The Drama: A Marriage of Discomfort and Empathy
This is not a film, it’s a drop tower. A drop tower that you don’t get off of for the vast majority of its 106-minute runtime.

Casablanca, Morocco. A trio of women, with the police on their tail, embarks on a long escape that takes them across the rugged red terrain and flower-filled valleys of the Atlas to finally reach the Atlantic coast.
This is not a film, it’s a drop tower. A drop tower that you don’t get off of for the vast majority of its 106-minute runtime.
When it comes the horror genre, I am VERY hard to please or impress, much less scare. Coming from a current mindset of appreciation for chilling, unsettling, tension-inducing efforts such as "Hereditary", "The Conjuring" (ONLY the first one to date, mind you), "Lights Out", "The Babadook", "Midsommar", "Talk To Me", "Oddity", "Bring Her Back", and the like
The sequel to the 2021 remake of the same name continues from where we last left off in this spooky adventure.
At 2:17 a.m., every child in a third-grade class wakes up, leaves their home, and disappears into the darkness—except one. The next day, teacher Justine Gandy discovers that Alex Lily is the only student left, while the rest have vanished without a trace. Did Justine have something to do with it, or is a far more sinister force stalking the town, targeting not just children, but anyone in its path?
Disney's live-action remake is vibrant and beautiful, with updated music and classic enthusiasm, but it fails to push the envelope and provide nuance for Ursula.
As a musical fan, I enjoyed the film and encourage anyone who likes dark humour and a bit of blood to give it a watch.