totalovrdose Reviews

Godzilla x Kong: The New Empire (2024)

A Beautiful Piece of Garbage

[5/10 · 1 April 2024]

The recent American Godzilla films have not exactly been narrative driven think-pieces, but rather monster-on-monster brawlers. If you want monster action, The New Empire has it in spades, and is easily the most beautiful of the four recent films. The Titans, every one of them, looks eye-wateringly outstanding, an absolute stand-out being Mothra, who remains as gorgeous as she was in King of the Monsters.

Godzilla looks great, and his new colour palette is especially amazing, and though he gets top billing in the title, he is side-lined in his own film, in favour of Kong. Don't get me wrong, Kong is a good draw in this film, in his pursuit to hopefully find other giant apes in the Hollow Earth, a realm which is as epic as the monsters that reside there; it just would have been good to see more of our favourite lizard too.

Though the effects will absolutely be the number one reason to see this film, the story, script and human characters are certainly not. The script is the most contrived, convenient mess this addition to the franchise has ever seen. Example, 'we need special item - lucky, it is right next to us, though we never mentioned it before until now because...reasons.'

A massive thing missing from this monster movie is a heart. The first two films had Ken Watanabe's Serizawa, a sole believer in Godzilla and the titans, who fought for co-existence between monsters and humanity. The third entry had Millie Bobby Brown's Madison, who exhibited an undying faith in Godzilla when others did not. This film? Yeah, none of that.

Rebecca Hall does her best as Dr. Andrews, and despite the occasional moment where she can flex her acting muscles (let's face it, she deserves better than this), she is normally used as an exposition tool, simply telling us the back-story and describing what will happen next. Think of the film this way - there is a big monster scene, then Dr. Andrews will explain why and what happens next - then there will be another monster scene - rinse and repeat.

Bryan Henry and Dan Stevens share the role of comedic relief, though it is Ron Smyck as Harris who arguably had some of the best lines (and deserved more screen time). The film at times often feels like a comedy, more than an action feature, trying to squeeze in as many 'funny' lines as a Marvel film.

The music is of course as on point as ever - a bombastic score that makes every set-piece that much more entertaining, but that's all this film has - it is the most beautiful and colourful the monsterverse has ever been - but it is shallower than any puddle you'll find.

Eraser: Reborn (2022)

It Can't Erase the Original - But it Gets Damn Close to Being Entertaining in its Own Right

[8/10 · 17 February 2024]

What's that saying about copying stuff and flattery? Eh, can't remember. But I *can* remember the 1996 Schwarzenegger feature, which this film takes a wealth of inspiration from, following the same beats and set-pieces, albeit in different settings. With that in mind, it can be hard to assess Eraser Reborn on its own merits, as it is dripping with nostalgia, with many of its best moments and one liners ("you're early!", "you're late!") ripped straight from the original. You literally see them coming, and this can leave you questioning 'is the entertainment I get from this film therefore earned?

In the 'making of', the crew describe how today, the act of erasing people would be more complicated with the advent of social media, the ability to track anyone technologically adding further stakes. This idea is occasionally used, and effectively I might add, but it would have been better if they further leaned into this.

Pollard (Dominic Sherwood) is no Schwarzenegger - and yet, he is very likable in this movie. Not only that, he is believable in his role, appearing confident, courageous and intelligent - and the way he cocks his pistol is kick-ass. Speaking of, he kicks a lot of ass too.

The film opens similarly to the original, with Pollard 'erasing' a man (Eddie Ramos' Sugar) who broke cover from the witness protection program. I wonder if he will be important later? Pollard is then assigned a new case; Rina Kimura (Jacky Lai - who could easily give Vanessa Williams a run for her money), recently widowed after helping the FBI gather intelligence on her former criminal husband's notorious operation.

Pursued by the gang her husband ran, Pollard 'erases' Rina, and moves her to Cape Town, where a majority of the film takes place; an area where Pollard and his best friend & mentor, Whitlock (McKinley Belcher III), hide their subjects. Where James Caan in the original gave a sleazy contemptuous 'I'm a businessman' routine, McKinley genuinely makes this role his own, being a pretty cool cat with some great lines.

Sherwood and Lai work incredibly well together. There is that 'will they or won't they' kind of chemistry between them, and their characters must overcome issues of trust and acceptance, with Lai especially having one of the best, and strongest personal monologues in the film. She is capable of handling herself - but believably so - never does she come off as someone who is superior to Pollard, sometimes using her scheming intellect and physical beauty to her advantage, not just her powerful kicks.

When the whole eraser program comes under threat from...someone (three guesses who), Pollard must use all of his skills to help get Rina off the grid, protect her with his life, and unravel the conspiracy before he himself is...well, erased.

Though this feature is described as a B-movie, the choreography, effects, cinematography and music really go above and beyond to amazingly strengthen the film's presentation.

The fight scenes often feel more grounded in realism than the original, with characters clearing rooms the way you might expect an expert officer to do. The aforementioned fights often seem glitzier than they might in an average B-grader, especially with the explosions that are transformed nicely by additional effects layered on top of them. That said, the violence feels toned down in contrast.

Set predominantly in Cape Town, the movie uses this setting to its advantage, which really separates it from the grey skeletal city structures of the original movie. Moreover, a lot of the film happens during the day, which helps to show how beautifully shot this film is when on location.

And don't get me started on the music - the main theme is just one of those catchy tunes you could just listen to over and over.

Ultimately, the movie objectively takes a lot of inspiration from the original, which can feel a bit cheap. But there are still three excellent reasons to see this film; the solid choreography, the feature's vibrant color pallet, and the talented beauty that is Jacky Lai.

Sniper: Rogue Mission (2022)

Contrived And Silly...And Yet Fun?

[5/10 · 17 February 2024]

If you are a fan of the original Sniper Films, you're probably not going to like this one, which takes its inspiration, style and tone from the prior instalment; Assassin's End. Safe to say - if you liked the eighth film, you may very well like this one.

Speaking of, we *have* to talk about Assassin's End, because this film in a way spoofs it, following many similar beats. The only problem here, is that the stakes are not as well executed as they were in the previous film, with less tension as a result.

Further to this, character has ultimately been assassinated. A majority of the cast have little to no ark, or a contrived one. Example; a character who already arrived at Point B in a previous film, but is reset to Point A in this one, just to achieve the same result again. An exception to this is Mary Jane (Jocelyn Hudson) a trafficked sex worker who is on the run from the trafficking ring who wish to silence her.

On that note, the human trafficking story is kind of tacked on. It is introduced at the start, and is referenced here and there, but for the most part - the film could go without this plot, and it would be no different. This is a serious human rights issue, even more so today with the displacement of innocents due to the innumerable international confrontations, and the film barely acknowledges this.

Returning to the topic of character - so many of the cast are basically the same. Becket (Chad Michael Collins) and Zero (Ryan Robbins) are essentially the same character; similar to antagonistic brothers Rosie and Gildie (Brendan Sexton III and David MccInnis). That character is one-lining dude.

The film makes a point of having a strong focus on the bad guys this outing, the comedy between them perhaps meant to humanify them for the audience. But these are mercenaries working for a human trafficking ring, and somehow, making quips about how their mom knits hats seems out of place when they're trying to kill someone.

This lack of characterization leaves the cast with not much to chew on, and as a result, the best actor is probably Sayaka Akimoto's eyes (seriously, they go from bulging in surprise in one scene to being cold and menacing in the next).

Moreover, in a film called 'Sniper' you'd expect there to be some, well, sniping. I guess there is, but you could put all them sniper scenes into a Petrie dish and still have room left over. Becket is referred to as the 'world's best sniper' at one point, and yet never has an opportunity to really show off his impressive skills. Further, Lady Death (Akimoto) was established as Becket's equal in the previous film, and yet never picks up a rifle in this one.

The film also tosses the realism of the franchise out the door, with snipers having their rifles hanging out of windows instead of firing from cover, while totally forgetting to check the security of their hide.

That said, the film can also be fun. Lady Death's fight scenes, that are usually up close and personal, are incredibly choreographed, as is a fight involving Zero.

The music adds levity to action scenes (well, even more than what they already contain) and the comedy combined in said scenes is well executed. The film at times gives off a sense that it's a comedy of errors, which caused more than a couple laugh out loud moments from me.

I strongly feel that Assassin's End was the better of these two movies, but if you want to see a continuation of the Becket/Zero/Lady Death story, this might quench your appetite. I just wish there was a bit more stakes, depth and characterization for us to latch onto.

Map of the Sounds of Tokyo (2009)

Phenomenally Gorgeous

[9/10 · 21 August 2023]

In brief, Map of the Sounds of Tokyo is a beautifully shot, poignant drama, elevated by a profoundly melancholic script, superb acting and a moving soundtrack, which all comes together to make for a genuinely touching feature.

Expanding on this, Isabel Coixet's work could be accused of being 'arty', though is probably about as close to a Wong Kar Wai movie as any filmmaker could get, with a deep feeling of hopelessness - in the best possible way; sometimes hopelessly romantic, other times hopelessly tragic, the film does this all whilst building a bridge between cultures to reveal the interconnectedness between people of varying backgrounds.

In a film with the word 'sound' in its title, it's amazing how there are many instances where characters say very little, their expressions however speaking volumes. No word is ever wasted in the almost poetic script, particularly in its portrayal of narration by Narrador (Min Tanaka), who helps to say what other characters may not, whilst also giving the film a voyeuristic quality, as he records the lives of those around him. His often touching dialogue is truly memorable.

It is Rinko Kikuchi's portrayal of Ryu however, that is at the forefront of this feature. She is an outsider who has a profound understanding of others; someone who is blunt and to the point, but also gentle; as fearless as she is strong, yet also vulnerable, all of which makes for a very endearing character. She works nights at a fish market, while moonlighting as an assassin. Despite Ryu's trade, there is very little violence in the film, Coixet instead exploring the feelings of guilt exhibited by those that survive the victims.

One such person is David (Sergi Lopez), a Spaniard who moved to Japan because of the adoration he feels towards the country. Having recently lost his girlfriend, Midori, to a suicide, he is forced to contend with the loneliness his girlfriend's absence has over him, while trying to rationalise what led to the tragedy. Coixet never provides a definite reason for Midori's death, instead leaving it to the likes of other characters, including David's close friend and business partner, Yoshi (Manabu Oshio) to provide their interpretations.

As Midori's father, Nagara (Takeo Nakahara) succumbs to inconsolable grief, his business partner Ishida (Hideo Sakaki) seeks the services of Ryu to provide Nagara with a sense of atonement, neither man able to accept that David lives while Midori does not. After taking the contract, Ryu finds herself inexplicably drawn to David, these two characters, both of whom are emotionally scarred, needing each other like air or water. Unable to perform the assassination she was hired for, Ryu becomes the meat in the sandwich, having to protect David from Ishida.

Though the film has been described as an 'erotic thriller', the few sensual scenes, that show a nipple or two, and allude to cunnilingus, never become gratuitous, adding to the film's emphasis on recording the interactions between people. The film makes it seem like we, the audience, are witnessing many secrets, the feature eroding the privacy of its leads and capturing the many facets of a character's soul, and how they all behave differently around others.

The film's direction and costuming again, bears similarity to a Wong Kar Wai product, in that actors are often framed, with the use of high key lighting, to make them appear at their most beautiful, especially when Kikuchi is on screen, her physical beauty contrasting magnificently with her character's darkness.

The use of soundtrack further elevates the scenes, by magnifying the weight of what characters are feeling. Other times, it triumphantly adds tension, one such example being a tune reminiscent of a rattle snake's tail when Ryu confronts her obligation to complete her contract. This is also true in scenes with the absence of sound, or scenes where sounds from one location creep through into another (example, the diegetic sounds of a cemetery played non-diegetically during an aerial shot of the city), which speak to the way character's feel about a person or place, these 'sounds' sometimes saying more than a character might.

Coixet brilliantly weaves mystery into her film, making us, the viewer, question if we ever really know a person, even after being privy to their secrets. Although Map of the Sounds of Tokyo will not be for everyone, for viewers who love a character drama, or a journey into character's deepest fantasies and feelings, this film is simply a must, and is one mystery that is very easy to return to.

Heart of Stone (I) (2023)

It's No Extraction 2

[6/10 · 19 August 2023]

In short, Heart of Stone clearly has a high production value behind it, evident in the locations, sets and action scenes. The original soundtrack is engaging, and the script can occasionally surprise. However, for everything that is done well, there is something that holds the film back, be it criminally underused actors, poorly choreographed stunts, overuse of CGI, and a lead who is not always believable in her role.

Extending on the above, Heart of Stone can be accused of aping other spy thrillers, with scenes that will remind viewers of Quantum of Solace and The World is Not Enough, to name but a few. That said, the film can never outdo the features which inspired it.

Stone (Gal Gadot) works with international spy agency The Charter, a pseudo-Kingsman. With the power of the Heart, a technological McGuffin that can control or predict just about anything, their agency is basically unstoppable. Posing as an M16 agent, Stone works alongside Parker (Jamie Dornan), whose role is as under-developed as it is generic, and shamefully underused agents Yang (Jing Lusi) and Basiley (Paul Ready), who bring a lot of fun to their roles. When their mission, to intercept an arms smuggler, is compromised by genius hacker Keya (Alia Bhatt), whose end goal is to get her hands on The Charter's most prized weapon, Stone must work against the clock, and her own organization, to stop The Heart getting into the wrong hands.

Though Heart of Stone follows a similar routine to other spy thrillers - mission goes wrong - the protagonist is abandoned by their agency - protagonist must redeem themselves and save the world - the feature does include one twist that was undoubtedly well executed. However, the script is as contrived as they come, with characters often magicking their way exactly where they need to go. Despite the rare one-liner, the script didn't always sell the narrative of a believable spy thriller, which is not helped by more than a few lines draped in cringe.

The final confrontation is, for the most part, well directed. There is a short-lived but enjoyable motorbike chase, and two explosive sequences that are very engaging - one instance of hydrogen + bomb making for a phenomenal scene. This is helped by the original score of Steven Price, whose accompanying action soundtrack really elevates the entertainment. However, half of the action scenes fall flat, with poorly choreographed stunts, including characters who clearly do not hit their opponents, leads who attack with the force of a toddler, and an over-emphasis on amateur wirework. This is not helped by many sporadic cuts, presumably used to hide the fact that a lot of the fights are performed by stunt-doubles.

The film predominantly rests on the shoulders of the lead, and despite all attempts to suspend my disbelief, I often found it hard to imagine a woman, whose waist is as thick as my wrist, surviving the insurmountable odds against her. Gadot is capable of demonstrating an emotional range, and she can sometimes move with the grace of a dancer, but there were just as many times when she was as wooden as my desk. To be frank, unlike Angelina Jolie, Sigourney Weaver, Mira Sorvino or Gina Carano, Gadot doesn't have the build of a believable action heroine - especially when she's running, which left me feeling a movie with Jing Lusi's agent Yang at the helm would have been more engaging.

Furthermore, it is a real shame that actors like Glenn Close and BD Wong were afforded only minor cameos, as these greats could have really elevated the movie. A saving grace though is one of the antagonists, Keya, who, in a film where most characters have lack-lustre backstories merely told to us in a sentence or two, she comes across as more than one-dimensional, with a genuine desire to use The Heart to see justice done. This makes for a sympathetic villain, who you hope can be redeemed.

The globe-trotting adventure does include some great location and set design, a car chase sequence in the film's second act showcasing this best of all. I guess that is a good metaphor for the film as a whole - it looks beautiful, but there is not enough quality beneath that skin-deep façade. To be honest, after 20-minutes, I was thinking of turning the movie off. I don't regret seeing the film to its final act, but I cannot see myself watching it again either. This is just one pop-corn movie that is more corn than pop.

The Outwaters (2022)

Just Don't

[2/10 · 13 August 2023]

It's ironic that the Fathom Film Company produced a film that is totally unfathomable. The Outwaters' three act structure is represented by three memory cards. Card 1 is long-winded, card 2 shows promise, and card 3 is a consistently inconsistent, incoherent, directionless mess. The Outwaters could be summed up as a mix of Triangle meets Devil's Pass, with some Lovecraft thrown in for good measure, and you might be on the way to deciphering this movie - you also might not.

Though the film clearly states in its opening that it's ordered 'chronologically', this is false, and is just the start of the film, and its lead, being unreliable narrators. Along with time, other themes include repetition, wombs, mothers, blood (lots of blood), alternate dimensions and donkeys (the donkeys are important - I think).

The first card introduces us to our leads, who plan on trekking into the desert to film a music video - this is alluded to, but never outright explained, and thank God for the blurb on the back of the box this film came in. Each lead possesses a skill - the camera operator Robbie (Robbie Zagorac), the foley specialist Scott, Robbie's brother (Scott Schamell), the make-up artist Ange (Angela Basolis) and the vocal talent Michelle (Michelle May), whose voice is one of the best parts of this movie. The group seemingly have good chemistry together, the randomness of the humor making them more endearing. Despite this positivity, most of card 1 could potentially be cut, as a lot of it - talking with mom, occasional dancing and generic fashion critiques - are purposeless for the remainder of the 'plot'.

Towards the end of card 1, we are introduced to one of the film's most grating issues - the sporadic nature of its cuts, with transitions that are likely to give viewers whiplash. One second, the characters are at a house, the next they are on a mountain; and this is just one of the many examples. It's almost as though the filmmakers were consistently unsure how to get from Point A to Point B, and used the found-footage nature of the film as a crutch. That's not the worst of it; show something intriguing - then cut; show a strange light - then cut; cut to gratuitous amounts of blood, now cut to total black; rinse and repeat. It is the antithesis of building a coherent narrative, suspense and mystery.

From the second card onwards, our characters are in the desert, where the majority of the 'plot' takes place, and it is towards the end of this card that the film demonstrates great use of shadow, diegetic sound and foreshadowing - our characters uncover a hatchet, and in a horror movie, you just know that tool will be put to good use later. Despite this, the film also introduces another issue - Robbie's bizarre nature. On two separate occasions he witnesses something obscure and chooses not to tell anyone. Is this reasonable behavior?

We then get to the third card, and it is here that The Outwaters goes right off the map. There are some great ideas, accompanied by impressive imagery (example, wormholes), but that in itself is the problem - there are A LOT of ideas here, and not one of them is given the time to be developed into anything cohesive. The film is capable of being disturbing, and perhaps there is one genuine scare, but by the final scene, I was laughing at the insane amount of gore and shaking my head in disbelief - I hardly imagine that was the intended reaction.

There are almost no answers offered to any of the insanity that transpires, and this is not helped by some of the worst shaky cam I have ever seen in my life. The film almost seems deliberate in its attempts to shy away from anything resembling an explanation. I would hardly call this a movie - it is essentially just noise (I needed the subtitles on FYI - that's how bad the background sounds are sometimes), and there were enough flashing lights to give even the most seasoned movie-goer an epileptic fit.

Towards the end, a disembodied voice instructs our lead to 'show them' - what exactly, I cannot imagine anyone can be certain, because the film hardly ever shows us! The Outwaters commits one of the worst sins in filmmaking - it wastes the viewer's time. Maybe I am wrong, and perhaps the goal of this project was to generate discussion between viewer's on what they individually thought they saw. If that's the case, my answer would be 'Huh?' If you are after a found-footage film that genuinely and intelligently builds up suspense, and rewards viewers with an unfolding plot, watch Renny Harlin's Devil's Pass. The Outwaters however, despite its very rare quality, needs not be considered.

Insidious: The Red Door (2023)

Insidious The Red Bore

[4/10 · 7 August 2023]

Keeping things brief, Insidious The Red Door, is an utterly unnecessary sequel. Though it is occasionally enjoyable to see actors like Patrick Wilson reprising their roles, amid the inclusion of entertaining new characters, this instalment in the Insidious franchise is more of a family drama, with near non-existent horror elements, severely let down by poor pacing.

Expanding on this, the fifth Insidious film opens with Josh (Patrick Wilson), and his young child, Dalton, being put into a trance after the events of the second film, that will remove all memory of their time in 'The Further'; the otherworldly domain of ghosts and demons. Ten years on, and Josh has become 'slow' and 'foggy' as a result of his memory loss (something that is never explained), with his wife Renai (Rose Byrne) having divorced him, and his now young-adult son, Dalton (Ty Simpkins) wanting absolutely nothing to do with him.

When Dalton goes to college, majoring in art, the work that he produces, including images of, you guessed it, a red door, awakens his long-buried memories of The Further, and causes him to astral project when he sleeps (the act of literally travelling into The Further while dreaming). With this in mind, you REALLY need to have watched the original movie, and its sequel, to have an understanding of this film's plot, which does next to nothing to explain its ideas to newcomers. As Josh wrestles with trying to overcome his issues, and Dalton experiments with his abilities more and more, the two men begin putting themselves, and those around them, in greater danger.

Wilson believably portrays a man annoyed by his circumstances. He is a sympathetic character, and we hope for his redemption. That said, the film puts him in some embarrassing situations - example, when he takes Dalton to college, and hovers over him, resulting in arguments. Byrne also deserves some credit, though she is hardly in the movie, which is a genuine shame. That leaves Simpkins with the job of having to carry much of the film, and to be frank, he's no Patrick Wilson.

That said, his room-mate Chris (Sinclair Daniel) is easily the best part of this film - sassy, sarcastic and smart, she brings a lot of charm to her role, and Dalton's art teacher, Armagon (Hiam Abbass), who should change her name to Armageddon, gives a great, though minor performance, as an overly critical professor.

Now, for those who watched the first and second Insidious films, you may recall they had a decent conclusion - which leaves me wondering, why was this film made? *cough* cash-grab *cough* Wilson not only stars in, but directs this instalment, and I hate to cast blame here, but this film's pacing is...not great. In a movie with an almost two-hour runtime, it takes 28 minutes before the first jump scare happens, and until that moment, I wasn't sure I was even watching a horror movie. The movie finally hits some stride after the half-hour mark, then develops bull-at-a-gate syndrome and rushes to an ending that deserved extra development.

When the film does attempt to build up suspense, example, something getting closer and closer to one of our leads off to the side, the scene drags on and on and on, and finally when something does happen, you may have already lost interest. In short, the film should have cut out some of the development in the first act, to quicken suspense and intrigue, tightened up its jump scares, and spent more time enhancing the final conflict.

That leads into the next issue - in a movie called 'Insidious', it should be, well, insidious. Dalton's first trip through The Further is akin to a nice stroll through the meadows. This is not helped by the more light-hearted tone that is often employed - I mean, how are we meant to take anything seriously when there is literally someone named 'Nick the dick'. Moreover, there is very little sustained threat to any of the characters, and the entities, which are hardly given any back-story (again, knowledge of the previous films needed), are about as malevolent as my mother's meat-loaf. I mean, if you were an ancient demonic being, who made its way into our world, would the first thing you do be to glare at the camera and laugh? The beings from the first movie were genuinely chilling - these ones, could be invited over for Christmas dinner.

Additionally, during the first, and also the third instalment, settings were often limited to one primary location, which helped establish these as inviting and ordinary, before turning them on their head. In the fifth movie, the wealth of settings - the Lambert family home, Josh's place, the college and all of its buildings - the list goes on, makes it challenging to really feel anything for these often generic locations, least of all fear. Further to this, whose perspective is this movie from? The narrative switches from Dalton to Josh, and though separating a family may, in theory, increase risk to character's safety, in this movie, it is done to the film's detriment, and ultimately cuts the tension in half.

As an aside, Wilson demonstrates competency in framing and shots. The ambient soundtrack is effective, and on rare occasion the dark atmosphere is well executed. It's also great to see Lin Shaye's Elise one last time - if only for the smallest of cameos. At the end of the day though, Insidious The Red Door is more a nice family drama than anything else - which is a far-cry from what the film ought to have been.

Hellraiser (2022)

Hellraiser is a Solid Remake, But a Hell of a Lot of Horror is Missing

[6/10 · 6 August 2023]

To keep things brief, the Hellraiser reboot brings new life to the franchise, with fantastic looking Cenobites, some great sets, a nostalgic soundtrack, and a narrative with clever twists. However, the film is nowhere near as gruesome as its predecessor, and lacks any real scares, while the anti-climatic finale will inevitably leave you wanting more.

Expanding on the above summary, Riley (Odessa A'zion) is a recovering addict with serious financial issues, whose relationship with unreformed addict Trevor (Drew Starkey), all but guarantees her self-destruction. When he enlists her help to break into a secure shipping container, owned by wealthy sadist Voight (Goran Visnjic), they stumble upon the infamous Lament Configuration, the backstory of how it came to be locked away being loosely revealed overtime.

After inadvertently solving the first part of the puzzle box, the blood of Riley's brother, Matt (Brandon Flynn) is absorbed into it, soon resulting in his disappearance. Following this, Riley experiences visions of the Cenobites, who urge her to bring them sacrifices for their own twisted ends. In need of help, Riley convinces Trevor to assist, while teaming up with her brother's boyfriend, Colin (Adam Faison), and friend Nora (Aoife Hinds), in a desperate attempt to uncover what has happened to her brother.

Unlike some remakes that are a glorified rehash of the original, Hellraiser 2022 creates a largely different, often complex narrative, that has the potential to entertain. That said, though I was genuinely surprised by some of the film's twists, you occasionally need to put your brain on pause, with some of these coming at the cost of character's behaving contrary to what has been established in previous scenes.

Moreover, characters are often victims of the 'people making stupid decisions' trope that has been overdone in horror films, in order to advance the plot. In one example, a character thinks travelling alone into a secret room, with no light or means of defense is a good idea. Yeah, that's destined to end well. With this in mind, I often did not feel a genuine connection to the human characters or their plight, which did leave me uninvested in their life-or-death struggles.

Moving on, viewers hungry for the franchise's famous gore effects are going to be disappointed. The blood is definitely toned down, and though we have one scene from inside of a victim's trachea, and another in which a character is torn apart, nothing can compete with Uncle Frank's bloody rebirth in the 1987 original. That aside, it is the Cenobites that ultimately steal the show, and look truly magnificent - but at a cost.

I can't speak for everyone, but Doug Bradley's Pinhead remains my favourite monster - more so than Freddy, Jason or Michael. Jamie Clayton's take on the character is worthy of commendation - she is coldly calculating and manipulative, refuses to suffer fools, and sports dangerous knowledge. When one character demands they've had 'enough', Pinhead retorts 'enough' is 'a myth,' the Cenobites having arguably the best dialogue.

In addition to this, Clayton carries herself with tremendous confidence, no small thanks to the brilliant make-up and prosthetic effects. However, her take on Pinhead seems to lean more to following the rules, whereas Bradley's seemed uncontrollably ruthless and unstoppable. This is further compounded by her appearance.

I may seem deranged when I admit this, but 2022's Pinhead is too attractive. Pinhead with freckles - is not scary. In fact, this iteration can haunt my nightmares whenever she wants - the same could be said for the other Cenobites, especially Selina Lo's The Gasp. The disturbingly macabre appearance of the Cenobites is practically non-existent and is heightened by their excess screen-time in what is often scenes with high-key lighting, Pinhead in particular having a much larger role than in the original.

In fact, the most shocking scene might be two men fooling around in bed - in short, this film, is not scary. That said, the sets, in particular the mansion where the film spends a lot of its time, are brilliant, whilst the realm of the Cenobites is left largely to our imagination, save for a couple glimpses. The final 'confrontation', if you could call it that, leaves a lot to be desired compared to the original, and there is definitely some sequel-bait there, that seems to have visual reminisce towards the 1988 sequel.

All in all, Hellraiser 2022 is a well-made film, but it lacks the chilling atmosphere and dread of the original.

To Catch a Killer (2023)

A Good Thriller, but Not a Great One

[7/10 · 5 August 2023]

In short - To Catch A Killer has great cinematography, atmospheric music, a decent (although done-to-death) story, great acting, an intelligent script and likeable characters. That said, the film cannot reach the heights of other movies that have inspired it. The film is good, but not great. If you are after a crime film with a strong-female protagonist, I'd strongly recommend The Bone Collector or The Silence of the Lambs.

For a longer interpretation - the film begins at New Year's Eve, with stereotypical party soundtracks, and some nice upside-down camera shots. As the non-diegetic soundtrack plays, random strangers are shot by a sniper, who demonstrates proficient accuracy by shooting the victims in otherwise difficult circumstances. What sets this film apart from other thrillers right from the opening, is the otherwise festive atmosphere established, and the intelligence and skill of the shooter, which makes them a dangerous opponent.

Stories about law enforcement tracking down wanted fugitives are not uncommon, and despite the film's confident start, where the film falls flat is with its characters, specifically, with a focus on telling the audience instead of showing.

Granted, FBI agent. Lammark (the always brilliant Ben Mendelsohn) is shown to be a controlling glory hound, other characters are merely described. Example, Agent Jack McKenzie (Jovan Adepo), is said to be an ' average investigator', though his investigative skills are seldom demonstrated. Another example is the reveal of a character's sexuality, and yet, we are never even introduced to their partner to actually show us this part of their identity. If it is so important to say something, why isn't it important enough to show?

Never is this truer than with our protagonist, Eleanor (Shailene Woodley). She is said to be, on more than one occasion, ' f---ed up' (the film's description, not mine), and it is insinuated she would be a criminal if she weren't a cop. Despite showing us the scars on her wrists, and a bottle of pills in her drawer, the film never, and I mean NEVER, shows us how or why she is, as it describes - screwed up - and thus, does not demonstrate how she can think the way the killer does.

Granted, in the first few minutes of being introduced to Eleanor, we as the audience learn she is not only intelligent but determined too, and willing to put her life in harm's way chasing the truth, whilst also being vulnerable. In short, she has a fantastic introduction. She says some great lines too, example, describing 'evil' as 'pulling the wings off a fly', but her ability to literally get inside the killer's head (which was a big part of the film's marketing as well) is not explored, and thus, the film's focus on this is severely lacking. I mean, if Eleanor were like a Hannah Lecter or Natalie Bates, this would be more compelling. In fact (and this is not a spoiler), Eleanor's ability to ' think like the killer' has nothing to do with how she eventually catches up with him.

A second take-away from the film, is that a lot of this is a talkfest. In a two-hour movie, the amount of action is limited to roughly ten minutes. Now, though I could listen to Ben Mendelsohn talk for probably the rest of my life, I don't think everyone is in the same boat, and despite the smart dialogue, some of this could have been cut, because there are scenes (example, a dinner between investigators) that doesn't provide viewers with any important details. The same could be said for characters, with agents McKenzie and Marquand (Jason Cavalier) having the possibility to be merged into one character, with no harm to the film's plot.

As for the antagonist, we later learn more about his origins that we do about the protagonists, though it is not established how he came to learn some of his skills (example, explosives). The actors do a pretty good job with the script, and though a lot of it sounds good, I question how much of it is really vital to the narrative. At the end of the day, To Catch A Killer is a good film, but it left me wanting more, and just made me hungry for a crime film with more in-depth characters and a tighter narrative.

Malum (2023)

Very Disturbing - But Not Enough to Uncrown the Original

[6/10 · 19 July 2023]

2014's Last Shift is one of my favorite indie horror films. As a pseudo-reboot/remake, Malum has some very big shoes to fill for myself, and others who thoroughly enjoyed the 2014 original. When remaking a film, I often ask 'why?' Unless the film-maker has something more to say or do with the subject-matter, a new take on the property should not be attempted. With that in mind, Malum is occasionally predictable, flat-out copying ideas from Last Shift. It does sometimes use this to its advantage, lulling you into a false sense of 'I know what's coming', only to do something else, whereas other times it is just like watching a more polished version of the 2014 original. Malum does go for a 'bigger is better' approach, but this is not always to the film's benefit, because by the end, it seems like it is trying too hard to top the original, with mixed results.

Our protagonist, again - a rookie cop, Jessica (Jessica Sula), volunteers to man a near-abandoned police station in order to find an explanation as to what happened to her father (Eric Olson), who went all Jack Nicholson one year ago, his bloody rampage including one helluva spectacular close-up of a shotgun versus a person's head. Receiving no helpful insight from her disturbed, alcoholic mother (Candice Coke), Jessica goes in a desperate search of answers, despite antagonism from fellow police officers in the wake of her father's violent outburst. Originally hailed as a hero for having captured the notorious demonic cult leaders responsible for the kidnapping and mutilating of young women, her father's new legacy, as a murderer, defines him, in a town that seems on the verge of complete meltdown as demented cult followers fill the streets.

Malum is not afraid of violence - eyes will pop their sockets; heads will be beaten into pulp; limbs will be reduced to bloody stumps; it is all horribly glorious. The creature effects are (usually) equally fantastic, however, in an effort to outdo Last Shift, these occur not only earlier in the film, but more often as well. An instance towards the end where we get a good shot of the demon prayed to by the cult, clearly illustrates why more is not always better. This was something that Last Shift clearly understood.

Considering how early the horror starts, the film has to keep coming up with reasons to keep Jessica in the haunted station, which are some of the few sane parts of the script. The film establishes itself as an inconsistent, untrustworthy narrator, with so much of what we see or hear later being revealed as something far more sinister. Not long into the feature, Jessica comes upon a pig that she willingly lets into the station, and you just know, this cannot be just an ordinary piggy - something bad is destined to happen, and you are left waiting for the eventual horrific reveal. An equal number of interactions are left ambiguous - how many of the people that Jessica interacts with are actually real? Who really are the people she communicates with over the phone? By the end, the film itself doesn't seem entirely sure, with even our protagonist occasionally looking utterly perplexed, rather than scared, by what is happening.

Malum could be accused of being over-reliant on its use of jump scares, though these occasionally land with great results. It is when the 'jump-scare' music is not being used - example, in a scene when Jessica is on the phone, and the camera shows us something wretched off to the side, with brilliant subtlety, that the film shines. Director Anthony Blasi can never be accused of misunderstanding dread. The film definitely leaves you with a triumphant sense of unease. It is disturbing in all the right places, and makes you question everything about your surroundings. Blasi will make you afraid of the dark, just like we all were when we were children.

There is, of course, a 'but' coming. BUT, after a really good hour of building tension, the movie goes bat-crap crazy, and not necessarily in a good way. In a film where everything can be something else, the ending, which seems not only true to itself, but contradictory at the same time - well, it left me feeling a bit 'huh?' I think I understood what happened, though, to be frank, I am unsure if Jessica even knew what was going on by the end. In an effort to top the unhinged uniqueness of Last Shift, Malum had to go crazier, and that was not for the best. For every answer the film gives us, it leaves viewers with another question - and though mystery is good in moderation - by the time the credits rolled, I think I was more befuddled than scared. If you loved the original, you owe it to yourself to watch this - however, just like how many films cannot top Last Shift, it seems even Malum cannot outdo its own predecessor.

The Tank (2023)

The Tank Stank!

[4/10 · 18 July 2023]

The Tank (very original name) provides little in the way of new ideas to the creature feature genre. For everything the movie does right, there are so many things that it does wrong. In fact, let me make the same recommendation a character in the film does - run - as far away from this film as possible.

The film introduces us to Ben (Matt Whelan), his wife Jules (Luciane Buchanan) and daughter Reia (Zara Nausbaum). Apparently, they have fallen on hard times, though the film never shows them struggling financially, what with a lucrative pet store and all. But, luck is on their side and in walks Amos (Mark Mitchinson), who works on behalf of Ben's late mother's estate, who says that a long-lost property in her name is to be passed down to him. Well, it seems like the family set off that same afternoon to check out the residence. Now, when I travelled to China, I packed two suitcases. This family are planning on moving into a new dwelling, and they haven't even a single bag. Interesting. But, luck is on their side (again), and not only is the property fully-furnished, but generally well-maintained too! Funny, how a thirty-year-old property, untouched by man, has not been reclaimed by nature.

Now, a glaring issue right off the bat is the film does little to establish the family as a group of loving people. They never eat or cook together. They never go to the bathroom (not sure there even is one). Other than Jules reading a bedtime story to Reia, the trio could very well be a group of strangers that live together. The same issue is applied to the setting - characters talk about 'gas stations' and 'police departments' and ' towns', but never do we see any of these, the film using only four sets (pet shop, (a tiny section of) forest, house, tank), which makes it difficult to identify with the world or its characters. A further shame, is the house is set atop of a beautiful peninsula, bordered by forest, though never is this setting used to maximum benefit.

Returning to the new home, it's equipped with a near endless supply of fuel (we're told it's running on empty, but this is a non-issue), and a tank that connects to a natural spring (though never does the film explain how the water goes from the tank to their faucets). The tank in question seems to run the entire length of the property, and it does not take long for the family to find something in there - a seemingly rare species of, well, salamander, I guess - but with teeth. Of course, the family are unphased (there is a lot that unphased them to be honest). From their first evening at the house, the family begin experiencing strange occurrences, to which Jules says 'I saw a monster' and Ben says 'I see nothing'. Jules says 'I want to leave' and Ben literally says 'we can't' - the same cliche conversations that have been played out a billion times before are employed so characters make dumb decisions for the convenience of the plot.

It is here that the mystery of what happened to Ben's family becomes a main staple, and is actually one of the better aspects of the film. The missing pages of a journal fuel Jules to want to know more - and know more she will, when she, an hour into the film, opens a locked room to which she had the keys for. The. Entire. Time. This convenience is just another of the many that plague this movie, which is also not limited to; blocked roads that become magically passable in the next scene; police who need to be contacted in person, but are then contacted with a portable radio not five minutes later; characters who are told to shush, but then scream louder than the atomic bomb so the monster can hear them; characters who know the creature is amphibious, but only use this knowledge to their benefit when the story tells them to - the list goes on.

Speaking of, it is right after the film reaches the 60-minute mark, that we are fully introduced to the 'monster'. Director Scott Walker clearly thinks he has something that would make Godzilla blush with envy - the problem - he does not. This is one of those times where less is most certainly more. Don't get me wrong - if you squint, the creature could *almost* be mistaken for the alien in Ridley Scott's 1979 masterpiece, while the inclusion of its breath against glass is a nice touch too. When it opens its mouth for the first time, the effect is...fine...at least until you realize that it's basically a gigantic anal sphincter (tell me I'm wrong?!) Moreover, it is all too obviously a person in a suit - and not even in a so-bad-its-good way - you really get the feeling the filmmakers are proud of these effects, and the question needs to be asked - what made them so confident? The same could be said for the glaring errors - example, a creature breaks through a car window, and one scene later, the window is fine. Did anyone check this and say 'hang on, I think we may need to change this.'

As the film drags towards its inevitable finish, Ben, who is originally shown to be a bit of a handy-man, becomes plainly useless, and Jules is revealed to be some kind of dragon slayer - where a bite from a monster badly wounds Ben, Jules shakes it off like Xena Warrior Princess and keeps going - unlikely (especially when you consider how other characters are torn limb from limb - on that note, kudos to the gore department). Too much of the finale is filmed in cramped quarters, like the filmmakers are deliberately trying to stop you from seeing the sound-stage, and between this and Jules' invulnerability, the film's tension is dialed down to minus eleven. I kept expecting the film to do more - maybe guide me into a false sense of security before pulling the rug out from under me - but that was giving the film way too much credit. The Tank is content being a D-grade, cliche, creature feature, and though that might have been fine fifty years ago, we have older monster movies that have aged so much better than this one ever will.

The Cellar (2022)

Finally, A Movie that Shows us Why Math is so Evil

[6/10 · 26 July 2022]

The filmmakers behind this flick really want you to be terrified of its titular cellar, the movie opening with deep, foreboding music, and a harsh scream, as the camera slowly crawls its way up the cellar's stairs, towards the entrance. Additionally, not five minutes into the movie, a character is trapped down here, resulting in them being terrified by...what? This is the film's biggest detriment, for it does not convey exactly what makes the cellar so 'evil' until over halfway through the film, resulting in me feeling very 'meh!' for the first half hour. What the movie does best however, is peeling back the mystery, and had they given the viewer a justification for why we should be afraid of this particular room (example, the opening of Boogeyman, which reveals why we should all fear closets), and giving us a glimpse of what happened to the previous tenants, instead of telling us much later (show don't tell, anyone?), this would have really invested me from the start.

The movie begins, Nightmare on Elm Street style, by tricking you into thinking who the film's central protagonist is, in this case, Elly (Abby Fitz), a teen, stereotypically upset about moving into a new home. The film tries to make us feel sympathetic, hinting towards her being estranged from a boyfriend and being harassed online, neither of which is ever developed, before she inexplicably vanishes off screen while calling her mother, who leaves the home at night with her husband, simply for plot conveniences (because who in their right mind has a business meeting at mid-night?).

This leads to Elly's mom, Keira (Elisha Cuthbert), and her husband, Brian (Eoin Macken) working with local authorities in an attempt to find their missing daughter, with no apparent leads. It is here, the movie does a good job at showing how the impact of this tragedy affects Keira, who begins neglecting her son, Steven (Dylan Brady), who's having a hard time at school; another stone that the movie leaves unturned. As Keira begins to explore her new home, hoping to find answers, she begins to suspect the supernatural, leading to the stereotypical disbelieving husband trope.

Again, a lot of the mystery, including the name of the home, scrawled above the front door, is deliberately left vague until halfway through the feature, as Keira begins to explore the bizarre numerical equations and symbols that dot her residence, leading her to Dr. Fournet (Aaron Monaghan), an expert in mathematical patterns, and one of the most interesting characters in the movie, who is, of course, largely under-used.

Safe to say, characterization is at an all time low in this movie. Example, it is apparent that Keira and her husband's business is online marketing - however, I have no idea what exactly they were promoting and why. Moreover, the film never even explores how an Irish father and American mother met, or how they negotiated where they would set down roots.

When the film finally reveals the evil that exists in the home, I was pleasantly surprised they actually showed viewers the creature, though thankfully, in a less-is-more kind of way, and it is here, that the movie finally, and genuinely, has a feeling of dread. Took it long enough, eh? Though there are a couple of jump scares, the movie's frail attempt to really make you scared of the cellar from minute one, comes off as desperate, having the opposite effect, and though the final act surely makes up for that, the result is, honestly, nothing you haven't seen before, being similar to other Irish horror movies (example, The Hole in the Ground).

This movie is not life-changing, and there are more engrossing and genuinely terrifying movies out there that you could watch. However, as previously mentioned, it is the eventual mystery that really keeps you intrigued. Shame though, that it doesn't hook you from minute one.

F9: The Fast Saga (2021)

Going Off The Rails

[5/10 · 24 May 2021]

The Fast and the Furious 9 is the Terminator Genysis of the franchise. The number of past incidents that have been subverted, corrected, altered or changed, to accommodate this narrative, will make your head spin. If you have to go back and alter key moments in your movie series to have the new one work, clearly something is amiss. Due to this, it can be very hard to follow, even for series veterans. I saw the newest instalment with a fan, who kept asking me questions to confirm what was happening - and to be honest, more than once, even I didn't have an answer.

You will notice that Chris Morgan and Gary Scott Thompson do not have writing credits on this film, and believe me, their departure shows. The franchise had pushed the suspension of disbelief factor to its limits, but what happens in this film teeters on the edge of just plain silly. There is a running gag in the film, as characters point out how they constantly survive, theorizing they are 'immortal'. This only draws attention to the fact that characters are in one car wreck, explosion and shoot out after another, and constantly come out without a scratch. What originally made the Fast series so likable was that these were ordinary people, doing extraordinary things. They were mortal, and could be killed, which made it all the more exhilarating. Now, they are invincible, which makes every accomplishment that much less entertaining, because we know the outcome. This inevitably leads to predictability.

As for the story, this is one of the weakest parts of the feature. Dom (Vin Diesel) has hung up his cape, so when Roman (Tyrese Gibson), Tej (Ludacris) and Ramsey (Nathaniel Emmanuel) come to him with a gig, concerning the disappearance of Mr. Nobody (Kurt Russel) and the re-emergence of Cipher (Charlize Theron), he initially ignores the call, wanting to instead focus on raising his child. That is, until he finds evidence suggesting that his long-abandoned brother, Jakob (John Cena) is responsible.

The interweaving of Jakob into the plot, which is done non-chronologically over the course of the film, going back and forth between 1989 and the present-day, touching on past events merely spoken about in previous entries, is probably one of the best executed parts of the movie. The theme of love, family and friendship is ever prevalent, however, the clashing of two powerhouses; Diesel and Cena, is nowhere near as phenomenal as viewers may have hoped. This is not like the time when The Rock and Diesel had their confrontation in Fast Five, and the chemistry overall is less explosive. In fact, it's almost non-existent.

Cena's Jakob is the only character in the film with a decent ark. This ultimately makes for a pointless story, for almost every character starts at the same place that they end up. There is zero growth. With that said, Cena does a good job with what he has; the problem is, there isn't much of it. There are entire scenes where he says nothing. He is severely underused. Worse still, is Cipher. Theron easily has the best lines in the movie; despite only having about 5 minutes of screen time. She is cold, calculating and menacing, and you truly wish she was the lead character. Instead, the film introduces Otto (Thue Ersted Rasmussen) as one of the lead antagonists; a young man with daddy issues, who wishes to take over the world. He is not taken seriously by the other characters, and his hyperbolic persona leaves him looking like a c-grade cookie-cutter Bond villain. Sheesh!

Similarly, to its predecessor, F9 is bloated with an over-abundance of characters, some of which could have been removed from the film entirely, as they do little to move the plot forward. Bringing back Mia (Jordana Brewster) is actually one of the film's best decisions, and unlike instalments 6 and 7, she actually has a meaty chunk of things to do here. The always entertaining Sung Kang as Han is back, and this time he's accompanied by a cute ninja girl (Anna Sawai), because apparently, every Asian girl is a cute ninja girl.

Seeing what has happened to Sean (Lucas Black) however, seems insanely out of character for him. This leads into yet another issue with the movie; the action set-pieces take precedence over character and story, and thus, many things just seem forced. Take Mr. Nobody as a further example, who has gone from a character, to a plot device; suddenly, half of the cast in the franchise are his agents, a technique attempted to explain away every bizarre decision in the film.

Then we get to the editing. Let it be known, Justin Lin's fourth, fifth and sixth entries, are my favorites in this long-running franchise. That said, I don't feel his exceptional attention to detail in this film. Often, scenes sporadically cut from one thing to another, and it honestly feels like we, the audience, are missing out; as though the movie is so desperate to show the next confrontation or joke, that they gloss over everything else. By the end, I had so many unanswered questions. I know; it's a movie, but there was so much in this film that was not even addressed. Don't even get me started on the end credit scene; I'm still shaking my head nonsensically over that one.

Moving on, nothing negative could be said for the score, which really intensifies the moments, though, what we see on screen rarely lives up to the impact the music touts it as. The stunts, though utterly bonkers, will often bring a smile, though there is noticeably less mayhem than in the previous few entries. Don't get me wrong - plenty of things are destroyed, but compared to past entries, there is a sizeable downgrade.

Overall, that's just it; compared to the other movies, F9 does not measure up. So much has been changed to get us to where we are with this franchise, and after everything that happened, only to basically end up exactly where we were at the end of F8, I'm left wondering, seriously, what's the point?

The Empty Man (2020)

A phenomenal Mystery with a *Killer* Twist

[8/10 · 26 March 2021]

It's impossible to talk about The Empty Man without mentioning *that conclusion*. It doesn't come out of left field, per se, but it certainly feels like it does, at least on a first time viewing. Having had 48hrs to think about it, the feature (very) subtly alludes to its ending, but in the 'blink and you'll miss it' kind of way. It's an ending that takes pivotal moments from the narrative, and spins them on their head, and having the rug pulled out from under me, when I was 100% invested in the feature until that point, was incredibly jarring. The Empty Man has a brilliantly unique concept, with a fabulous pace, a likable protagonist, and a shudder-inducing mystery, that kept me rooted to the spot. However, again, the conclusion took everything I was rivetted with, and forced me to reconsider it, and still, I am grappling with the question; am I happy with that narrative decision?

The Empty Man technically has two beginnings, the first being a lengthy prologue sequence that introduces us to the film's concept, something that initially seems to have little connection to the over-arching narrative, but is revisited later. This sequence drags out the tension, in a spine-tingling fashion, until, like an elastic band, it snaps, summoning us into the present. James Badge Dale is a fantastic character to root for, as ex-cop turned private detective/gun store owner Lasombra, who is ridden with guilt over a family tragedy, the nightmares he constantly suffers plaguing not only him, but the viewer, in the best possible way, increasing the suspense. As the story unfolds, as does the taught mystery behind his agony. When Amanda (Sasha Frovlova), the teenage daughter of Nora (Marin Ireland), who Lasombra shares a past with, inexplicably goes missing, he agrees to help find her, after the police chop up the behavior to something akin to angsty rebellion.

Though occasionally briefly showing other characters, who typically only have surface level characterization, Lasombra is the film's center. This is fantastic for us, the audience. The film is, essentially, crafting an original urban legend, and through the eyes of the lead, we can investigate, both Lasombra and the audience being along for the same ride. Lasombra is a believable, sympathetic character, often making rational choices. One moment, he literally says 'nah-ah', and high tails it out of there when crap gets too real, and I perfectly agreed with his decision. As he investigates deeper and deeper, all roads lead to a strange organization, who possess an uncanny fascination with summoning otherworldly beings, through the power of thought and meditation.

At over two hours, the film might seem alarmingly long for a horror feature. Au contraire - not once did I feel the movie was going longer than it ought to, and, it, moreover, may not be right to dub this a ' horror' at all. It isn't particularly scary, though there are a couple of good scares. What the film does expertly well however, is create an atmosphere that punctuates dread, and more than once, I felt genuine chills, and a sense of lacking security, as I entered further into the world that director, David Prior, creates. I equally enjoyed the vibe, akin to Pellington's The Mothman Prophecies, which accompany the visuals. In the aforementioned film, shots linger on settings, props and characters that allude to the titular character's shape and silhouette, and a similar concept was used in The Empty Man.

The entity itself, like any good supernatural mystery, has much of the answers left out of arm's reach, the film never dumbing down the narrative, demanding that audience's become absorbed in the product, and make up their own mind. That said, the lack of definite answers, in a genre (or sub-genre) that tosses out answers like they are going out of fashion, could be a jarring choice for some. This is a smart film, which isn't overly reliant on blood to get its story across. It's beautifully shot and edited, which only aids in hooking you, to the point that you are not taken out of the film - until, again, *that conclusion*. That is what I meant in the title of the review ~ a 'killer' ending, as this may be what kills the film for some viewers. That said, The Empty Man makes teddy bears creepy - and any film that can pull off that accomplishment, is absolutely worth a viewing.

In all seriousness, to talk about the feature in greater detail would begin to spoil what should not be discussed before an actual viewing, and the less you know before seeing this, the better it will be. Recently, I have been going into movies with zero expectations, and I would recommend that here, because whatever you expect - The Empty Man will do something else entirely. I'm not sure I would say 'disappointment' described my feelings leaving the movie. 'Perplexed' might be a better word. However, am I perplexed enough not to watch The Empty Man again? Absolutely not. In fact, not only will I totally re-watch it, and soon, it's the first film I've seen in a long time that I cannot stop thinking about. No matter how you feel, just like the Empty Man itself, this movie will have you thinking about it - just don't go summoning any otherworldly abominations when you do.

The Haunting of Bly Manor (2020)

'Perfectly Splendid', Eerily Morbid and Fascinatingly Romantic

[9/10 · 12 October 2020]

Unlike Hill House, The Haunting of Bly Manor cannot really be called a straight up 'horror' show. Rather, it is a character drama, with some spooks thrown in for good measure. That however, doesn't make this mini-series any less infectious. If you enjoyed the finale of Hill House, imagine that as a whole series; multiple stories of love, family, sacrifice, tragedy and togetherness, peppered with some ghosts. Some of the cast from Flanagan's original show reappear to play different roles, and the huge contrasts between their characters is reflective of their magnificent acting range.

The always lovely Carla Gugino is the narrator this time round, serenading each episode with her voice. Sometimes this does qualify as 'telling', instead of 'showing', which may disappoint viewers, however, this addition helps propel the plot, with its many intricacies, forward. Considering how many sub-plots are happening throughout the show, not everything is given a complete resolution; or, a conclusion that all will be satisfied with, and to that end, is weaker, story-wise, to Hill House.

The scripting is very beautiful, with some poetic flare and amazing descriptions that are neither clunky nor awkward. These flow really well; made even more mesmerizing by the cast. The score from Hill House returns in all of its glory, and despite its sameness, it is wonderfully adopted into the scenes, powering them just like in the original show. The music does a great job of highlighting what is meant to be unsettling, and what is meant to be tragically beautiful.

The show follows Dani (the amazing Victoria Predretti), who has fled her past, in America, and come to England, looking to start over. Her desperation leads her to Wingrave (Henry Thomas). Thomas is beyond excellent in this show, balancing just the right amount of empathy and menace. Wingrave's niece, Flora (Amelie Bea Smith), and nephew (Benjamin Evan Ainsworth) are in need of a live-in nanny and teacher, where they reside at Bly Manor, the sets at the estate being truly beautiful to behold. Occasionally, children can be annoying; here however, the child actors are just as adept as their adult counterparts, blessing the series with their charm and charisma.

Sharing the manor, is Hannah (T'Nia Miller), the housekeeper, one of the show's most interesting characters, who definitely deserved more screen time, Owen (Rahul Kohli), the chef, and Jamie (Amelia Eve), the groundskeeper. Every character has their own backstory that is visited, some more than others, illustrating the shared experiences of romance and loss that has brought everyone together, the series balancing various kinds of love, from passionate, through to unrequited. Oliver Jackson-Cohen has an on-again off-again screen presence, his brilliant accent and persona being as creepy as it is enthusiastic, while Tahirah Sharif deserved more screen-time; this actress is unfathomably gorgeous - something supernatural must be afoot.

Those at the manor live with a sense of dread hanging over them; something unspeakable, that we as an audience, come to understand. Each episode carries on from the next, so missing even one can hamper uncovering the full mystery. Akin to Hill House, the ghosts plaguing the manor could be described as wishes and guilts, the show making the viewer confront what we may consider 'evil', and giving it a nuanced perspective.

The opening episode creates a sense of ominous dread, enticing the viewer, something that the second, slower episode does not. I would argue the second episode is unfortunately the weakest of the nine, with cuts that irregularly feel less elegant, and narrative events that are never revisited. It just could have used tighter editing. The third episode gets the show back on track, and from there, the series goes from strength to strength. It's never particularly fast, requiring its viewer to have patience. It is also a show unafraid to attempt unique stylistic choices, with almost the entirety of one episode shot in black and white.

The eighth episode is easily the most eerie of them all, combining subtle and in-your-face horror elements. Prior to the last five minutes of the ninth episode, I would have said the show was not as powerful as Hill House. But, The Haunting of Bly Manor hides its last trump card well, and the final scenes broke me like a twig - and then out came the waterworks. Though the finale is deeply melancholic and poignant, and in some ways, mildly predictable, it truly makes the entire journey over the nine episodes worth it, and will make you want to go back and revisit the characters and stories we love in love with, again and again.

In Harm's Way (2017)

In Harm's Way Tells a Gripping Romantic Drama, Though Ironically, Gets in its Own Way While Doing so

[7/10 · 7 October 2020]

China makes at least a dozen anti-Japanese propaganda films a year, to remind their citizens and the rest of the world what Japan did during World War II. In Harm's Way, A.K.A The Hidden Soldier, A.K.A The Chinese Widow, A.K.A ???????, is yet another of these features, the movie's varying titles coinciding with the many hats the film wears. This is a propaganda feature, a war epic, a love story and a family drama, all rolled into one, and as I'm sure one can imagine, the multiple themes, plots and goals of this feature, don't always have the opportunity to appropriately flourish.

The opening sees Jack (Emile Hirsch) being interviewed by his commanders after his return from China, wherein he recollects his experiences abroad (without narration). This is potentially the first major issue with the movie; a pivotal narrative event is revealed here, that inadvertently evaporates some of the tension. It would be like reading a murder mystery, and having the name of the killer revealed on page one.

At times, it is obvious the movie is filmed on a tight budget, the attack on Japan at the beginning, and the subsequent scenes with bombers, kept to a minimum. After a successful bombing run, Jack pilots his small crew to China for pick-up, where everyone is forced to ditch. Separated from his men, Jack is found by Ying (Crystal Liu), her daughter Niu Niu (Fangcong Li), who is incredibly cute in the feature, and family-friend and village-leader, Kai (Yikuan Yan).

With the Japanese encroaching on their village, looking for the stranded Americans, Ying takes it upon herself to hide Jack in her home. Shimamoto (Tsukagoshi Hirotaka), the leader of the Japanese infantry there, is revealed to be the stereotypical, maniacal tyrant that we have seen hundreds of times before in previous Chinese war movies. That doesn't make his role any less tense or sinister, though it can come off as contrived.

I will give kudos to the film for having the Chinese speaking their own dialect, which adds authenticity. On the contrary, the Japanese also speak Chinese, so...........That said, the dynamic between Jack and Ying is effective, the feature illustrating that love has no cultural background, and needs no verbal language to thrive. Ms. Liu creates a genuinely sympathetic character, who is caring, resilient and strong-willed, putting the lives of others before herself. Mr. Hirsch, on the other hand, creates a gentlemanly personality, who is desperate to return home, but also deeply fond of the family who have taken him in. Forced into a harsh situation, with their lives threatened, it is no surprise they begin to grow a strong bond.

The relationship between Ying and her daughter occasionally feels more like two good friends, their chemistry being very warm. The sub-plot concerning Ying's deceased husband is often-times brought up, though doesn't really seem to get the attention it warrants. At the same time, Ying is providing for her in-laws, the relationship with her mother-in-law (Zhu Jin), being strained, at best, however this addition to the narrative doesn't go anywhere.

On occasion, events, such as a funeral, are mentioned, but these are never shown to us, while at other times, the sin 'tell, don't show' is committed. To that end, In Harm's Way feels rushed, and more like a movie that has been really cut down, so it fits under the 90-minute margin. That's not to detract from what we are given, which is a poignant and taut drama, with likable characters we feel strongly for, but considering the narrative the film is trying to sell us, more would have been nicer.

Furthermore, the conclusion of the film, though moving, doesn't coincide with the characters, and their motivations, that we know from the feature. The best way of describing it, would be that I, as an audience member, feel a bit cheated. It just, short of, ends, again highlighting the rapidness of the narrative.

The occasional in-your-face propaganda, deliberate melodrama and narrative abruptness aside, In Harm's Way is not a bad movie. In truth, it's perfectly fine; 'good' even. Pardon the metaphor, the movie is like being late to the arrival of a beautiful sundown. For everything that is done well, there is so much more that we would really like to have seen.

Innocent Steps (2005)

Much Like Lead Character, Chae-Rin, Innocent Steps is Short and Sweet; so Why Not Watch It?

[8/10 · 5 October 2020]

If you have watched a Korean romantic drama from between 2002 and 2012, chances are, you have seen the base narrative of Innocent Steps; boy meets girl; at first, they do not get along, but chemistry builds, resulting in a budding relationship, which is then melodramatically tested. This is not a criticism; as the saying goes, 'if it ain't broke...' Despite a similar progression ark to other genre titles, Innocent Steps has a unique-enough premise, charming characters, over-the-top cuteness, intense emotions, and a laugh or two, managing to shoehorn in plenty of sub-genres and feelings into what amounts to a 100-minute movie.

Na Young-Sae (Park Gun-Hyung) was once an acclaimed national dance champion, until he was assaulted, on stage, by antagonistic rival Jung Hyun-Soo (Yun Chang). With this in mind, as the viewer, you do occasionally have to take moments with a grain of salt, the filmmakers adding scenes that heighten emotion, at the expense of logic. Not only was Young-Sae injured, his dance partner, Oh Mi-Soo (Jung Yoo-Mi) left him, a plot thread that is kept alive throughout the film, but never actually goes anywhere.

Bitter, but hoping for a comeback, Young-Sae is given an opportunity by dance manager Ma Sang-Doo (Park Won-Sang), who may or may not have the former champion's best interests at heart. Jang Chae-Rin (Moon Geun-Young), is a professional dancer from China, travelling to Korea, who could not only become Young-Sae's new partner, but give him a shot at the title he once lost. The addendum Chae-Rin only ever speaks Korean, even with family back home, does make her heritage a little less believable.

From the moment she is introduced, Chae-Rin is indescribably adorable, filling the movie with a genuine loveliness. Gullible, with strong, almost fairy-tale like views on life and love, she has a great passion for dance; if only she knew how to do it. Therein lies the problem; she's not the dancer Young-Sae was promised. Rather than give up on her, Young-Sae chooses to train Chae-Rin, their shared love of dance bringing them together.

Chae-Rin's naivety is occasionally good for a laugh, and juxtaposes well with Young-Sae's unflinching determination and serious attitude. To guarantee Chae-Rin can stay in Korea legally, she and Young-Sae conspire to have a fake marriage. This introduces us to two investigators (portrayed by Kim Ji-Young and Lee Dae-Yeon), who do not believe the validity of the couple. This particular sub-plot was included just for laughs, and honestly could have been removed from the film entirely, without affecting the overall narrative.

However, Chae-Rin's immigrant status is an issue that permeates the film, with those who want to hurt Young-Sae's chances at success threatening her, resulting in themes of race and class. These are merely used as window-dressing to tug at our heartstrings and make Chae-Rin more vulnerable. Hyun-Soo's arrogant desire to beat Young-Sae further results in powerful melodrama that threatens the pair, though the film's 'villain' is barely afforded any back-story, and is just a typical one-dimensional bad guy.

Nevertheless, Innocent Steps is unafraid of including moments that are heart-wrenching, made more so by the chemistry between the two leads. Without this poignancy, the film would not be as powerful as it can be, the film's final quarter been filled with great melancholy.

As with many romantic dramas, the music, especially the gentle piano tracks, are used to let the audience know how to feel, though at times, no score is included during powerful scenes, really drawing attention to the actors and their emotions, which is a good inclusion. On another note, kudos ought to be given to the film's dance choreography, which adds an even greater sense of flare to the visual magic between the characters.

For all of its cliché melodrama, Innocent Steps does stand out from the pack. Its story of redemption, loyalty, sacrifice and love, strikes a balance between powerful and basic; lovely and sorrowful, the believability of its two leads making the otherwise simple film enjoyable. Warning: fans of Korean dramas may be reduced to a blubbering mess by the end.

Slumber (I) (2017)

Slumber is Appropriately Named; It Will Put You to Sleep, if it Doesn't Cause Death by Boredom First

[2/10 · 11 September 2020]

Slumber is an absolutely atrocious film, and the fact that the always lovely Maggie Q not only stars in, but produces this woeful piece of garbage, just proves there is nothing right with the world. The movie can be summed up in one scene that is repeated more often than it ought to have: Our protagonist, Alice (Miss. Q), is running down a corridor. Perhaps director, Jonathon Hopkins, alongside his editorial staff, were unsure how to craft slow motion, so instead asked 'Maggie, can you run slowly? Yes, that's it. Now, flap your arms like a bird. Good. Now, look horrified, as though you are starring in the worst movie of your career. Even better!'

Jokes aside, Slumber bears similarities to the film, Mara. Both feature a beautiful actress as the lead; both are about the same malicious spirit; both include some of the same plot points. The main difference; Mara went out of its way to showcase lore, while establishing a set of 'rules'. Slumber however, is just a mess.

In the feature, Alice is a sleep doctor, working with colleague, Malcolm (William Hope), who seems to, at first, have a sense of humor, but as the film continues, not only does his role diminish, the performance becomes really phoned in. This description could be allocated to much of the cast, who often seem robotic, particularly in the execution of dialogue - was this directorial guidance, or the actor's interpretation? Not sure I want to know...

Alice has a picturesque lifestyle, with a daughter, and husband, Tom (Will Kemp). No offence intended, but Kemp and Q have zero chemistry together, with Tom having the personality of a spanked blowfish. Under the surface however, Alice continues to be haunted by the death of her brother years before, in the grip of a terrible nightmare, the narrative being too convenient in having Alice revisit her trauma before the film's inciting incident.

Enter the Morgan's, Charlie (Sam Troughton), Sarah (Kristen Bush) and their two children, Daniel and Emily, who are each suffering the same sleep related problems, from sleep walking to debilitating nightmares. Following the death of their infant child, they worry more of their family might be lost if a resolution isn't found. Not everything is as it seems however, with science unable to provide a rational explanation for what's happening.

The blurb on the box; the marketing material; and the descriptions online, all unwittingly announce that the supernatural is at play here, completing killing the suspense right out of the gate. Through an intermediary, Alice happens upon Amado (Sylvester Mccoy), a survivor of the nightmarish fiend plaguing the family. Mccoy hams it up to an 11, making for one of the film's more interesting characters, though like much of the feature, the script is unsure what to do with him. Other times, his performance is inconsistent, as though the director was telling him 'please, less cheese this time.'

Occasionally, the imagery of floating bodies, suspended in mid-air, is a good visual, while the inclusion of the rare POV shot; birds-eye view and transition, adds to the character of the movie. However, for each of these positives, there is an equal detractor. Sudden sporadic cuts are not very elegant, jumping to another scene before we've had the chance to relish what's going on. The film is overly repetitive; the same dream sequence; the exact same attacks by the 'demon'; even the images from the title sequence appear again and again and again and again and yawn!

Certain scenes focus on a wealth of smiling toys, as an attempt to create tension, which is inadvertently counter-intuitive, while the use of clichéd music to tell us 'something bad is happening!' gets old. Of course, when we hear the 'monster' manically laughing, then we reach an all new level of garbage.

Further to this, the movie loves to use Wikipedia; as I tell my students, you should never include Wikipedia as a reference in your essays - it's not professional. I think the filmmakers here could have learned from that. To be fair, I don't really like trashing movies; especially films with the angel that is Maggie Q. That said, when watching Slumber, I was often unsure whether I should laugh or cry. This is not one of those 'so bad it's good' films; rather, it's 'so bad it's awful.'

Sniper: Assassin's End (2020 Video)

The Eighth Sniper Film Dares to Take Risks, Making for a Fun Instalment

[7/10 · 9 September 2020]

I think it would be fair to say the films in the sniper franchise have consistently varied in quality. Since the original, the movies have never been big-budget Hollywood grade spectacles, and Assassin's End continues this trend, whilst also being tonally different. The eighth installment has a sense of humor, and a desire to just have fun, something the other films had trouble with, considering the overly serious execution. I imagine, this tonal shift will put diehard fans of the formula off. Casual fans however, such as myself, will potentially find this addition to the franchise quite refreshing.

Occasionally, the B-grade nature of the film really pops out at the viewer, revealing the obvious limits in budgeting. Realism is sacrificed when a squad of soldiers is actually just a couple of men; explosions are kept to an absolute minimum; and the main antagonists could feature in a James Bond knock-off, twirling a moustache.

Liberties are taken to get the narrative moving; example, a character just leaving their destination's coordinates lying around; hmmm, unlikely. The movie's attempts to have its audience suspect the intentions of multiple characters additionally makes for a jarring experience, while for a film in the 'sniper' series, there is sometimes a little less sniping, with this sequel working as a pseudo-detective narrative.

Our boy, Brandon (Chad Michael Collins) is enjoying his first vacation - until he isn't, whereby he's arrested for an assassination we, the audience, know he didn't commit (think of the frame jobs in 'The Art of War' and 'Jack Reacher' for comparison). Franklin (Lochlyn Munro), the agent in charge of investigating, is the typical cop who believes he's found his man, the film's suspension of disbelief taking a hit when much of the concrete evidence is merely talked about, instead of shown.

Rosenberg (Ryan Robbins) however, is far more interesting. Hired by the titular 'Colonel' (note, Dennis Haysbert makes no appearance in this movie), his task is to find out the truth, no matter the cost, occasionally playing hard and loose with the law. Despite his dedication to the job, he also serves as the comic relief, tossing sarcastic quips like hand grenades into conversations, many of which actually land.

Feeling he has no other choice to prove his innocence, Brandon escapes custody and seeks out his father, Thomas (Tom Berenger), who, in this feature, really leans into being a hermit. There is a good back and forth between them, which is quite amazing considering the lack of familial chemistry in previous films. The plot finds time for a back-story to make Thomas appear more fatherly, their bond feeling more genuine for it.

When it comes to the main antagonists, who use voice modifiers to conceal their identity, and are in the movie for no more than a few minutes, they come off as clichéd and unentertaining, their motivations receiving the most menial of explanations. On that note, ironically, it is Lady Death (Sayaka Akimoto), who's probably one of the best parts of the film - and not just because she's more beautiful than Aphrodite. An assassin, hired to take out Brandon, she makes up for the flawed nature of the other villains by being multi-faceted; demonstrating ruthlessness, whilst also maintaining a code. She is played up as a distinct threat, and can match the Becketts on the field of battle. Furthermore, her introduction is perhaps one of the best for villains across this franchise - though, for such a skilled actress, she is criminally underused.

Camera techniques, including splitting the screen into panels to show multiple perspectives, and the use of the Hitchcockian dolly zoom, not only increases tension during scenes, but brings character to the visual process. The title screen is equally memorable, with retro text popping up as though we're in a night club; or an '80s inspired arcade game, having a distinct connection with one of the film's characters. The music is very electronic, and even when it isn't, the dark charm of the track speaks to the characters and plot.

In a story of interwoven conspiracies, depth often feels to have been left on the cutting room floor; this is a strictly turn-your-brain-off kind of flick. Despite some absurdities, that detracts from the realistically gritty tone the series is known for, the feature's self-awareness, use of comic relief and humor, goes a long way to refreshing the franchise's formulaic structure. The inclusion of some new blood, some of whom will hopefully return in sequels (though let's not hold our breath) makes the film even more watchable. I'm not going to say this was the best film in the series to date, though in many ways, it stands above others.

The Midnight Man (III) (2016)

Unoriginal, and yet, Watchable

[5/10 · 2 September 2020]

The Midnight Man is akin to a 1980s slasher flick, but in the new millennium. The titular antagonist is similar to Freddy Kruger, with an assortment of lines, though unlike Craven's slasher, The Midnight Man's ominous taunts would almost appear arrogant, if he didn't back them up with such menace. He isn't particularly scary, though he doesn't need to be, as his presence is very effective when he is staring down at his prey.

Who is quite haunting however, is Lin Shaye, as Anna Luster, who is initially revealed to be suffering some form of dementia, the resulting mannerisms and behavior being well executed. This is perhaps one of her most effectively creepy screen roles, and she really chews up the scenery here. As for the plot, Anna's granddaughter, Alex (Gabrielle Haugh), has taken up residence in her grandma's home to take care of her, receiving occasional visits from the local doctor, Harding (Robert Englund).

Alex is revealed to be a rational, strong-minded young woman, despite the demons that she carries with her. She could almost de described as cold, though there are moments where she temporarily tears down that wall around her, and shows the deep trough of emotion within. Harding, on the other hand, is severely under-used, whilst also serving as a plot-device during his cameo. This is a real shame, considering this veteran horror actor deserved so much more.

When Miles (Grayson Gabriel) and Kelly (Emily Haine) show up to keep their friend, Alex, company for the night, they unwittingly come upon a hidden game in the attic when exploring. Despite a clear warning, the typical horror cliché of doing the exact opposite is appealed to, and the group of friends conjure the Midnight Man into their home without fully understand him. Fortunately, or unluckily, they will have a chance to get to know him, quite intimately, this night.

This is where issues start arising. Characters initially appear genuinely smart, with a solid understanding of the world around them. However, suddenly, mistakes, that seem oppositional, begin to happen, and it feels more like a convenience in service of the narrative, rather than in relation to who the characters are.

Side-plots and backstories are slotted in between key moments, though feel like incorrect jigsaw puzzle pieces. Example, at one point, characters wander off to find a key item for survival. Suddenly, they stop what they are doing, because talking about a side-plot is far more important. I mean, if I'm being hunted by a sadistic monster, I really want to stop in the middle of a creepy house and talk.

It can just feel like boxes are being ticked on a to-do-list. On top of that, despite been a tight-knit group, the friends occasionally abandon each other, which again, seems to only be in service of the plot. This is a horror film after all, so if characters split up, it is supposed to create tension.

Moreover, the establishing of the Midnight Man's rules early on is a good touch, though the addendum that these are not always followed is contradictory, while the issue that some rules don't seem to make sense, and are never questioned by the characters, is equally peculiar. For everything great about the film's lore and its characters that drags you into the world of the Midnight Man, there is something equally inexplicable and on the nose that drags you out of it.

To be frank, it can really feel as though the feature is taking the path of least resistance to reach its ending, and is unwilling to take risks, or extend its 90-minute run-time. This film really feels like it could have pushed for a two-hour limit, could have inserted more characters as 'fodder', and it could have been all the better for it.

The music is the typical jump-scare stuff we have previously heard, and does add to the ambiance, while strictly being 'safe' because it is a proven non-diegetic technique. The effects are additionally well developed, with some memorable moments, while keeping the entire story in one location helps cement us in the massively old house.

The Midnight Man is nothing you haven't seen before. This doesn't make it bad, as it is a decent popcorn flick, though the familiar territory it treads, and the lacking detail, stops it from really standing out from the mass of other renowned slashers. You really get the feeling that this film was to be the first in a franchise, but I get the feeling the Midnight Man won't be waking up again anytime too soon.

The Punisher (1989)

Watching This Film is No Punishment; It's an Enjoyable Thrill Ride

[8/10 · 26 August 2020]

Umbrella Entertainment recently re-released this 1989 feature on Blu-Ray. Without the repackaging, this film probably would be forgotten to time, as it had the misfortune of being released the same year as Burton's Batman. It was also sandwiched between other action gems, including Lethal Weapon 2, Tango & Cash and Black Rain.

Dolph Lundgren is the titular Punisher, and despite the wooden internal monologue which opens and closes the film, he is brilliant in this action classic. He chews up the scenery, tearing through rounds of ammunition, and menacingly destroying the opposition. He is believable; empathetic, and just a joy to watch, his intimidating size and athletic physique being thoroughly taken advantage of.

The movie toys with Castle's (Lundgren) black and white world view, depicting that not everything can be thrown into these categories, while additionally critiquing how his actions, no matter how justifiable they might be to him, have consequences, which he is forced to confront. Between the set pieces, which includes a scene where Castle is tortured, Lundgren inserts classic 80s witticisms and action one-liners that go down like a nice glass of scotch.

Rounding out the cast are Shake (Barry Otto), a snitch assisting Castle's work, though how he comes upon the information he provides, is never explored. Moreover, Louis Gossett Junior portrays Detective Jake Berkowitz, who has dedicated his career to stopping Frank Castle's violent punishment of criminals. As the film progresses, his motives for this are further revealed, adding a great amount of emotional flare. This adaptation is not an origin story so much, beginning many years into the Punisher's killing spree, having taken out over 120 bad guys before the film even begins.

Jake's partner, Sam (Nancy Everhard), despite one pivotal scene, could have been removed from the feature entirely and it wouldn't have made a difference. This emphasizes the only narrative issue; despite the central plot been resolved, many sub-plots are left unanswered, demonstrating that this feature was potentially meant to be the start of a franchise, with revelations to be addressed in later movies - that will unfortunately never come.

The film's antagonists include Gianni Franco (Jeroen Krabbe), who is surprisingly sympathetic, as his role as a father is made just as prominent as his leadership of the crime family. Opposing him is the Yakuza, led by Lady Tanaka (Kim Miyori), who is as ruthless as she is intelligent. As the feature progresses however, she becomes little more than a cliché villain with a maniacal laugh. Her second, a mute step-daughter (Zoshka Mizak), has an interesting contrast, being both beautiful and intimidating, with her physical prowess.

The action is quintessential '80s goodness, and though the level of violence never really meets the hard R rating the movie is going for, the body count grows immensely. Grenades send bodies flying left and right; entire magazines are spent into groups of unsuspecting victims; cars and trucks charge after each other in explosive chases. In one scene, Lundgren decimates a room with a heavy machinegun, which rivals a similar moment from First Blood Part II.

The movie is well paced, coming in at just under 90 minutes, though some of the editing is a little on the nose. In more than one scene, there is a sudden cut prior to a character's death. This was obviously included as to not disrupt the suspension of disbelief (as characters killed by props may look a little silly), though the way it was edited, so suddenly and inelegantly, feels a bit out of left field in contrast with the rest of the movie. The opening credit sequence has a similar issue, with sudden cuts of the same Lundgren scene permeating the beginning, which feels like a missed opportunity to showcase many of the other stand-out movie moments.

Furthermore, near the start, there is a scene where a journalistic team's lighting rig is pointed directly at the camera, the intensity of the bulb potentially making the audience go blind. Yes, these are nit-picks, but in an otherwise outrageously fun, and virtually perfect action film, these little grubs do stand out.

The score has a similarity to Aliens, mixed with classic John Carpenter, bringing back a fondness for the era, while also intensifying the action sequences.

It is a shame that this version of The Punisher was not expanded with sequels. Thirty years on, much of the film holds up as a testament to the fun-loving action romps of the time, while Lundgren, who was in his prime, really deserved more opportunities to lead big budget action movies. Without question, this newly restored forgotten gem is one that absolutely must be added to your collection.

Mara (I) (2018)

An Alright Horror Film, Whose Chief Gimmick Paralyses Only Itself

[6/10 · 24 August 2020]

Days before watching Mara, I watched the original A Nightmare on Elm Street, and noticed a few similarities; a scene at a facility that analyses a sleeper's dreams; victims running down the darkened streets, screaming; characters petrified in their beds after shooting awake. Films have exhaustively explored nightmares and night-terrors, with sleep paralysis, the focus of this film, having had less of a focus, and yet, instead of being a real stand-out, Mara treads very familiar ground. On that note; is Mara a decent horror flick? Well, it's neither good nor bad, but fine.

What Mara does especially well, is create a tense, unsettling atmosphere. This ambiance manages to last for half of the film's run-time, which in and of itself, is enough to make the audience unnerved. Despite the occasional jump scare, it is the character's reactions to Mara that really sets the tone; their mouths agape in fear; their bodies awkwardly positioned. This macabre nature could have been further used for greater appeal.

Kate (the always fantastic Olga Kurylenko), a novice criminal psychologist, is assigned the case of a murdered husband by Detective McCarthy (Lance E. Nichols). The wife of the deceased, Helena (Rosie Fellner) is the lead suspect, whose erratic behavior results in Kate having her incarcerated at a mental hospital, while Helena's daughter, Sophie (Mackenzie Imsand), goes into the care of her grandfather.

Despite the outcome, Kate becomes transfixed on the wife and daughter's testimony that an other-worldly being is the killer. By tugging on this line of inquiry, she meets Dougie (Craig Conway) at an anonymous clinic for sufferers of sleep paralysis, who claims a creature is after him. The movie would have you believe that sleep paralysis is important, and other than giving us an explanation, it is unfortunately used only as a gimmick. Kate's investigation inevitably leads to her being threatened by the entity. Similar to the aforementioned A Nightmare on Elm Street, none of Kate's superiors believe her, and she is forced to use everything at her disposal to save not only Helena and Sophie, but herself, before it is too late.

The film does create a backstory for the titular Mara. It's not particularly original, though it is understandably engaging, while refusing to answer 'why does Mara paralyze victims during their sleep?' This backstory also inadvertently disables much of the film's attempts at horror. The oppression of the malicious spirit is categorized in stages, with 'stage one' being the least threatening, and 'stage four' being the most. In that case, we feel no concern for characters during the initial 'stages' because they are largely safe from harm. On a logical note, these 'stages' are referred to only by those who suffer from Mara's presence, but towards the end, every man and his dog suddenly has an understanding of this concept. Is this a movie mistake, or lazy screenwriting? You decide.

As the investigation unfolds, the film becomes a touch melodramatic in the film's latter half, as characters desperately try to stay awake, to avoid sleep, and therefore, avoid the potential for paralysis. The resolution the film proposes makes sense in accordance with the plot, but also feels very weak, though not nearly as weak as the conclusion itself, which decides to reveal Mara to us in all of her glory; and to be frank, she ain't none too glorious. There is a reason Jason Voorhees wears a hockey mask; not only is he damn ugly, it keeps the audience in suspense, as we fear what we cannot see. Revealing Mara to us in full at the end renders the magic moot. Mara also suffers from the creaky bone fetish that permeates many horror films now-a-days (Light Out, The Possession of Hannah Grace, etc), only adding to the genre familiarities.

Mara opens strongly, hooking us with a familiar, yet decent idea, that could have been better executed. The film's dark tone roots us to the screen, until the halfway mark, when it really becomes formulaic and loses some of its original fire. It then limps to the finish line and ends with a whimper, rather than a scream. The film's strengths can make repeated viewing possible, but this horror film will never end up on your 'best of' list.

Blood Vessel (2019)

The Evil Dead; With a Bad Case of Predictability and a Boat-Load of Cheese

[3/10 · 22 August 2020]

The title, 'Blood Vessel' is a pun. One, the film is set on a ship, and two, on board are monsters that like their drinks served fresh from the jugular. Unfortunately, this is the smartest thing about this cheesy horror flick, which could be described as the Australian equivalent of Ghost Ship meets Evil Dead.

The film begins with seven people on a boat. How did they get there? Don't know. Did I mention this was WWII? Awaiting rescue, and embracing death, the band come across a Nazi ship and see this as an opportunity to trade up. Clambering aboard, they discover the original crew have mysteriously vanished. What ensues is a talk-fest, broken up with short scenes of exploration and discovery, for over half of the film's run-time. To say this is a slow-burn would be an understatement. The major addendum with this is our merry band...

Robert Taylor joins us for no longer than a minute as the titular captain. I hope it was worth it, mate. Next is Sinclair (Nathan Phillips), a dinkum Aussie bloke, who has suffered as a POW the last three years, with a high tolerance for pain and genuine leadership skills. Alex (Alex Cooke) is the Russian sniper, who is as suave as he is tough, swallowing back pain like it's a shot of tequila. Jackson (Christopher Kirby) is a former engineer, forced to enlist as a cook because the color of his skin, who has had a hard time trying to be taken seriously by his superiors. And that ladies and gentleman, rounds out the only likable members of the crew.

The remaining half of the characters are unlikable. The fact we spend so much time with them, does not help matters. Prescott (Alyssa Sutherland) is a nurse with a dark past, who is a bit too formal and polite for my tastes, whilst hypocritically harboring biases against others. Bigelow (Mark Diaco) is arrogant and obnoxious, with a strong desire to live, no matter the cost. Diaco's occasional fake American accent was passable, but half of the time he sounded Australian. Then there's Faraday (John Lloyd Fillingham), an antiquities dealer and code-breaker, with a penchant for cowardice and lying.

The audience's ability to like a character is usually traced back to how the film treats death. In the case of Blood Vessel, there is usually no empathy at all. In fact, often death is just followed by a joke. The humor isn't awful, nor is the dialogue cringe-inducing, but it sure is cheesy, and contains enough cliched one-liners, I wouldn't have been surprised if it had been penned by Skip Woods. This silliness would be almost charming, if the film didn't take itself so seriously.

As the group continue to explore the ship, tension builds, as issues of trust, rank and racism take their toll. None of these themes however are given the attention they deserve. Not long into the narrative, the band come across a little girl (Ruby Isobel Hall), alongside a collection of artefacts. These in particular were well crafted by the film's design department. When the group finally realize what happened to the Nazis, chances are, they'll wish they never left their little dinghy.

The movie is potentially at its best when it really leans into its stylistic design. In one scene, the lens is coated by the blood of a monster. In another, the screen changes color as evil is unleashed. True, both have been done before in other, more competent horror flicks (Dog Soldiers, Dead Birds, etc), but Blood Vessel needed to do more to separate it from similarly innumerable C-grade schlock. Other times, the movie is incredibly predictable, recreating scenes from other movies. There is one moment that will have you reminiscing of James Cameron's Aliens.

Perhaps Blood Vessel was designed as a homage to '80s horror. If so, it ought to have reveled more in the violence; this is a movie that should have had a Tarantino level of gore; to really embrace a sensationalistic aesthetic. It could have equally been a homage to classic movie monsters, and if so, a greater level of subtlety was required. This is one of the issues I have with the movie; there seems to be so many inspirations that are literally pulling the feature in all directions, and yet it never seems to really embrace any one of them. As for the creature designs, one of them, literally, looks like a combination of a pig and a fan-boy, cosplaying his favorite Buffy antagonist. Despite the almost laughable design choices, again, the film needed to lean into this goofiness and provide more screen time for the monsters, rather than instead being so somber.

Creature lore is briefly explored for the audience's benefit, while the diegetic sounds are nothing to rave home about. There is a score, but to be honest; I didn't notice it until over an hour in, which either means it was innocuous, or my brain tuned it out for safety reasons. The combination of violins and drums does add an almost gothic tone to the movie, increasing the sense of mystery.

Moreover, the way the film was framed works against the narrative at times, with details, that may be considered pivotal or interesting, partially out of sight or out of focus. Other times, something happens off screen that we are not made aware of. If this were done to hide budgetary constraints, it is acceptable, though it often seems to have been added to cheaply raise tension, which is unsatisfactory.

At the end of the day, Blood Vessel is a sponge, that has absorbed plenty of inspiration from elsewhere, but has not appropriately learned from any of it. The film's tone is all over the place. Unable to strike a balance between dead serious and silly, this is a movie that really needed more humor and insanity to truly stand out. Instead, it is largely forgettable, because we've seen this too many times before.

Sputnik (2020)

A Stellar Achievement

[9/10 · 22 August 2020]

Thanks to Hollywood, we are really spoiled for choice when it comes to movies about alien arrivals, many of which result in scenes of death and destruction on an epic scale. With that in mind, director Egor Abramenko and writers Oleg Malovichko and Andrei Zolotarev should be praised for avoiding the urge to create another over-the-top shoot 'em up. Instead, Sputnik is a far deeper movie, and because of this, viewers who imagine this will be another man versus alien knock off, will be disappointed. My recommendation: go into this film with as few expectations as possible.

Sputnik crafts a story that thematically explores love, family, what it means to be a hero, power, sacrifice, and the greater good. These are imbedded into the film's narrative, and treated competently. Unlike other alien films of recent years, where cheesy dialogue goes with it like peas and carrots, this Russian gem is intelligently written, with characters making decisions that are not only smart and logical, but make sense in regards to their character.

The film is set in 1983. Konstantin Veshnyakov (Pyotr Fyodorov) and Kirill Averchenko (Aleksey Demidov) are cosmonauts, whose space module, that's returning them to Earth, is inexplicably hijacked. After Moscow loses contact with them, the pod mysteriously crashes in Soviet Kazakhstan. Enter Tatyana Klimova (Oksana Akinshina), a psychological professional, who is as brilliant as she is beautiful, and who is renowned for thinking outside the box to solve complex cases. Hired by a colonel named Semiradov (Fedor Bondarchuk), her task is to evaluate Konstantin, who is believed to be harboring something sinister from the missing hours in space.

Characters are likable and well developed. Each has strong views and values, and the resulting conflict makes for a great back and forth between them, with equally believable chemistry. Even characters like the arrogant doctor, Yan Rigel (Anton Vasilev) have likable qualities, demonstrating that everything is both good and bad, an idea the film frequently postulates.

Having similarities to movies like Alien and Life, yet developing its own unique interpretation of the genre, Sputnik is a film filled with terrific imagination. Despite occasionally resorting to telling the audience rather than showing, the explanations greatly assist us in having a perfect view of the complex situation. The pacing is really good, the feature slowly ratcheting up the evolving situation and tension, one event feeding into another.

The orchestral score superbly adds to the film, the sometimes bombastic or eerie tones developing an unsettlingly ambience, though it can be surprisingly gentle at times too. The sound design, moreover, is just as effective, while the effects are phenomenally sublime. The movie is not bogged down by these, choosing to show us the creature in moderation, adding to the alien atmosphere. At the same time, the cinematography (example, shots of the steppes) is gorgeous to behold, while the set design tonally adds to the feature.

The inclusion of a sub-plot about an orphaned child does feel a bit tacked on, considering we know more about the alien than we do about him, yet he becomes pivotal as the narrative progresses. Furthermore, the film does toy with a love story during its almost two-hour run-time. Despite there been scenes that subtlety explore this, this thread also needed further weaving to stand up to scrutiny.

You can probably tell by now that I'm just nit-picking. As a creature-feature, Sputnik is delightfully entertaining in its design and execution, this aspect of the movie receiving the most attention and devotion. Sputink is a testament to the fact that diamonds can always be found, even in overdone film genres, and this Russian addition truly shines.

The Beach House (II) (2019)

Some Entertainment Washes up on the Shore of The Beach House, yet it has Not Nearly Enough Horror or Explanation to be a Satisfying Horror Hit

[5/10 · 19 July 2020]

The Beach House contains themes and ideas akin Prometheus, The Fog, Trespassers, The Creature Below and the more recent, The Color Out of Space, with a unique focus on astrobiology. Despite some of the aforementioned films listed, keep in mind this is very much an independent feature.

The film centers on Emily (Liana Liberato), who has returned to her boyfriend, Randall (Noah Le Gros). Their relationship is, shall we say, turbulent. To patch things up, he invites her to his family's beach house. Upon arrival however, it is not as vacant as they were led to believe, with Mitch (Jake Weber) and his wife, Jane (Maryann Nagel) currently occupying it. Unlike other creature-oriented thrillers, this does not lead to an all-out war of words. Instead, both couples calmly allow the other to stay. After some beach-side shenanigans, they begin to notice inexplicable phenomena happening in the area, resulting in, let's say, further weirdness.

The use of camera shots lingering on water and food, with a tense, foreboding non-diegetic soundtrack, adds to the movie's ominous appeal. Director Jeffrey A. Brown delightfully shows us beautiful wide angles of nature, before zooming in to show the potential threat hiding in plain sight, subtly growing the film's disturbing ambiance. Additionally, the use of ultra-violet fluorescent colors in some of the environments adds to the alien atmosphere, while the use of bright and grainy camera shots to show the affect the surrounds are having on characters is a nice touch.

The film is not particularly blood-thirsty; that said, the mild sequences of body horror are very effective and will leave anyone feeling squeamish. Similar to The Thing, The Beach House infuses the narrative with a fear of having the body physically invaded by another entity, while making us second guess everything we put into our stomachs.

The film is quite slow however, with the unease and tension creeping along. Brown demands his audience have patience, giving elusive clues that said patience will be rewarded. In a movie just over 80 minutes in length, it takes well over half of the run time before (to keep this review PG rated) crap gets real.

Emily never becomes a 'dragon slayer', instead using her scientific knowledge to solve some of the conflicts. At the same time though, she, and others, randomly make decisions that are typical silly horror movie clichés, which can seem glaringly contradictory.

For all of the credit I give to the horror aspects of the film, and despite the occasional grotesque nature of the content, it wasn't as terror-inducing as I was hoping for. This is caused by two factors.

One, characterization, or lack-of. In describing the main characters, I can say: Jane is ill; Mitch is a husband; Randall wants to spend his life vacationing; Emily wants to undertake a postgraduate science course and ummm....ummm....yeah, that's about it. I didn't know nearly enough about the characters to genuinely care about them when things went wrong. Combined with the occasional bizarre behavior and mild unease between the couples, it can be difficult to establish a close-bond with all of them as the film wants us to question whether everyone can be trusted. You can't have it both ways, film.

This is not helped by the addendum we are thrown straight into the deep end in the movie's opening. This is a daring move, and fits perfectly with Brown's aesthetic of show don't tell. I don't mind playing catch-up, yet there is so much merely alluded to, that it can be hard to clearly know things we ought to in the moment. Example, when Emily and Randall arrive, I had no idea if Mitch and Jane were supposed to be there or not, because it had not been established.

Second, there is no real sustained threat, as we don't concretely know what 'it' is. Again, I admire the use of show don't tell, and this fits perfectly with the Lovecraftian theme of the unknowable that Brown taps into. I understand, the less we know about something, the more we should fear it. To be frank though, all horror movies have rules. Example; in a slasher, we usually know; who is the bad guy; what are they doing; how will they do it. Maybe not the best comparison, but in this film, we see quite a lot, and yet none of it really fits. At the start of the movie we see an incomplete puzzle, and that is a good metaphor for the film's horror; there are lots of pieces, but there is no evolution to it.

The Beach House is a film that will leave you with a lot more questions than answers. It is not a movie that holds your hand, and so much of what is shown could be interpreted in over a dozen ways. This is a good thing, though this narrative decision will frustrate about as many viewers as it enthralls.