meaningful link to the weight of original films. Honestly, with so many of the other beloved characters missing in action, a clean break might have been the better approach.
The much-promoted New York setting ultimately feels a bit underused – filming actually occurred in Montreal, and there are only a few scenes that truly attempt to capture the energy of the city. It’s a shame because those scenes are some of my favorites in the whole film. There’s a moment where Sam and Tara hide from Ghostface in a bodega, only to realize that this killer is willing to use weapons even more deadly than a knife. Another scene on the NYC subway captures the rising anxiety facing the city’s public transit today, where a rise in unprovoked attacks has left citizens suspicious of their fellow passengers. But that’s largely it – it feels like a waste of the setting (although to be fair, New York has posed a challenging setting for horror films in the past.) What about Ghostface popping up in a cab, a chase through central park, or a set piece on one of the iconic bridges?
Pure O
Raging Grace (United Kingdom)
Another Body





















DUNGEONS & DRAGONS: HONOR AMONG THIEVES TO OPEN FEST
Flamin’ Hot
Parachute
Angel Applicant
Down Low
A Disturbance in the Force
Brooklyn 45
Breaking Fast with a Coca Cola
I Probably Shouldn’t Be Telling You This
The Bus (Spain)
Beyond The Fringe (Spain)
Dead Enders
Breaking Silence
Aespa VR Concert at Kwangya (Republic of Korea, U.S.)
Eggscape (Argentina)

Daniel Craig returns as Benoit Blanc, the debonair southern detective. This time around, Blanc is invited to an isolated Greek island by billionaire Miles Bron (Edward Norton, giving Elon Musk post-burning man vibes.) Bron has invited several of his closest friends for a weekend getaway that just happens so happens to include a murder-mystery game. Things go wrong faster than you can say “bad idea.”
I was worried that Glass Onion would suffer from an overreliance on Craig’s detective. Knives Out benefited immensely from a core focus on Ana de Armas’ fish-out-of-water character. The film smartly employs him as a foil for its many new cast members. The new faces are stellar across the board. Janelle Monae shows incredible versatility. Leslie Odom Jr. and Kathryn Hahn have the tough job of playing the respective sticks in the mud while the rest of the cast gets to have fun. Kate Hudson and Dave Bautista really let it rip. We’re used to this from Bautista, but it is a particularly welcome departure for Hudson. As I reflect back on the past years of the pandemic, her character provides particular hilarious relief. There are also several delightful cameos. I won’t spoil them for you, but suffice it to say it seems like nearly everybody wanted in on this thing.
Whodunit films seem to be light work for Rian Johnson. His 2005 debut, Brick, was an exceptionally hard-boiled film noir that just happened to be set in a high school. Despite their common director, Brick and Glass Onion could not be more different. Where Brick was pitch black noir down to its very bones (even down to the dialogue), Glass Onion is a sun-drenched delight inspired by holiday mysteries such as Evil Under the Sun and The Last of Sheila. It provides necessary effervescent support as we head into the cold winter months. I can’t wait for the next chapter!
You must be logged in to post a comment.