What’s truly annoying about “Uncanny Annie” is how rock-solid the concept should be: it could be basically be pitched as “Horror Jumanji.” Imagine the possibilities with a bunch of teenagers finding a “Jumanji ”-esque game that transports them into a night of horrors. It even recalls the hook of Clive Barker ’s “Hellraiser ” in the discovery of something that opens a portal to another world, and it should be heavily influenced by the work of H.P. Lovecraft, but names like Barker and Lovecraft quickly fade away as you’re watching “Uncanny Annie,” a movie that takes its concept nowhere. Other than a few unearned character twists, there’s nothing that feels unexpected narratively, and there’s so little life in the filmmaking that it can’t make up for the dull characters or hackneyed dialogue.
Gene Hackman Was Originally Going to Play Hannibal Lecter. Speaking of Hannibal the cannibal, while Anthony Hopkins turned the crazy-smart serial killer into an unforgettable cultural touchstone, the role was originally supposed to go to Gene Hackman, who bought the rights to The Silence of the Lambs and had planned on directing the film himself. He backed off the project when he decided that the role was too dark for his taste.
A group of teenagers get together on Halloween both to celebrate and mourn a friend who died a year earlier. They all have a bit of baggage—two of them just broke up, for example—and wear some pretty mediocre Halloween costumes. As they’re loosening up for the evening, it’s suggested they play a board game, and one of the them stumbles upon one in the basement called Uncanny Annie, sort of a riff on Jumanji and the legend of Bloody Mary. Even the design of the game within the film is lackluster, mostly just a series of cards for the characters to read regarding a challenge like revealing a secret and what will happen if they refuse. It’s not long before they hear strange sounds in the house and realize the game’s stakes are real.
"Pirates Of The Caribbean: Dead Men Tell No Tales." The film was being produced as Johnny Depp was going through a bitter divorce from his wife Amber Heard. He was chronically late to the set, to the point where it ate into the schedule as the set often came to a halt for hours at a time. It got to the point where a production assistant was hired just to wait outside Depp's house and announce that he was awake when they saw the lights inside come on.
I have a high tolerance for bad dialogue—it comes with being a life-long horror fan—but “Uncanny Annie” really grates even on that level. The characters here are either yelling about what the game wants them to do or revealing the secrets unearthed by it, and none of it sounds remotely genuine. I’m not expecting too much depth in a movie like this, but these people are so one-note that you start to root for Annie. At least she’s got some personality. Perhaps worst of all, "Uncanny Annie" is as visually flat as anything to date in the “Into the Dark” series. This is a collection of features that has been remarkably disappointing in terms of visual language—it’s hard to think of too many images over the course of now-13 films—but this one is a new low, often looking like a high school production in terms of design. The Blumhouse people changed the industry by making very profitable films with incredibly low budgets, and they often did so through a hook or concept. “Horror Jumanji” seems perfect for them—easy to keep the budget down and a concept that’s simple to convey. But even for Blumhouse, the films that have stood out have imagery and characters that linger. It’s impossible for a horror movie to haunt you if its creators can’t devise a single image or character worth remembering.
"Perfume: The Story Of A Murderer." The Fish Market scenes were shot in Barcelona's Gothic Quarter. Two and a half tons of fish and one ton of meat was used over the course of the shoot, and people as far away as six miles, reported a bad smell in the air.
Paul Schrader Wrote Taxi Driver in Two Weeks. Though it would quickly cruise its way into film history, the script for Taxi Driver came together in just a few days. As screenwriter Paul Schrader told The Hollywood Reporter, “I crashed at an ex-girlfriend’s place, and I just wrote continuously. The first draft was maybe 60 pages, and I started the next draft immediately, and it took less than two weeks.”