The Platform 2 (2024)

 

 

Streaming Service: Netflix 

Movie Name/Year: The Platform 2 (2024)

Genre: Horror, Sci-Fi, Thriller

Length: 1h 39min

Rating: TV-MA

Director: Galder Gaztelu-Urrutia

Writers: Galder Gaztelu-Urrutia, Pedro Rivero, David Desola, Egoitz Moreno

Actors: Milena Smit, Hovik Keuchkerian, Natalia Tena, Óscar Jaenada, Ivan Massagué, Zorion Eguileor, Bastien Ughetto, Armando Buika, Pedro Bachura, Antonia San Juan, Alexandra Masangkay, Emilio Buale, Albert Pla, Gorka Zufiaurre, Ken Appledorn, Hoji Fortuna, Mariamu Toure, Sesinou Henriette, Patty Bonet, Tadashi Ito

 

Metacritic Blurb: As a mysterious leader imposes their rule in the Platform, a new resident becomes embroiled in the battle against this controversial method to fight the brutal feeding system. But when eating from the wrong plate becomes a death sentence, how far would you be willing to go to save your life?

 

 

Selina’s Point of View:

What do I think of The Platform 2? I think my back is killing me.

 

I didn’t move a muscle during the entire film. I’ll be honest, I’m not even sure I was breathing. It had the same achingly impressive suspense that The Platform (2019) did. In fact, it was completely up to the level of the original film. For a sequel to do that is impressive.

 

The social commentary was also on point. It shined a light on how a law that looks good on paper could be seen as unfair. It also showed how bad enforcement of a law could be just as detrimental as if it did not exist in the first place. It was superbly done.

 

 

I didn’t remember much about the first film. After all, it was from the pre-COVID era and the whole world changed shortly after. Never-the-less, I remembered enough to be shocked when I realized it was a prequel. It’s possible I knew that from the trailers, but it’s been long enough that it completely slipped my mind. I was expecting a more sequel-esk plot. That little twist was interesting. It really brought out the differences between the loyalists and the barbarians.

 

There’s also a short scene after the start of the credits that ties everything together in a way I never expected. I’m still a little confused by it, but not in a bad way.

 

I loved The Platform 2. I’ll follow the story as far as they want to take it.

 

 

Cat’s Point of View:

The Platform (2019) may not have been one of my favorite movies, but it certainly stuck with me after we watched it for review in April 2020. I suppose you could say that it was on our “Pandemic Watch List,” even though it was at the very beginning and before things really got wonky. In my review, I pondered whether or not Netflix would revisit the story and provide a sequel. Now I have my answer – even if it wasn't all that I was hoping for.

 

I'll clarify that statement a little.

 

I noted that I wasn't just interested in revisiting the concept, but instead was hoping to learn more about the world or time period that brought about “the pit” and the human social experiment that went with it. Alas, that was not what happened.

 

My mild disappointment aside, that didn't really impact my viewing experience for this sequel. When I watched the trailers, it was clear that The Platform 2 was going to be approaching the story a little differently. Initially, I wasn't even sure if it was going to be tied to the original film. During my watch-through, however, it clicked that I'd seen one of the characters before. By the end, the connections became more clear. Some of the ties that bind the 2 films are more overt, but there's also a more subtle thread that weaves them together – both explanations of which would be spoilers.

 

 

The Platform 2 doesn't have as much mystery as the first film, because we know how the titular platform system works by the time we reach this second experience. (If you haven't watched the first movie, this may all just be more confusing. I'd recommend watching in order.) There's definitely more brutality and shock-value here than examined in the first installment.

 

This story was clearly another slap-in-the-face social commentary. There were a few Uncanny Valley moments that were a little disturbing, but the take on how the extreme enforcement of laws without examination of mitigating circumstances allowing flexibility was clear. It also gives us a hard look at the dark side of those with the power to act on a savior complex and fanatical zealots.

 

I'd have to say that out of the 2 films, the first had more impact. It's even worked its way into culinary arts pop culture. Network television has a reality cooking competition show with Gordon Ramsay (MasterChef USA, Kitchen Nightmares, Hell's Kitchen) called Next Level Chef (2022-). It features the central platform of food that travels through 3 levels, giving chefs on the top first pick and those on the bottom are stuck with whatever's left. (Let me tell you, I cackled when I saw the first preview ad for that show because I instantly recognized where they got the idea.) While I really enjoy the cooking show, and in hindsight I would give The Platform a higher rating, I can't say the same for this sequel.

 

That doesn't take away from the fact that this new film was just as expertly put together and well-executed as the first. It does have its strengths, and I was on the edge of my seat throughout.

 

The Platform 2 went to some really bizarre places and just ultimately left me feeling unsatisfied and unsettled. At the same time, if they decide to turn this into a trilogy, I'd still watch in hopes of learning more about the lore of the twisted Pit and any further connections between those trapped in it.

 

 

Rotten Tomatoes Critic Score – 35%

Rotten Tomatoes Audience Score – 25%

Metascore – 45%

Metacritic User Score – 4.2/10

IMDB Score – 4.9/10

 

Trust the Dice: Selina’s Rating – 5/5

Trust the Dice: Cat’s Rating – 3.5/5

 

Movie Trailer:

Killer Countdown - Vanishing on 7th Street (2010)

Streaming Service: Hoopla
Movie Name/Year: Vanishing on 7th Street (2010)
Genre: Horror, Mystery, Thriller
Length: 1h 32min
Rating: R
Director: Brad Anderson
Writer: Anthony Jaswinski
Actors: Hayden Christensen, John Leguizamo, Thandiwe Newton, Jacob Latimore, Taylor Groothuis, Jordan Trovillion, Larry Fessenden

IMDb Blurb: The population of Detroit has almost completely disappeared, but a few remain. As daylight disappears they realize that the Dark is coming for them.

Cat’s Point of View:
I don't remember anything about Vanishing on 7^th Street from the time-period it was released. On paper, the premise and cast would promise an amazing and thrilling experience. I am not sure that what I watched lived up to those expectations entirely, but it was interesting.

There were definitely moments that got me, though. Vanishing on 7^th Street had an eerie vibe and kept me on the edge of my seat for the most part as the shadows closed in. We're hard-wired to have this primordial unease about the dark. It's instinctive, and this movie definitely plays on that. I read something recently that I found profound in its simplicity – we're not actually afraid of the dark, but what might be IN the dark. When you add people just going poof to that, it's unnerving.

The characters in this film are clearly going through some serious trauma. Thankfully, the production team put a cast together that really sold it well. The combination of Hayden Christensen (Takers, First Kill, Ahsoka), John Leguizamo (Encanto, The Menu, Violent Night), and Thandiwe Newton (Gringo, All the Old Knives, Westworld) really sold this movie when we were looking for a #7 for our Killer Countdown. I adore all of them, and they did the best they could here with what they had to work with. I could feel their despair, fear, and desperation. This was also the film debut for Jacob Latimore (Detroit, House Party, The Chi) and he has gone on to do some really great stuff. I was really impressed with him at his age when this was filmed.

In retrospect, Larry Fessenden (The Dead Don't Die, What Doesn't Float, MaXXXine) was wasted in the bit part he had here that I don't even think had lines. But this was over a decade ago, afterall, and before he made a name for himself – especially in the horror genre. 

Brad Anderson (The Call, Stonehearst Asylum, The Silent Hour) has some really solid films under his proverbial directorial belt. I did appreciate the storytelling here, though there were some kinks that just didn't quite get worked out before the final production was released. The character development was a little lopsided, but I can't tell if that was entirely intentional. We got a lot of subtle cues about Christensen's character and even a bit of a story arc of growth for him. We have very little regarding the other primary characters besides their occupations and what they were doing immediately before the “vanishing” happened. There are so many unanswered questions – but sometimes things are just like that in life. We don't get all the answers we want, and crazy unhinged stuff happens in the world every day that defies explanation. Perhaps the point was to leave the film even more unnerving because we don't get to learn exactly what the hell was going on. It's just a bleak story.

I did have a giggle regarding Leguizamo's character's job as a projectionist at an AMC theater. That was a wonderful little nugget of nostalgia for me, hearing the film reels whir. My first real job when I was in high school and college was at my local AMC theater. I digress...

Vanishing on 7^th Street isn't going to be for everyone. If you are the type that needs some clear resolution with your stories, this movie isn't going to be satisfying for you. The ending is even more perplexing than everything else that came before it and laden with heavy symbolism. Though, if you're open to just riding along for the experience, this film does provide the prerequisite mood, ambiance, and general creepy atmosphere for a few thrills.

Rotten Tomatoes Critic Score – 48%
Rotten Tomatoes Audience Score – 21%
Metascore – 50%
Metacritic User Score – 4.8/10
IMDB Score – 4.9/10

Trust the Dice: Cat’s Rating – 3/5

Movie Trailer:

Satanic Hispanics (2022)

 

 

Streaming Service: Shudder

Movie Name/Year: Satanic Hispanics (2022)

Genre: Horror, Comedy 

Length:  1h 52min 

Rating: R 

Directors: Alejandro Brugués, Mike Mendez, Gigi Saul Guerrero, Eduardo Sánchez, Demián Rugna 

Writers: Pete Barnstrom, Alejandro Mendez, Lino K. Villa 

Actors: Efren Ramirez, Greg Grunberg, Sonya Eddy, Lombardo Boyar, Mark Steger, Alejandro Brugués, Vince Lozano, Ace Underhill, Demián Salomón, Luis Machin, Victoria Maurette, Carlos Segane, Hemky Madera, Patricia Velasquez, Ari Gallegos, Gabriela Ruíz, Jesus Meza, Pedro Joaquín, Marcio Moreno, Carlos L. Vazquez, Jonah Ray, Danielle Chaves, Christian Rodrigo, Jacob Vargas, Morgana Ignis, Mike Mendez, Daniela Medeiros

 

 

IMDb Blurb: When police break into a house in El Paso, they find it filled with dead Latinos and a lone survivor. Known as "El Viajero," he is taken to the police station for questioning.

 

Selina’s Point of View:

I love a good horror anthology. I tend to enjoy even the bad horror anthologies. As long as there’s a creative theme and a decent framing device, I’m usually all for it. I may not have adored the ABCs of Death (2012-2016) flicks, but even they had their stand-out stories.

 

Anthologies are simple. Short stories fused together by one over-arcing idea. In the ABCs of Death it’s about the alphabet. In the V/H/S (2012 -) films, it’s all found footage – with an added theme for each flick. The Mortuary Collection (2019) is tied together by a framing device that sees the owner of a mortuary telling tales about the bodies he’s worked on. Masters of Horror (2005-2007) is tied together by the iconic level of each story’s creator. There are also plenty of horror anthologies based around holidays like Halloween, Christmas, and even April Fools Day.

 

The one thing tying together an anthology can be just about anything: behind the scenes, or woven into the stories.

 

The only thing I always need to see in an anthology is tonal consistency. If it’s a group of serious stories, that’s fine. If it’s all horror/comedy, that’s also fine. Even mixing and matching those two a little can work. What makes me twitch is when you take some serious stories and mix them with flat-out parody. My brain cannot make that switch so easily and I wind up hating it.

 

That’s what happened here.

 

The framing device in Satanic Hispanics is fine. It’s a little bit over-done, but it works. It’s just a guy telling stories to the cops. Simple. The first actual story winds up being on the serious side. It’s a bit of a slow burn, but the pay off in the end makes it worth it. Since it is just a short story, waiting for that twist doesn’t feel like too much of a chore.

 

 

Then it gets into the second story.

 

When I tell you how I rubbed my temples for several minutes straight, I’m not being dramatic. Friends watched me do it and made fun of me from the other room.

 

I don’t have the capacity to go from a super serious, slow-burn, twisty story to a full-on parody in the same film. It’s just my preference, but I hate it.

 

I need to be in the right frame of mind for a parody. If you’ve ever seen my reviews of flicks in the genre, then you know I don’t think they should even be compared to actual cinematic films. It’s like judging a frog for how well they fly. It simply doesn’t work. It’s why I even differentiate between parody and caricature.

 

It’s not about mixing the comedic with the terrifying. Later in the film there’s a horror/comedy story that works well. I love that. But when it’s a full parody? It’s like cramming together The Hunger Games (2012) and The Starving Games (2013) and saying it should work. It doesn’t.

 

That one parody section of Satanic Hispanics took me right out of it, and I never connected again. It’s not for me.

 

 

Cat’s Point of View: 

Satanic Hispanics is a horror anthology that has quite a lot to unpack. This conglomerate of 5 short horror films written and directed by Hispanic creators and largely starring Hispanic actors was not exactly what I was expecting – but in a good way.

 

My last review was for another horror anthology, V/H/S/85 (2023). Watching these back-to-back, for the most part, gave me the opportunity for some additional comparison and contrast – considering the former was fresh on my mind.

 

I found that I enjoyed the overall package of Satanic Hispanics more than I did the latest V/H/S (2012) installment. The story that introduced the different horror short-films was more cohesive and enjoyable than the odd retro sci-fi experience of ’85, and I was really invested in that experience the way I became engrossed in this story and wanted to stick around for its conclusion.

 

 

First, let’s address the elephant in the room. The title of Satanic Hispanics might be a little misleading to some, and might have set different expectations for this anthology than what actually appears on the screen. I can see how that might be contributing to some of the lower viewer scores. This is one of the rare cases that I lean more towards the critic scores. I didn’t get bogged down in the title, and just set out to experience a horror anthology with a cultural twist.

 

There isn’t anything satanic about Satanic Hispanics. Not a spoiler, really. I just want to make sure that expectations are managed correctly. I’m just guessing here, but the filmmakers were likely just enjoying that rhyming scheme paired with the horror anthology. If I understood an interview I read correctly, it seemed to have begun as the working title of the project and just stuck.

 

The over-arcing tale was a short, in itself, titled "The Traveler" from Mike Mendez (Big Ass Spider!, Tales of Halloween: Friday the 31st, Don't Kill It). With the repertoire of great movies under Mendez’s belt, I wasn’t surprised at all once I connected the dots to him. He has this great knack for balancing whimsy with more serious horror elements. I absolutely adored the evolution of the costume design once ‘The Odd Man’ appeared, and it did give me some shivers. Efren Ramirez (Napoleon Dynamite, Trafficked, Lightyear) was also a great fit for the titular character.

 

 

In addition to all of that, Greg Grunberg (Big Ass Spider!, Star Wars: Episode VII - The Force Awakens, A Star is Born) was also featured in that story as a police detective along with Sonya Eddy (Good on Paper, V/H/S/99, General Hospital). Grunberg is one of those ‘Hey, it’s that guy!’ character actors, who I adore, and you find in shows that make lasting marks on the pop culture landscape – especially for Sci-fi fans. He’s great with comedy and serious roles alike. Some of the highlights in his portfolio are Felicity (1998-2002), Alias (2001-2006), Lost (2004-2010), Heroes (2006-2010), and Star Trek Beyond (2016); and then he also has whimsical stuff like Max Reload and the Nether Blasters (2020). There aren’t that many that can boast that they’re a part of both the Star Wars and Star Trek franchises. I digress…

 

Director Eduardo Sánchez (The Blair Witch Project, Supernatural, Queen of the South) also has to his credit many productions which I have enjoyed in the past. His segment within Satanic Hispanics of “El Vampiro” was no different. This playful, yet still somewhat serious, take on a classic vampire story was brilliant and hilarious.

 

Demián Rugna (You Don't Know Who You're Talking To, Terrified, When Evil Lurks) was at the helm of the segment “Tambien Lo Vi.” While I’m not as familiar with their work, I did have an appreciation for this short film within Satanic Hispanics. This particular segment was more of a dramatic horror element and leaned less into comedy than the previous that I’ve mentioned. It had me thinking, and not hating the fact that it did. When I read an interview with the directors for Satanic Hispanics, I connected some dots that hadn’t quite made it during my watch-through, and I’m even more impressed with this story. (Caution, while I’ve linked the interview I referred to here, beware of some mild spoilers if you haven’t already watched the film yet.)

 

 

While Alejandro Brugués (Juan of the Dead, ABCs of Death 2: E is for Equilibrium, 50 States of Fright) may have been one of the masterminds for this project, and I love that, his particular short "The Hammer of Zanzibar" was an odd addition to this mix. I suppose we find within every anthology that one segment that just comes at us out of left field and has us scratching our heads. At least, that’s what usually happens for me… outside of things like The ABCs of Death (2012)… so many of those letter-themed shorts were just out there. I guess it doesn’t surprise me he participated in the first sequel. 

 

In any case, most of the short’s story was fine – great, even. Then it hit a particular point and just went off the rails. It was funny and a bit cringe, and enjoyable all the same. It left me with a ‘well damn’ feeling as it ended on a truly horrific note. There was just quite the odd rollercoaster to get there. As an additional note, I really got a kick out of Jacob Vargas’ (Sons of Anarchy, Beyond Skyline, Mr. Iglesias) character, and laughed in spite of the cringe involved.

 

Let’s talk about the “Nahaules” segment. I’d say this was the one that I resonated with the least out of the entire lot. I do have a lot of respect for it, however. Gigi Saul Guerrero (The Source of Shadows, Bingo Hell, V/H/S/85: God of Death) has a gift for both leaning hard into her heritage as well as the grimy elements of horror. I think she hit the nail on the head in the DailyDead interview I mentioned before, when she said that she enjoys giving viewers a visceral reaction to things such as really gross teeth because she wants to “[make] sure audiences can not just feel what’s on the frame, but they can smell and taste it.” It was a story steeped in cultural mysticism; and while interesting, just wasn’t my cup of tea.

 

On the whole, Satanic Hispanics was a wild and enjoyable ride through the minds of some great Hispanic directors. Fans of horror anthologies generally wouldn’t be disappointed.

 

 

Rotten Tomatoes Critic Score – 92% 

Rotten Tomatoes Audience Score – 47% 

Metascore – 58% 

Metacritic User Score – None 

IMDB Score – 5.7/10

 

Trust the Dice: Selina’s Rating – 2/5

Trust the Dice: Cat’s Rating – 4/5

 

Movie Trailer:

V/H/S/85 (2023)

 

 

Streaming Service: Shudder

Movie Name/Year: V/H/S/85 (2023) 

Genre: Horror, Thriller 

Length:  110min 

Rating: TV-MA

Directors: David Bruckner, Scott Derrickson, Natasha Kermani, Mike P. Nelson, Gigi Saul Guerrero 

Writers: C. Robert Cargill, Zoe Cooper, Scott Derrickson, Evan Dickson, Mike P. Nelson, Gigi Saul Guerrero 

Actors: Freddy Rodríguez, Kelli Garner, James Ransone, Jordan Belfi, Gigi Saul Guerrero, Dani Deetté, Mark Sipka, Andrew Ghai, Anna Sundberg, Shelby Steel, Chelsey Grant, Tyler Noble, Gabriela Roel, Chivonne Michelle, Justen Jones, Florencia Ríos, Dashiell Derrickson, Toussaint Morrison, Marcio Moreno, Alex Galick, Ari Gallegos, Eric Pierson, Gerardo Oñate, Forrest Hartl, Dana DeRuyck, Evie Bair, Duffy McManus, Felipe de Lara, Tom Reed, Brent Picha, Renee Werbowski, José María Higareda, Bryan McDonald, Christopher Gasser, Murray Nelson, Anna Hashizume, Nicholas Krekeler 

 

IMDb Blurb: Unveiled through a made-for-TV documentary, five tales of found footage horror emerge to take viewers on a terrifying journey into the grim underbelly of the 1980s. 

 

 

Cat’s Point of View: 

While I haven’t always jived with every segment featured in the anthology franchise, the V/H/S (2012) movies have been a fun experience, over all. It’s like unpacking a “blind box” of film shorts. Sometimes there are things in the box that you don’t necessarily care for, but the rest is an enjoyable surprise. V/H/S/85 was the latest installment in this cinematic series, and I was enthusiastic to open up this mystery bundle.

 

I have mentioned before (and probably will again) that I absolutely love to watch productions set in the 1980s. I’m an 80s baby and so the decade is full of warm fuzzy nostalgia. Of course, we’re talking about a horror anthology here with V/H/S/85 so there really isn’t anything ‘warm and fuzzy’ about it. The little details that placed it within the 80s, however, not only helped me immerse myself within the collected found footage features, but it also gave me a little comfort touchstone – like wrapping up in a blanket while watching the scary movie.

 

 

Speaking of scary, I can’t say that I was chilled to the bone by any of these stories, but they were all interesting and well executed for the most part.

 

Gigi Saul Guerrero’s (Mistress of Bones, Bingo Hell, Satanic Hispanics) "God of Death" segment felt right at home as footage from a TV studio in the 80s and it captured the essence of the real event it was loosely framed around… with a twist. Scott Derrickson’s (Sinister, Doctor Strange, The Black Phone) "Dreamkill" segment was one of my favorites. Not only did this short distill the essence of the 80s well, it was also disturbing beyond the blood and gore. Natasha Kermani (The Samaritan, Imitation Girl, Lucky) "TKNOGD" segment gave all the right early computer graphics feels while incorporating a horror element into performance art. Mike P. Nelson’s (The Domestics, Studio Luma, Wrong Turn) "No Wake" & "Ambrosia" segments probably were the ‘winners’ for me. These 2 segments resonated in a different way than the others and held more subtle horror in addition to the overt elements involved.

 

 

I don’t know that the over-arching story the individual short films were sprinkled throughout connected as well to the segments as in some prior V/H/S offerings. I understood what David Bruckner’s (Southbound, The Night House, Hellraiser) "Total Copy" segment was going for, but couldn’t help have a bit of a disconnect with it. It was perhaps a combination of my own internal question of ‘but why, though?’ in regards to each of these ‘discovered’ home-videos watched within that narrative and some of the visual choices that just didn’t resonate with me. It wasn’t “bad,” per se… it just wasn’t as effective over-all for me.

 

That being said, V/H/S/85 was still absolutely worth the watch. This was, in fact, my second time watching this anthology as I’d tuned in as soon as it had released on Shudder last year. If you like horror anthologies, this franchise still remains a decided go-to. 

 

 

Rotten Tomatoes Critic Score – 74% 

Rotten Tomatoes Audience Score – 70% 

Metascore – 53%

Metacritic User Score – 5.8/10 

IMDB Score – 5.6/10 

 

Trust the Dice: Cat’s Rating – 3.5/5 

 

Movie Trailer:

 

Devils' Line (2018-)

Streaming Service: HIDIVE
Series Name/Year: Devils’ Line (2018-)
Genre: Animation, Action, Crime, Drama, Fantasy, Romance
Average Episode Length:  24 min (12 episodes, 1 Season)
Rating: TV-MA
Production: Platinum Vision
Director: Hideaki Nakano
Writers: Hanada Ryou, Hisao Ayumu, Konuta Kenji
Actors:
Japanese Cast-
Yoshitsugu Matsuoka, Yui Ishikawa, Yoshimasa Hosoya, Satoshi Hino, Miyuki Sawashiro, Nao Touyama, Ryouhei Kimura, Takahiro Sakurai, Shouta Aoi, Nakaya Kazuhiro, Hiroshi Kamiya, Yumi Uchiyama, Daisuke Hirakawa, Akira Ishida, Kazuyuki Okitsu, Mamoru Miyano, Mayumi Asano
English Cast-
Adam Gibbs, Luci Christian, Justin Doran, John Ramirez, Carli Mosier, Kira Vincent-Davis, Scott Gibbs, Adam Noble, Bryson Baugus, Jovan Jackson, Gabriel Regojo, Juliet Simmons, Antonio Lasanta, Clint Bickham, Joe Daniels, David Matranga, Patricia Duran

IMDb Blurb: Vampires seem to be living among humans. Of course the government does not know of their existence, because their appearance does not differ from humans. They also do not need to drink blood, but when they get a craving or get angry, they can become uncontrollable monsters.

 

Cat’s Point of View:
We’ve finally hit October and the official Spooky Season! While it’s unfortunate that the ongoing SAG-AFTRA strike prevents us from bringing you our normal Thrills and Chills type review series this month, that doesn’t mean that we can’t dive into the spine-tingling corners of entertainment. Thankfully, with the forward steps to settle the WGA portion of the strike, there seems to be some hope that things won’t drag out too much longer. I digress…

I was perusing HIDIVE for anime titles that struck my fancy when I ran across a series I hadn’t heard of before – Devils’ Line. The blurb and trailer seemed to pitch a story somewhere along the lines of the far more well-known Tokyo Ghoul (2014-2018) – but with a bit more romance involved. It seemed this would be a great beginning to the scary fun of October, so I dove right in.

Devils’ Line wasn’t exactly what I was expecting on a few different levels. While it had some of the same themes I anticipated from its seeming similarities to Tokyo Ghoul, it was wildly different. It was a conglomeration of so many genres.

 

Let’s break that down. The story was told from the perspective of the two primary characters. Sometimes the audience was treated to hearing their inner monologues. There were few scenes that stepped away from this, but it did happen a bit. Devils’ Line felt like it desperately wanted to be a slice of life dramatic romance full of supernatural elements, but it kept getting hijacked by crime procedural action. Then throw in conspiracy, social agendas, and human rights topics into the mix.

Devils’ Line had so much going for it but I feel like it might have gotten bogged down by its own ambition a little bit. The beginning started really strong, but somewhere in the middle of the 12 episodes, things lost momentum. Yet, at the same time storylines seemed to be rushed to fruition.

I have to say I really wasn’t particularly a fan of the ending. Of course, a cliffhanger is rarely where an audience wants to be left teetering. There are still multiple subplots that were left unresolved in addition to the elephant in the room that was the status of the primary characters as the credits rolled. It was frustrating, to say the least.

 

This could probably be easily explained by the fact that the production studio was leaving room for an additional season to take place. Unfortunately, the series doesn’t seem to have performed to their expectations as further episodes have not materialized, nor have there been any official announcements as to whether or not – or when – a second season would be in the works. The only glimmer of hope anyone wanting to see closure manifest on the screen has is that Platinum Vision hasn’t officially cancelled the series as of the time I’m writing.

For anyone really desperate to find out what happened next, though, you could always go look up the manga that the series was adapted from. There are about 69 chapters within the manga series and the anime adaptation is said to cover about 40, give or take. While I haven’t read the manga to know how closely the screenplay followed the story, it seems to have a decent following.

Where did the horror elements fit into this anime, you might wonder? Well, contrary to the name of the series, this isn’t a story about devils or demons. It’s a tale about vampires – and specifically their relationships with humans. Devils’ Line explores the complications that arise from interactions between the species and concentrated on the danger aspect of the will they/won’t they tension between the main protagonists.

 

There’s quite a bit of blood flying about and lots of blood-red eyes and brandished fangs, but there wasn’t as much gore as I was anticipating. There was, however, a borderline sexually explicit undercurrent because of how the vampires (or Devils, as the series calls them) react to their bloodlust. Mostly sexual situations were merely discussed rather than witnessed. In fact, the nudity – where present- was very tame. Nothing had the blatantly censored pixelations so it appears that it was purposefully rendered in such a manner that naked figures had the nondescript features of “Barbie dolls” for the most part. It was the typical gender representation where you saw male nipples but female characters mysteriously didn’t have any.

My point, however, is that Devils’ Line is decidedly not appropriate for young viewers through a combination of explicit language, some sexual situations, and violence. It’s not all that hard-core, though, so anyone adverse to watching hentai shouldn’t be put off by the content in Devils’ Line.

While I enjoyed this series, and hope to eventually get a chance to learn what happened next without adding something else to my ever-expanding reading list; it was a bit on the underwhelming side. Thankfully, the episodes are short enough that it’s easy to get through them quickly so it’s not too much of a time investment to try it out.

 

Rotten Tomatoes Critic Score – None
Rotten Tomatoes Audience Score – None
Metascore – None
Metacritic User Score – None
IMDB Score – 6.8/10

Trust the Dice: Cat’s Rating – 3.5/5

 Series Trailer: