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How to Watch : Scary Stories to Tell in the Dark (2019-08-08)
Original Title : Scary Stories to Tell in the Dark
Watch this link!: https://bit.ly/2KmHC2O
Runtime : 111 min.
Genre : Horror, Fantasy
Stars : Zoe Colletti, Michael Garza, Austin Abrams, Gabriel Rush, Austin Zajur, Natalie Ganzhorn
The shadow of the Bellows family has loomed large in the small town of Mill Valley for generations. It’s in a mansion that young Sarah Bellows turns her tortured life and horrible secrets into a series of scary stories. These terrifying tales soon have a way of becoming all too real for a group of unsuspecting teens who stumble upon Sarah’s spooky home.
‘Scary Stories to Tell in the Dark’ Review: Fear and Nostalgia
Adapted from Alvin Schwartz’s popular series, the film is set in 1968 with the ghosts of Vietnam haunting the periphery.
If Alvin Schwartz’s popular “Scary Stories” children’s books condensed folklore into an accessible anthology form, “Scary Stories to Tell in the Dark,” an agreeable bit of fan service, performs a similar gateway function for movies. Whether it’s the scene-setting blast of Donovan (“Zodiac”), the low-height Steadicam work (“The Shining”), the red-suffused hallways (David Lynch) or “Night of the Living Dead” playing at a drive-in, the movie takes from the best.
The nostalgia is presumably the signature of Guillermo del Toro, who produced it. Like “The Shape of Water,” which he directed (André Ovredal did that job here), “Scary Stories” spikes its tributes with social commentary. The movie is set in 1968, more than a decade before the first book was published. The ghosts of Vietnam haunt the periphery, and Nixon’s election coincides with a gangly goblin’s arrival.
Schwartz’s tales have been woven into a cohesive narrative (and there are nods to others that haven’t been filmed) with a simple device. The main characters — an aspiring writer, Stella (Zoe Colletti); her sidekicks (Gabriel Rush and Austin Zajur); and a newcomer to their small town (Michael Garza) — snatch a book from a haunted house. The tome once belonged to a pariah kept prisoner by her family.
Ovredal respects the original illustrations of Stephen Gammell, whose hand is visible in the grotesquely contorted expressions of a scarecrow and in a trollish woman with a face like papier-mâché. (The closing credits list a collection of sculptors and modelers.) Ovredal pays less heed to an unofficial corollary to the Chekhov’s gun rule: If a spider has laid eggs in a girl’s cheek, and the girl is in a school production of “Bye Bye Birdie,” that boil needs to pop during a musical number.