Movies
‘Winnie-the-Pooh: Blood and Honey II’ Review – Sequel Defies Expectations and Surpasses the Original
Winnie-the-Pooh: Blood and Honey broke the internet when it was first announced back in 2022. Disney fans and everyone else were caught off guard by the concept of the iconic toy bear and his stuffed pals becoming feral, but enough time has passed to where this current genre practice — turning public-domain material into horror films — is less of a shock. However, that didn’t stop folks from reacting with surprise when a sequel was reported last year. And with all the financial success from last time, this continuation has more resources at its disposal. That increased budget is evident on screen and partly why Winnie-the-Pooh: Blood and Honey II surpasses the original.
Returning director Rhys Frake-Waterfield is joined by Summer of ‘84 writer Matt Leslie, and their collaboration is a quasi-reset of the first Winnie-the-Pooh: Blood and Honey. The prior film is now treated as an in-universe adaptation of Christopher Robin’s horrific ordeal. The meta touch gives the sequel room to acknowledge the original film’s deficiencies as well as a chance to expand on the lore. As the “real” Christopher Robin (Scott Chambers) tries to now move on with his life while also enduring accusations from all sides, Winnie-the-Pooh (a.k.a. The Yellow Bastard) and his wicked storybook pals brew up their next violent course of action.
Beyond its opening act, the previous Winnie-the-Pooh: Blood and Honey was much too plotless and straightforward. Its only ambition was reimagining Pooh and Piglet as merciless killers. Sure, audiences mainly tuned in to see these characters carry out a massacre, but there is no denying that the execution was monotonous. That same kind of narrative redundancy is, thankfully, not in the sequel. Leslie penned a more sinuous script that doesn’t ever switch on the “autopilot” button. From probing Christopher Robin’s extensive trauma to revealing the origin of the Hundred Acre Wood villains (which now include Owl and Tigger), the second film is more structured and engaging.
On top of a better story, Winnie-the-Pooh: Blood and Honey II benefits from higher production values. The detailed creature designs and suits are more convincing than before; they don’t just look like actors in masks anymore. Simple yet favorable upgrades, such as articulating mouths and thorough skin texture, make these monsters persuasive as they work toward the film’s ultimate body count. The extra funding also allows for elaborate set-pieces, including a rave-set mass murder and a brief but exciting chainsaw sequence. In addition, Andrew Scott Bell’s score work in these films continues to be a highlight.
Winnie-the-Pooh: Blood and Honey II is a significant step up in certain areas, although there is the issue of tone. The sequel resumes the grave atmosphere from earlier as well as injects random, not to mention welcome spurts of humor (the intentional sort). Nevertheless, this film is generally an improvement on the first, which read like a parody due to its uncompromisingly severe delivery. Here, there are glimpses of campiness that make for a more entertaining experience.
This flawed but enjoyable sequel defies expectations — albeit low ones — and outperforms its predecessor on most levels. There is more to appreciate this time around. And if plans for the “Poohniverse” go as planned, this won’t be the last appearance of the bloodthirsty Hundred Acre Wood gang.
From Fathom Events, Winnie-the-Pooh: Blood and Honey II will screen in theaters from March 26 to 28.
Pictured: Poster for Winnie-the-Pooh: Blood and Honey II.
It was announced two years ago that filmmaking team Radio Silence (Ready or Not, Scream, Scream VI, Abigail) were working on bringing Snake Plissken back to the screen for a brand new movie based on John Carpenter’s Escape from New York for 20th Century Studios, with John Carpenter himself on board as an executive producer of the upcoming movie.
The project had originally been described as a “reboot,” but filmmakers Matt Bettinelli-Olpin and Tyler Gillett had described it as more of a “requel.” Unfortunately, the pair revealed to Comicbook.com that they’re no longer developing the requel and have parted ways with the project.
Gillett told the outlet, “We are not, unfortunately. I think titles like that bounce around for a while and I think they’ve tried to get that out of the blocks a few times. I think it’s just ultimately a tricky rights issue thing. There’s a clock on it and we just weren’t in a position to make the clock, ultimately. But who knows? I think, in hindsight, it feels crazy that we would think we would, post-Scream, step into a John Carpenter franchise. You never know. There’s still interest in it and we’ve had a few conversations about it but we’re not attached in any official capacity.”
Escape from New York was set in 1997. “When the U.S. president crashes into Manhattan, now a giant maximum security prison, a convicted bank robber is sent in to rescue him.”
In Escape from LA, also directed by John Carpenter, “Snake Plissken is once again called in by the United States government to recover a potential doomsday device from Los Angeles, now an autonomous island where undesirables are deported.”
Radio Silence is fresh off of helming gory vampire movie Abigail. It’s the third vampire movie from the Universal Monsters brand in the past year, the film scaring up $34.7 million at the worldwide box office these past few weeks. That gives it a higher worldwide gross than both The Last Voyage of the Demeter ($21.7 million) and Renfield ($26.4 million), and it’s also the most critically successful of the three vampire movies. Abigail also just landed on Premium VOD, so you can watch at home now.
Stay tuned for additional details on the Escape from New York requel, and what’s next for Radio Silence.
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