January 8, 2020 “Shattered Memories” (*1/2 out of four) was a ludicrous melodrama about a young woman (Helena Mattsson) who is severely disfigured and injured after a car crash and wakes up in a hospital with a fragmented memory but begins to piece together pieces of her past involving her husband (Dan Sevier) and realizes that things weren’t quite right even before the crash. Rips off Wolfgang Petersen’s similarly titled “Shattered” right down to its title and film poster and even the husband’s name being Dan but aside from that- it bears none of that film’s hypnotic style or twists and films’ ending is laughable. Continue reading →
January 8, 2020 “The Tombs” (*1/2 out of four) was a thoroughly by-the-numbers horror show about a live-streamed publicity stunt filmed inside the terrifying underground of London’s tombs in which a group of reality show performers (Ria Fend, Jessica Cameron, Jess Impiazzi, and others) are in fear for their lives when an evil spirit is awakened from one of the tombs and they realize they all might be in jeopardy. It’s movies like these that effectively buried the horror genre in the ’80’s before “Scream” brought it back with a vengeance. This one deserves to be buried beneath the tombs. Continue reading →
January 8, 2020 “Mr. Happy” (0 stars out of four) was a worthless horror story that looks like someone’s bad home movies about a family (Chase Spears, Lucas Spears, Mark Spears) who are besieged by the title character who wants to terrorize them and drive them crazy. Viewers who last to the end of this will likely no exactly how they feel, if they’re not already driven crazy by the amateurish handheld camerawork and patchwork editing. This was apparently a family affair since Mark Spears was the writer-director and co-star but the results aren’t likely to make him (or audiences) happy. Continue reading →
January 7, 2020 “The Gentlemen” (** out of four) was an uneven and unwieldy underworld yarn about an American crime lord (Matthew McConaughey) who is looking to sell his marijuana empire but this triggers a series of shootings, backstabbings, and double-crosses from a series of other gangsters (Henry Golding, Michelle Dockery, Jeremy Strong, and others) who are trying to steal it from him before he can cash out. Typical Guy Ritchie affair with lots of flash and style but little sense or emotional filling. Matthew McConaughey’s effortless charisma helps keep this watchable for a little while and Hugh Grant is solid in an unusual part as a thug. Whatever; Ritchie told almost the same story to perfection decades ago with “Lock, Stock, And Two Smoking Barrels” and “Snatch.” Continue reading →
January 6, 2020 “The Grudge” (*1/2 out of four) was more-of-the-same supernatural hooey about a cursed house which dooms anyone who enters it and a determined cop (Andrea Riseborough) starts to investigate and finds that there may be more-than-meets-the-eye. Or something like that. Somewhat more stylish and atmospheric than the Godawful 2004 remake but unlikely to win any new converts for anyone who isn’t a series fan. One of the film’s producers was Sam Raimi but he could make betters films than this in his sleep. Continue reading →
January 3, 2020 “Bulletproof 2” (*1/2 out of four) was a crudely done action story about the returning characters from the original Jack (Kirk Fox) and Moses (Kirk Fox) having to reunite and reteam with one another when their identities get switched (don’t ask) as they both attempt to take down a South African crime family. Top choice for one of the most unnecessary sequels of all time but in all fairness- it’s almost just as contrived and stupid as the 1996 original. Lots of action and wisecracks produces lots of headaches. Strictly for those who thought the original was robbed at Oscar time. Continue reading →
January 1, 2020 “1917” (*** out of four) was a reverently done WWI melodrama about two young British soldiers (George Mackay and Dean Charles-Chapman) who are given the near-suicidal mission of delivering a message deep behind enemy lines which will prevent 1,600 men from walking directly into a deadly trap but they face loads of opposition and exposition along the way. Director Sam Mendes shoots and edits this to appear in a single one-take and places you right there in the center of battle but film has a frustrating sense of detachment (which many of his films have had over the years) and doesn’t have an emotional center since you feel so distant from the main characters. Still worthwhile with many overall effective moments. Thomas Newman’s usual rich music score is a definite plus. Continue reading →
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