I was not a fan of Winnie the Pooh: Blood and Honey. The trend of indie filmmakers converting public domain characters into horror movies often results in rushed and uninspired projects. The first film in this series exemplified this problem, feeling more like a gimmick than a well-thought-out movie. However, the filmmakers have significantly improved with Winnie the Pooh: Blood and Honey 2, delivering a much more enjoyable and polished film.
Initially, I was skeptical about this sequel due to my disappointment with the first installment but a friend who also reviews movies, encouraged me to give it a chance. The original felt hastily put together, with a predictable storyline and underdeveloped characters.
In contrast, the sequel demonstrates significant growth. The story is well-crafted and engaging, providing a solid foundation for the horror elements. The filmmakers have taken the time to develop the plot and characters, resulting in a more immersive and enjoyable experience.
As a horror fan, I found this movie to be a lot of fun. The blend of familiar children's characters with dark, horror elements is handled with more care and creativity this time around. The film features inventive scares and a creepy atmosphere that horror enthusiasts will appreciate. It is also does not pull punches with the gore.
Overall, I really enjoyed this movie and am excited to see where the filmmakers take this concept next. They have demonstrated growth and potential, suggesting that future installments could be even better. This film has set a higher standard for public domain horror adaptations, proving that with the right approach, these projects can be both innovative and entertaining.
**_When Milne’s characters meet with “The Island of Dr. Moreau” and “The Texas Chain Saw Massacre”_**
A year after the massacre at 100 Acre Wood, Winnie is in hiding with his friends and dealing with vigilantes. They decide to take the fight to the nearby village of Ashdown, where Christopher Robin lives, along with his parents and young sister.
The writer/director of “Winnie-the-Pooh: Blood and Honey II” (2024) had ten times the money to work with compared to his first film (which made a huge profit because it only cost $100,000 to make), so it’s no surprise that this film is superior on a technical level. I also liked how everything is explained concerning Winnie, Piglet, Owl and Tigger. The latter two make their debut here and Owl’s depiction is creepily excellent, not to mention utterly brutal. Tigger isn’t revealed until the last act and comes across as wandering off the set of “The Island of Dr. Moreau.”
Tallulah Evans plays Christopher’s potential girlfriend, Lexy, and stands out in the female department. Meanwhile Karolina Ugrenyuk is notable as the Bunny Rave Girl in the last act. Creator Rhys Frake-Waterfield still needs to learn how to shoot women, although he does okay.
It runs 1 hour, 33 minutes, and was shot in Ashdown Forest, which is 50 miles south of London in the north section of East Sussex. An overhead shot of Dedham is used (to represent the hamlet of Ashdown), which is located 70 miles northeast of London. The hospital sequences were done at the hospital in Hemel Hempstead, which is northwest of London.
GRADE: B-
After they turned the 100 acre wood into a danger zone in the last film (2023), “Winnie”, “Piglet”, “Tigger” and the really quite menacing “Owl” are fed up fending off the would-be trophy hunters who invade their woods, and of living life in the shadows and so decide to go a-slaughtering in the nearby village where their erstwhile friend “Christopher Robin” (Scott Chambers) lives. After his own traumatic experiences from last time (well, five months) he has just returned to a very sceptical population so he knows he has work to do to earn the trust of his friends and neighbours. When “Winnie” et al start another phase of blood-lust, though, it appears that these critters are still very angry and determined on revenge, so “Christopher” is going to have to keep hits wits about him if he is to thwart their plot to savagely eliminate all the humans they can find. Who needs Sophie for this bloody edition of “Murder on the Dance Floor”? No, this isn’t good, and I think Chambers is much too old for the part, but it is certainly no worse nor less scary than any of the “Strangers” franchise that have been doing the rounds recently. Clearly there is little budget for effects, writing or acting talent and that definitely shows, but the use of low-wattage lighting and the very fact that the brutal antagonists are benign and cuddly creatures from our childhood does give this something of an edge. It is a nightmare scenario from my imagination that I can relate to in a manner that simply doesn’t apply to so many of the many more fabricated and contrived features in this over-exploited genre. It looks like there will be another along the way, but that could be one honeypot too far, surely?
