Freaky 4K 2020 Ultra HD 2160p

On Wednesday the 11th, a dangerous psychopath nicknamed the Butcher, who had escaped from an insane asylum for criminals, killed four teenagers. The maniac also had an antique dagger in his possession, which he used the next night to attack Millie, a bored high school girl, but the girl managed to escape. The next day, Friday the 13th, Millie wakes up in an abandoned warehouse in the body of a maniac, and the Butcher himself in a cozy girl's bedroom in the body of an innocent high school girl. Of course, he is more than happy to go to school, and Millie now has to figure out how to get back into her own body without getting caught by the police.

Freaky 4K Review
High school student Millie, whose father has recently died, experiences a new shock: one night she is attacked by the famous "Blissfield Butcher", capable of smashing poor teenagers' heads against the toilet bowl and even managing to kill someone with a tennis racket. This time he arms himself with a mysterious knife and, strangely enough, only wounds the girl: she is saved from certain death by her sister-cop, who arrives on the scene in time. The killer escapes in the darkness, Millie is taken to the station, and it seems that the incident has finally exhausted itself. However, in the morning, the girl wakes up in the body of a sweaty, big-boned murderer - in the middle of his sinister den of bones, and he, in turn, regains consciousness in the survivor's room - in the guise of a withdrawn high school girl-outsider. As it turns out later, it's all the Aztec knife's fault: if you don't follow through with it, there will be an exchange of bodies.

Christopher Landon again deconstructs the genre with vivid comedic plots. In "Happy New Day of Death," Jessica Roth's heroine was caught up in Groundhog Day, which invariably ended with a masked killer ingeniously taking her life. In The Wild One (the original title Freaky also refers to Disney's Freaky Friday with the scream queen Jamie Lee Curtis and Lindsay Lohan), the pattern is much the same: the slasher becomes more ironic, but not so ironic that only the genre's die-hard fans can understand the hilarity on the screen. Hence, in fact, the familiar characters - from the portrayal of the school in the spirit of the 00's, where there are only outsiders, handsome sportsmen and bitches, to the silly love lines about the feelings of the modest protagonist and her, as they say here, "handsome" - the handsome Booker.

In general, "Game" too often focuses on such simple, obvious moments. Landon has had this problem since the sequel to "The Day of Death": there, the whole unhinged time-travel plot was reduced to the heroine's relationship with her deceased mother. Here, in addition to the already mentioned archaic constructs, there is also a lot of false grief for deceased relatives. As if realizing that this is the perfect way to set up a character conflict, the authors have been pedaling it throughout the three Blumhouse studio films. In "Wildcat," for example, the whole family suffers from it - the mother drinks, the sister becomes estranged from her relatives, and Millie closes herself off.

It would seem, though, that such a crazy concept might not need dramaturgical justifications. At least - not so encyclopedic and obvious. A movie where, at the beginning, Vince Vaughn nonchalantly kills a teenager by shoving a bottle down his throat, then tries to act like a high school girl and even manages to kiss the cute Booker (probably the best kissing scene in 2020), as one might understand, needs nothing at all. The gory murders move seamlessly into absurdist comedy, simultaneously similar to the sexist "Chick" with Rob Schneider and progressive stories about becoming a woman by defeating a stalker.

Brian Bertino, for example, is famous for his ability to work with the genre point by point, at the level of details, and even the most standard plots in his hands are comprehended at the level of cinematography itself, subtle visual decisions. The situation with "The Game" is the opposite: its concept may be developing roughly as the viewer expects, but everything stalls at the level of annoying "normality." Landon takes generally win-win situations, which he both shoots and tells by the textbook cinematographer. And no matter generally how, sorry, wild the source material is, Blumhouse manages to simplify everything in most cases, to turn it from one big rambling joke into a joke that's calibrated, detargeted and occasionally funny.