I highly enjoyed Darren Lynn Bousman's 2012 horror musical 'The devil's carnival,' a fabulously imaginative panoply of incredibly rich visuals and striking tunes that was fairly light on plot but big on delicious ideas. Following on the heels of that abbreviated delight, how can one not watch 2016 sequel 'Alleluia!' in turn? I can safely say this wasn't quite what I expected, yet in the oblique approach the second film takes, if anything it's even more brilliant. Even among those who are fans of musicals I can understand how this won't appeal to all comers, but as far as I'm concerned this is so splendidly inventive a take on classic notions that it's well worth checking out.
To a very marginal degree the outrageously colorful presentation of the first picture is toned down here, though mostly that's just an aesthetic reflection of the themes in keeping with the overall shift in setting from Hell to Heaven. In exchange for that alteration this feature does present us with more abject plot, though it must be said that this is where 'Alleluia!' particularly surprises. The narrative that is set up by the ending of the 2012 movie, and by the beginning of this one, and which is furthermore portended by any basic premise, is rather sidelined for preponderance of the runtime - instead flashing back to story that sets up for only a decidedly small remainder of the length what we are initially led to believe is the "active" plot. It's a little bit of a bait and switch that I certainly hadn't anticipated, and at first I was slightly disappointed. As the storytelling rolls along, however, it quickly becomes clear that returning screenwriter Terrance Zdunich has left no stone unturned, and as everything is only by design, the end result is a total joy to take in as a viewer. With such an angle firmly in mind, across the board I adore Zdunich's screenplay, rife with dialogue equally flowery and biting, varied and detailed scene writing, and fine characterizations that all lend to that tale.
In accordance with the more narrative-driven tack of this picture, the original songs of Zdunich and returning collaborator Saal Hendelman feel a little more tight and concise as they're relied upon to convey discrete character information and plot points instead of just overarching notions. At that, though, they're just as much fun, and arguably even more cheeky, with some selections standing out more than others - which certainly goes as well for the choreography or otherwise imagery to accompany them. (In either regard, I'm especially fond of "Good little dictation machines," "Down at the midnight rectory," and "Hoof and lap / The devil's carnival.") The cast is somehow even more impressive in this sequel, with even more recognizable names and faces involved, and once again everyone shines with the time they are given in terms of both acting and singing. It's a real pleasure to watch them all wholly embracing the dark, wry whimsy of the concept, not least such high-profile participants as Adam Pascal, Barry Bostwick, and David Hasselhoff. I admit bias since I'm already a fan, but I'm especially happy that Emilie Autumn has an even more prominent role in 'Alleluia!' compared to the preceding feature; to hear her sing is a treat, and presented with more opportunity to act in this instance, I'm of the mind that if this is any indication of her skills, I wish she'd be in more films generally.
And gosh golly, we're still not done! With another few years to sharpen their skills between installments director Bousman and cinematographer Joseph White show even stronger capabilities. While the contributions of those behind the scenes are guided in an ever-so-slightly more tame direction, still the visuals are superb across the board: costume design, hair, and makeup above all, but also production design and art direction, props, effects (both practical and special), and so on. I can only repeat that the movie is wonderfully imaginative and entertaining in the wicked tableau it presents, and while the profit is perhaps less immediate and visceral, the storytelling demonstrates still greater wit and intelligence. All involved turned in such stupendous work in every capacity - writing, direction, cast, crew, music - in creating such a spectacle that follows from its antecedent, but unquestionably follows a path all its own. I dare say that concrete criticisms don't specifically come to mind, either, above all for the fact that everything is tied together so smartly when all is said and done. Once more, my heart congratulations to all on hand. After 'The devil's carnival' I had fairly high expectations, and still I'm oh so pleased with just how enjoyable and well done 'Alleluia!' is. No, it may not appeal to all, but for my money this is well worth exploring for anyone who is a fan of someone involved, musicals at large, or the slickly Satanic side of cinema. Wherever you can watch it, this is well worth your time!
To a very marginal degree the outrageously colorful presentation of the first picture is toned down here, though mostly that's just an aesthetic reflection of the themes in keeping with the overall shift in setting from Hell to Heaven. In exchange for that alteration this feature does present us with more abject plot, though it must be said that this is where 'Alleluia!' particularly surprises. The narrative that is set up by the ending of the 2012 movie, and by the beginning of this one, and which is furthermore portended by any basic premise, is rather sidelined for preponderance of the runtime - instead flashing back to story that sets up for only a decidedly small remainder of the length what we are initially led to believe is the "active" plot. It's a little bit of a bait and switch that I certainly hadn't anticipated, and at first I was slightly disappointed. As the storytelling rolls along, however, it quickly becomes clear that returning screenwriter Terrance Zdunich has left no stone unturned, and as everything is only by design, the end result is a total joy to take in as a viewer. With such an angle firmly in mind, across the board I adore Zdunich's screenplay, rife with dialogue equally flowery and biting, varied and detailed scene writing, and fine characterizations that all lend to that tale.
In accordance with the more narrative-driven tack of this picture, the original songs of Zdunich and returning collaborator Saal Hendelman feel a little more tight and concise as they're relied upon to convey discrete character information and plot points instead of just overarching notions. At that, though, they're just as much fun, and arguably even more cheeky, with some selections standing out more than others - which certainly goes as well for the choreography or otherwise imagery to accompany them. (In either regard, I'm especially fond of "Good little dictation machines," "Down at the midnight rectory," and "Hoof and lap / The devil's carnival.") The cast is somehow even more impressive in this sequel, with even more recognizable names and faces involved, and once again everyone shines with the time they are given in terms of both acting and singing. It's a real pleasure to watch them all wholly embracing the dark, wry whimsy of the concept, not least such high-profile participants as Adam Pascal, Barry Bostwick, and David Hasselhoff. I admit bias since I'm already a fan, but I'm especially happy that Emilie Autumn has an even more prominent role in 'Alleluia!' compared to the preceding feature; to hear her sing is a treat, and presented with more opportunity to act in this instance, I'm of the mind that if this is any indication of her skills, I wish she'd be in more films generally.
And gosh golly, we're still not done! With another few years to sharpen their skills between installments director Bousman and cinematographer Joseph White show even stronger capabilities. While the contributions of those behind the scenes are guided in an ever-so-slightly more tame direction, still the visuals are superb across the board: costume design, hair, and makeup above all, but also production design and art direction, props, effects (both practical and special), and so on. I can only repeat that the movie is wonderfully imaginative and entertaining in the wicked tableau it presents, and while the profit is perhaps less immediate and visceral, the storytelling demonstrates still greater wit and intelligence. All involved turned in such stupendous work in every capacity - writing, direction, cast, crew, music - in creating such a spectacle that follows from its antecedent, but unquestionably follows a path all its own. I dare say that concrete criticisms don't specifically come to mind, either, above all for the fact that everything is tied together so smartly when all is said and done. Once more, my heart congratulations to all on hand. After 'The devil's carnival' I had fairly high expectations, and still I'm oh so pleased with just how enjoyable and well done 'Alleluia!' is. No, it may not appeal to all, but for my money this is well worth exploring for anyone who is a fan of someone involved, musicals at large, or the slickly Satanic side of cinema. Wherever you can watch it, this is well worth your time!