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So… what happens aback the anniversary “start the new year with a amiss grindhouse abhorrence movie” access turns out to be good? We’re award out in 2019, as Sony’s Escape Room was absolutely decidedly good, arena like a skewed “Saw for kids” that emphasized accessories and phycological action over claret and carnage. My 11-year-old alike admired it, which opens her up to all of my wife’s admired awful abhorrence flicks… beware. Anyway, administrator Adam Robitel’s $9 million-budgeted flick becoming a solid $18m over its admission weekend.
That’s a appealing acceptable (for a abhorrence flick) 2.3x weekend multiplier and positions the flick to potentially top $45m calm by the end. No, early-January abhorrence movies aren’t awfully leggy, and Glass is activity to put the aching on this one in two weeks. But it becoming a B from CinemaScore (which, again, is acceptable for a abhorrence title), and I brainstorm chat of aperture will be of the “Wow… that was decidedly not awful!” variety. And, yeah, it’s a accomplished archetype of the “rip off, don’t remake” concept, actuality (by default) the best Saw (or Saw-ish) cine aback Saw VI aback in 2009. Yes, as appropriate by law aback at atomic 2005 (remember Michael Keaton’s White Noise?), the aboriginal weekend of the year is home to an unapologetically amiss abhorrence romp.
Most of these (The Devil Inside, The Forest, Texas Chainsaw 3D) are appealing bad. Some of them (Insidious: The Last Key) are center decent. Escape Room, which is as abundant a cerebral abstruseness as a abhorrence cine (it earns its PG-13 the honest way), is apparently the best of these aback Daybreakers aback in 2010. That isn’t adage much, but, yes, Escape Room is absolutely appealing abuse good. It was so good, in fact, that I candidly anticipate Sony should accept buried it for critics (beyond aloof the circuit press). Nonetheless, they accept to be appealing blessed with the weekend result. Again,