May 4, 2020 “The Ex Next Door” (*1/2 out of four) was yet another “Fatal Attraction/Obsessed/The Boy Next Door” wannabe which you can fully predict from its title. An upper-class couple (Alicia Ziegler and Phillip Boyd) have a new neighbor (Maiara Walsh) move next door who the husband used to be involved with and she turns out to be a vengeful sicko who wants the wife out of the way so she can move in. Painfully obvious and predictable from the beginning and becomes pretty illogical in its second half. Can Boyd finally start playing some different roles once in a while? Continue reading →
May 4, 2020 “Don’t Speak” (** out of four) was a pretty bland horror thriller about a family (Stephanie Lodge, Ryan Davies, Jake Watkins, and others) who arrive at their grandparent’s farm and soon realize that the surrounding town has been eradicated and eaten by an unknown monster and they soon find that their next on the menu. Far from the worst of its kind but far from the best either, as film ploddingly goes through the motions that umpteen other monster/horror movies have before. Strong music score by Dean McGinnes is a standout. Continue reading →
May 3, 2020 “Light From The Tower” (* out of four) was a lusterless horror story about a costume designer film student (Sarah Rosengarten) who travels to The Catskills to take part in an interactive theater piece set in the 1920’s but she soon realizes that her life may be in danger and she is part of a student film. Ironically, this movie actually seems like a student film since it’s made without any spark, creativity, or energy and ends up a vapid exercise in pointlessness. Filmed in Woodstock, NY but upstate NY deserves to be known for much better films than this. Continue reading →
May 3, 2020 “The Mountain Minor” (*** out of four) was a nicely told story about a struggling elderly business owner (Dan Gellert) who returns to his childhood Kentucky home and is reminded of his love for the bluegrass and fiddle music of the South that he had growing up and that defined him as a child and that he has forgotten in the transition to adulthood. Not much plot per se but so rich in music and location and feeling that it carries you along anyway. In many ways- this is a soundtrack in search of a story but when the music and the beautiful cinematography are this good, you’re more than satisfied. Continue reading →
May 3, 2020 “The Incoherents” (**1/2 out of four) was a moderately entertaining story of a group of 40+ middle-agers (Jeff Auer, Alex Emanuel, Casey Clarke, and Walter Hoffman) who attempt to leave their adult lives behind them and reunite their indie-rock band The Incoherents but find that re-embarking on a life of music at their age is harder as they have to contend with their wives, job responsibilities, and adult financial obligations. Likeable and engaging enough although story never quite takes off as it should. 1998’s “Still Crazy” told a similar story of a middle-aged band reuniting. Annette O’Toole adds some spice in a minor role as a rehearsal space owner. Continue reading →
May 3, 2020 “Home Sweet Home” (** out of four) was a superficial romantic comedy about a happy-go-lucky single (Natasha Bure) who is swept off her feet by a guy (Ben Elliott) she meets but finds he is hard to win over so she signs up for his faith-based home construction company in an attempt to capture his heart but in turns find herself re-capturing her own faith and purpose in life. Typically saccharine and preachy Christian-themed production at least has decent acting and sunny film locations to help keep it watchable. Continue reading →
May 2, 2020 “A Perfect Plan” (*1/2 out of four) was a pallid action melodrama about four thieves (William Forsythe, Kathleen Munroe, Yannick Bisson, and Michael Hough) who wake up in a warehouse and are coerced by a master thief (Carlo Rota) to commit a diamond heist which places them all at odds and all in danger. A “perfect” example of how little you can care about a movie if you don’t care at all about any of its characters or story. Directed with a lot of energy by Jesse D. Ikeman but it’s all for naught. Forsythe is wasted as the most experienced thief. Continue reading →
May 2, 2020 “Dangerous Lies” (**1/2 out of four) was an engrossing thriller about a financially strapped young couple (Camila Mendes and Jessie T. Usher) who find that the elderly man (Elliot Gould) who they were caretakers for dies and leaves them his estate but they soon find that there is much more to this than meets the eye and this leads to allegations of deception and murder. Slick and twisty thriller keeps you watching and guessing but starts to fall apart in its final third as it takes too many twists-and-turns which make it confusing and film’s ending is unsatisfying. Still, it’s overall better than most movies of this caliber and has good acting and camerawork. Continue reading →
May 2, 2020 “The Unborn” (*** out of four) was a well-crafted horror story about two security guards (Manni L. Perez and Chris Bellant) working at an old factory at night when strange occurrences begin happening and they realize that a supernatural entity is threatening them and that it is tied to the woman’s unborn child. Standard and routine story of a possessed unborn child and spooky hauntings is done to a turn; tense and edgy, with sharp dialogue and an atmosphere of scary unease. A strong directorial debut by cinematographer Tal Lazar who puts a fresh spin on old material. Continue reading →
May 1, 2020 “Collision Earth” (** out of four) was a generic sci/fi action story about a large meteor shower which bombards Earth and numerous scientists and military personnel (Becca Buckalew, Kassandra Escandell, Eric Roberts, and others) race against the clock to try to find a solution to save civilization. Fast-paced and features enough action and effects for it to be watchable but it’s hardly memorable, as film is overall encumbered by its pedestrian script and production. Film lacks the action bombast of “Armageddon” and the emotional sweep of “Deep Impact”- both of which it was obviously inspired by. Continue reading →
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