By her second appearance, she had enrolled in the Juilliard School and performed at Carnegie Hall twice, all before turning 10. This precocious child piano prodigy first appeared on Ellen in 2014. Now 21, the singer-songwriter just released his second full-length LP, portraits, and is Billboard Pride’s current Artist of the Month.īack in 2011, cousins Sophia Grace, 8, and Rosie, 5, flew all the way from England to perform their showstopping cover of Nicki Minaj’s “Superbass.” The talk show host then surprised the two girls by trotting out the Queen Barbie herself to duet on the song. Perhaps one of Ellen’s greatest success stories, Greyson Chance was discovered by the talk show host as a shaggy-haired sixth-grader back in 2010 when his cover of “Paparazzi” by Lady Gaga went viral on YouTube.
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You don’t have to be a horror movie connoisseur to recognize how thin and repetitive this cheap knockoff can’t help being.9-Year-Old Boy Wows Ellen DeGeneres With 'Sweet Child O' Mine' Guitar Solo
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The result is a series of loosely connected horror buzzwords that can’t figure out how to function on their own, much less in agreement with one another. It’s too commonplace to be spooky it’s too self-serious to be fun. But that’s difficult to say, namely because it’s nearly impossible to pin down for certain what those terms are. The Prodigy never seems to work, even on its own terms.
Do you get it? It’s only Sarah who hasn’t yet put the pieces together, and watching her stumble with the painfully obvious doesn’t make for the chilling mystery McCarthy believes it to be. At one point quite early on, he even washes off half of his skeleton face paint to reveal the duality at play within him. Whether it’s a newfound taste for paprika, muttering in a near forgotten dialect, or humming an old Hungarian folk tune, The Prodigy couldn’t be more clear about its intentions for Miles.
There’s hardly a sequence that isn’t obnoxiously on the nose. But it’s a little difficult to jump onboard when everything is spelled out for us from scene one. To make matters worse, the film makes the indefensible mistake of taking itself seriously and expecting the audience to have the courtesy of returning the favor. Soon, we’re reduced to a middle aged man’s eerie expression superimposed on a child’s face, which is precisely as laugh-inducing as it sounds like it might be. As far as the film is concerned, a child’s eerie expression is enough to create and maintain genuine suspense. Jeff Buhler’s copy-and-paste script – along with Nicholas McCarthy’s dull, lifeless direction – never catches us off guard. Or, rather, it is far too timid to allow itself to be scary. The Prodigy commits the cardinal sin of horror movies: it isn’t scary. What follows unfolds as if Child’s Play had consolidated Andy and Chucky into a single character, and then played the whole thing completely stone-faced.
You see, in what should have been a slightly disappointing third act reveal but is in actuality a lazy exposition dump, the boy (Jackson Robert Scott) has unwittingly become a vessel for the brutal killer’s reincarnated soul.
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Offering little in the way of imagination or even passing amusement, this derivative spookfest is destined to be lost to the cruel hands of time.Īs our story begins, we jump back and forth between Sarah (Taylor Schilling) going into labor with her first child and a deranged Hungarian serial killer (Paul Fauteux) being taken out by the cops, as the film tips its hand far too early. The latest entry into this curious subgenre, The Prodigy, is almost as forgettable as its title would suggest. For some reason or another, we are obsessed with watching parents being tormented by their own terrifying offspring. The world will never run out of movies about creepy kids.
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