Category: What’s Vaughan On About? (Blog)

In the wake of this year’s Emmy Awards, ‘Adolescence’ (2025) was one of the big hitters. The limited anthology series brought home a well deserved 8 Primetime Emmy’s, including Owen Cooper’s record breaking win as the youngest winner of the Supporting Actor award at 15 years old. 

Not only was Owen Cooper’s portrayal of a young, disturbed, misogynistic youth worthy of all the praise, but Stephen Graham and Erin Doherty’s portrayals of  Eddie and Briony were mind blowing. 

Their performances were arguably the best I have witnessed all year. So simultaneously discomforting and comforting that it forces the viewer to reflect on the many shortcomings and complexities of humanity.

In this 4-part series, the characters force you to confront the stages of grief as you follow a young boy who has been radicalized by the recent surge of misogynistic, violent, and dangerous sentiments circulating online. Jamie falls into the all-too-common trap designed by figures like Andrew Tate (as mentioned in the show) that monopolizes on the turmoil and insecurity of young men, projecting these feelings outward onto women.

In this first episode we almost believe Jamie is innocent. The entire chapter, like every chapter, is a single uninterrupted shot that immerses the viewers in the unraveling of the mystery in real time. We see Jamie pleading his innocence, and he does so so convincingly. He has you on his side, until we share his father’s (Eddie) shock and denial as he watches live footage of his son committing murder. 

The following episodes traverse through the later stages of grief felt by each character. The family’s (primarily Eddie and Jamie) anger, the pleading for a different reality in which Jamie is innocent, depression as the family is attempting not to be ripped apart by the tragedy, and finally acceptance. Jamie accepting his fate and deciding to plead guilty, and his father, mother and sister getting closure on Jamie’s fate.

Throughout the series, Eddie and Briony stand out as masterfully authentic characters. Eddie is captivating and complex. His experience is so painfully common in today’s world, filled with anger and misery after his very human shortcomings as the father of a murderer. Stepehen Graham’s (Eddie) writing and acting, paired with the sensational camera work and single-take episodes make this a painfully immersive nightmare.

Erin Doherty (Briony), despite her single-episode of screen time, is terrified, yet professional. Scared, yet in control. The majority of her episode takes place in a single room, and it proves an old saying true: restraints breed creativity. Her range extends well beyond the walls of the juvenile detention center, creating a deeply unnerving back and forth between her and Jamie. 

The series accomplishes everything a show should, and more. With so many tools at their disposal, the cast and crew use one to the absolute fullest. Bryan Cranston said it best, when he discussed how an actor plays off of the audience. In comedic acting, the actor can’t know they are being funny. In not laughing, they leave it to the audience to laugh. In dramatic acting they cannot cry, for when they try not to cry that’s when we as the audience take it upon ourselves to shed tears, to feel their emotions to the fullest extent.

In that final episode, when Eddie is fighting his emotions so desperately yet he is losing his control of them, we feel an unbearable emotional weight. We see his strength giving in real time, and it hurts us. Then that final scene when he walks into Jamie’s untouched room, he breaks and we break, too. Sobbing as he tucks Jamie’s teddy into his bed, you can see him accept his son’s actions and his own role in them, and an entire show’s worth of tension unravels.

This show is a cautionary tale to the facade of safety a child’s room provides now. The youth are vulnerable. Whereas one’s room used to be the one space cut off from the world, it is now the exact opposite. The whole world is more easily accessible when you’re physically closed off from it. And there are people who abuse that newfound vulnerability to instill harmful values. Values that demonize women, that misplace one’s worth and sense of self. 

 

If ‘Adolescence’ teaches us anything, it’s that safety is a more complex term than it once was. We as people owe it to everyone around us to acknowledge this change and adapt as best we can. Maybe this way we can prevent as many Jamie’s from happening, and save as many Katie’s from a fate that sadly looms over the head of every woman.

I know I’m a little late to the party (3 years late to be exact), but wow was I blown away by ‘Talk to Me’ (2022). 

The Philippou brothers’ film debut was nothing short of sensational. From their horror/comedy Youtube channel RackaRacka to collaborating with A24 on the big screen, the twins have come a long way. Despite the metaphorical distance they’ve traveled, they have stuck true to their roots and what made them so popular in the first place.

This has truly been the decade for skit comedians to break into the horror genre. Much like Jordan Peele and Zach Cregger, the Philippou brothers bring a special element to horror that us horror fans didn’t know we were missing.

In a genre where anyone could die at any moment, horror fans like myself struggle to connect to the characters because of what we know to come. It seems like most horror directors are aware of this, and have since put much less effort into building, developing, and maintaining connections between characters and audience. Everything from lazy dialogue to ‘shock’ deaths, that cheapen the stakes and release horror’s most crucial weapon: tension.

The Philippou brothers refused to fall into this same trap. Skit comedy is so reliant on authenticity and character interaction, and they spend the majority of this film revealing character depth through meaningful character interactions and dialogue. Only once we are shown that they are real people to matter to EACH OTHER, can we feel that they truly matter to us. This is what makes this film so perfect. 

The characters feel so authentic, mounting the stakes to almost unreachable heights in the rising action of the film. They also fully utilized their budget, adding a visual layer to this already emotional nightmare. It’s been days, and I still can’t purge the images of Riley’s possession and Riley’s nearly eternal torture scenes from my mind. These moments were truly sickening in the best way imaginable.

The film also serves as a clear allegory for drug abuse. Take ‘Beautiful Boy’, add some demons, and throw them all in a circle together and we have ‘Talk to Me’. Mia’s eagerness for escape, the group sharing in terrifying ecstasy, mounting to the too-young Riley breaking the rules to fit in, only to result in what would have been his infinite end. Simply put, it’s gut wrenching.

Haunting visuals, masterclass acting from unfamiliar faces, genuine back and forth between characters, tangible character arcs, and a bitter, lingering ending. What more could you want from a horror film. This film is yet another example of how horror is back in a way it never has been before, and I cannot wait to see what more we have in store. 

Spoilers Ahead!

Zach Cregger’s much anticipated horror film has been a hot topic since its very first trailer, following hot on the trail of his horror debut, Barbarian (2022). Although Barbarian has its faults, with its tonal shift and release of tension in the second act, its cinematography, dialogue, fresh concept, and non-linear storytelling made it stand alone as a fantastic film. 

 

For horror fanatics that craved those aspects of Barbarian, Weapons simply takes that which we loved and doubles in execution. The film has a fantastic first act, opening with Georgia Harrison’s “Beware of Darkness” as we witness 17 children unnaturally sprinting from their homes early in the morning . This needle drop moment sets the unsettling tone for the film, and keeps you tense and uncertain until the end. 

The first act continues a month after the children’s disappearnces, following a distressed, paranoid, and deeply flawed teacher reeling from the event. So few questions are answered, allowing the mystery and anxiety to mount exponentially. 

We then switch to a different character’s perspective, recounting the day before from their point of view. This reveals the chapter, different-character POV storytelling technique Cregger so masterfully utilizes to slowly peel back the layers of mystery, constantly shifting the paradigm, interpersonal character relationships, and your opinions of the characters. Not only was every POV engaging and masterfully acted, but each perspective is vital to unraveling the core mystery. 

Then, much like Barbarian, our antagonist is revealed (in my opinion) a bit too soon. This shifts the tone from an uncertain horror, to a supernatural, catch-the-bad-guy thriller. I feel as if this is the only shortcoming of an otherwise unforgettable film. The first half was so scary and terrifying, to the point I had to cover my face for the better half of it. The lack of knowledge was what made me feel such primal fear (especially the car scene). But despite my preference, Cregger still manages to make the tonal shift serve both the narrative and the audience in a way that keeps the film engaging and exciting. 

While the second half elicits more atmospheric anxiety (once we know what the very compelling antagonist is capable of), the first half relies on primal fears rooted in the dark, uncanny human visuals and movements, good old jumpscares and our simple lack of knowledge as the audience. Two different fears in the same movie. The ones from the first half keeping you on edge for the entire second half. It felt like a combo deal that I was SAT for. 

I also cannot stress enough how impactful two performances were in particular. Every single focal character played their part phenomenally, giving each chapter its own standalone weight. That being said, there were two that stood out to me. The first being the honorable Justin Long! Of course he has such a brief role in this film, but Justin Long is making himself a modern horror legend. Although, in all honesty, he does not add much narratively to this film, you know a movie is about to be fire when he makes an appearance.

The second performance that I feel was rave worthy was the great Austin Abrams. First The Walking Dead, then Euphoria, now this. He is showing his hunger and talent as a truly authentic actor. It’s also quite funny to see him playing yet another tweaker running for his life and screaming, just like in Wolves (2024). All jokes aside, the humor and honesty he adds with every delivery and every shambling movement is electric. He makes you feel as if he truly was an addict that was simply recorded in his daily life, unaware of the camera. Every moment he is on screen, he performs with purpose that leaves you laughing in one moment then holding your breath in the next. 

And that finale! So out of the norm, bordering goofy but somehow fitting the tone of the film perfectly. The horribly violent yet bizarre death of our main antagonist leaves you satisfied and somehow giggling, showing the direct influence of Cregger’s sketch comedy years on the film. It’s as if the whole film is such a crafted, subtle tone gradient. So subtle that you don’t know it has changed until a shambling, bald, elderly woman is being chased to the death by 17 sprinting children. 

Cregger creates such a memorable piece of horror fiction, one that I cannot get out of my mind. Not only does he do that, but he does it so aesthetically that I was blown away by the cinematographic creativity. The tracking shots, the dolly zooms, moving door cams, ring camera footage, unique angles, whip pans, and some truly anxiety inducing framing. The sleeping in the car scene and the confrontation in the liquor store are both prime examples, examples that make you never want to touch a camera again because there is no longer any room for improvement. 

Without the technical execution of shots like these, there’s no telling where the movie would have gone on my list. Camera work, acting performances, narrative, pacing, and conclusion all considered, this movie was delightful. A great movie and a truly memorable one at that. One that makes you scream, gasp, and jump as much as it makes you smile, laugh, and admire. One that is easily worth a clean 4 out of 5 stars! 

Digital painting of a frame from the movie “Sinners” (Vaughan Stout / Digital Art).

(Spoilers Ahead! Tread Carefully!)

I can’t even begin to describe the anomally that is this film.

Any movie fanatic knows the dull ache of walking into their local theater epxecting community, and finding nothing but empty seats. Since COVID, it has been nothing short of a rarity to battle for parking long before the first preview graces the screen. But the second I stepped into the showing room for the late night screening of “Sinners”, a sea of excited faces battling for space looked back at me. Community.

This film was not only an incredibly entertaining take on the somewhat oversaturated market of vampiric horror. Of course we all loved Twilight, but the series (while I adore it) marked the Hollywood, commercial takeover of vampire fiction. It took the star power of a timeless folktale, and relied on that as its sole background, taking away any fear or curiosity associated with the undead creatures of the night. All it took was one Ryan Coogler to remind us why vampires were ever scary in the first place.

Coogler takes us on a ride through Mississipi history in the 30’s. In the state and era of some of the most vile post-slavery treachery in the United States, we follow our powerful black protagonists following dreams of unity and glamour.

Starting with young Sammie, a talented an aspiring blues musician (who’s even more gifted than we could have ever imagined). Miles Caton absolutely bodied his first ever film role as our lead protagonist. Born with soul and a gift so rich he can conjure echoes of his ancestory with his gifted guitar in one hand and his metal slide on the other. He leaps to the opportunity to flee his religious pressures and start a Juke Joint with his newly arrived cousins.

Enter Smoke and Stack, twin brother veterans turned mafia. The twins, having arrived from fleeing mob discourse (caused by yours truly) in Chicago, are played to perfection by the talented Michael B. Jordan. Through the use of seemless editing and CGI, Jordan’s characters take up their own individual space in each scene together as if they were two different entities entirely. Jordan’s roles were done so masterfully that my girlfriend turned to me near the 45 minute mark, stating that Smoke and Stack “look so similar” that she “couldn’t believe they were different actors.” She wasn’t the only viewer taken aback by Jordan’s flawless portrayal of the side-by-sde badasses, as social media was rampant with appraisal for the performance as well as questions regarding a nonexistent “Michael A. Jordan.”

The suave, charismatic Stack takes off with Sammie to acquire extra talent for the Juke Joint. We meet business partners, artists and cooks Bo and Lisa Chow, the alcoholic musician Delta Slim, the and soon-to-be doorman Cornbread. As the group gains momentum and spirit, it eventually threaten to run cold as they run into Stack’s white-passing ex-lover portrayed with the utmost grace by Hailee Steinfeld, Mary (and a very cold conforntation ensues, but she’ll be back). On the other end of the adventure, Smoke’s separate path takes a somber note. The business-minded, smile-not-to-be-seen Smoke visits not only his child’s grave, but also the baby’s mother and his ex-lover, Annie. The hoodoo practitioner and herbalist is recruited to the ragtag group as well, and they better thank themselves that she was.

The thrill of community sweeps up the group of misfits as they prepare for a grand opening, hoping to provide a place for soul, brother and sisterhood, and repreive in the deep South. Though this is no easy feat to begin with in a town overrun by Klansmen and hatred, we see the ice of uncertainty begin to melt as black locals enter the doors in troves, yearning for safety, solidarity, a drink and a dance. The tension between characters builds as the night surges with life and possibility. And then that one scene. If you’ve seen the film, you know which scene I’m referring to.

As Sammie is called to the stage, he introduces himself with a smirk that foreshadows the performance to come. As he strums his guitar, using the slider to get the grit and heart of blues to echo through the eagerly anticipating crowd, he begins to belt Sammie’s original song (and a true original song for the film) “I Lied to You.” With each echoing lyric, and background instrumentals produced by Ludwig Göransson, viewers and characters alike are woven seemlessly with the musical ancestry of the past, present and future. As a beautiful Letterboxd review by Joe A. stated, its a “Magnum Opus type scene. Spirit Awakening type scene. Inspirational, foundational, monumental.” To see the power of music, especially blues its spiritual binding, embodied in a nonstop visual interpretation from the eyes of the talented Ryan Coogler, your jaw will hang agape. And as Sammie’s final stretched note is cut crossfaded by a haunting, soul-tingling electric guitar solo from Göransson, we are reminded again that he produced “Redbone” (say thank you Ludwig Göransson).

Enter antagonist. Remmick, the centuries-old Irish vampire played by Jack O’Connell, masquerades as a clueless wanderer searching for community, drawn to the timeless power of the true human spirit exemplified by Sammie. The chilling calmness in which Remmick approaches the sanctity of the all-black sace that is the Juke Joint, nerves run taut. Something in the back of the viewers’ necks tingle as the soulless, eerie rendition of “Pick Poor Robin Clean” alerts the senses. This is merely the beginning of the end, as identities are revealed, characters are lured. People die. Well, “die.”

I don’t want to give away any more than I have already given, as spoilers are cruel and unusual punishment, but I simply need to talk about this film. And if there was one message to leave with readers, it is that I know films will get written off not only in the horror genre, but especially in the vampire genre. Do yourself a favor and attempt to overlook past grievances, because this film is gorgeous not only from a cinematography and CGI standpoint, but also from its symbols and performances. A complex villian, a phenomenal and prodigious cast, spiritual enlightenment, music in its purest form, conflicted and dynamic protagonists, cultural empowerment and reflection, worldbuilding, significant character attachment and development. I, from the bottom of my heart, believe this was a masterpiece to each and every sense, and you will not be the same person leaving the theater as you were walking in.

This film stands comfortably at a 9/10, but upon my second viewing I expect a full 10/10.

GO OUT AND ENJOY IT!