April 7, 2021 “Mummy Dearest” (* out of four) was rockbottom horror fare about a woman (Jennifer Cozza James) who moves in with her daughter (Anna Sherman) and boyfriend (Mike Valley) which turns out to be a haunted hellhole which twists all of them inside-out and turns them all against one another and causes havoc for the surrounding locals (Tara Reid, Michael Pare, Richard Tyson, and others). No relation to any of the “Mummy” movies but makes any of them look like “Casablanca” by comparison; no suspense or no scares and no reason to watch either. Strictly for those who wonder why Reid’s career soon went nowhere and stayed there. Continue reading →
April 6, 2021 “Black Lake” (** out of four) was an oppressively unpleasant and bizarre horror show about a woman (K. Pervaiz) who leaves her family in the city and is given a gift of a red scarf which carries with it the spirit and subjective horror of a South Asian witch which twists her life inside-and-out. Lots of style and little dialogue; while some images are undeniably potent and hypnotic, the film as a whole wears you out with its over-the-top gore and its torpid pace begins to take its toll after a while. Obviously a labor of love for Pervaiz who also wrote, directed, edited, and co-produced. Unsettling music score by BurningTapes is a definite plus. Continue reading →
April 4, 2021 “All That Glitters” (** out of four) was a hollow adaptation of V.C. Andrews’ novel about the continuing adventures of Ruby (Raechelle Banno) who returns to her childhood home in the bayou when her high-school sweetheart (Paul Duke) moves in with her but is tormented by his vindictive mother (Kristian Alfonso) who reveals new secrets about a distant family member (Ty Wood) who turns out to Ruby’s daughter’s father! More soggy than sultry with enough subplots for an entire soap-opera series. For hard-core V.C. Andrews fans only. Continue reading →
April 3, 2021 “Take Back” (** out of four) was a half-hearted action melodrama about a husband and wife (Michael Jai White and Gillan White) whose happiness and marriage is disrupted when a mysterious figure (Mickey Rourke) from his wife’s past re-emerges and kidnaps their daughter bringing them both back into the criminal underworld to try and save her. Overly generic mix of double-crossings and dealings and pulp violence. Jai White sports a new look with glasses and Rourke mumbles and mugs his way through his umpteenth villain role; by this point, his fans may wish he decided to “take back” some of his career choices and make great films again. Continue reading →
April 2, 2021 “The Leprechaun’s Game” (*1/2 out of four) was an unlucky, charmless horror show about a group of thieves (Daniel Sawicki, Louisa Warren, and others) are sent out on a hunt for an urban legend but soon realize they have stumbled into the realm of the Leprechaun (Bao Tieu) and all their lives are in danger. Dismal entry in this endless series has all the power and spirit of a bad hangover. In other words, this is not quite up to the artistry and imagination of “Leprechaun In The Hood.” Where’s Warwick Davis when you need him? Begorrah! Continue reading →
April 1, 2021 “Witness Infection” (*1/2 out of four) was a witless horror comedy about two rival mob families (Robert Belushi, Jill-Michele Melean, Vince Donvito, and others) who are both placed in witness protection mistakenly in the same city where havoc ensues and a bloodthirsty virus is on the rise that threatens them all. Lame mix of zombie horror with “Godfather”-style comedy based on a clever premise. Melean also co-wrote the strenuously unfunny screenplay. This one ought to sleep with the fishes. Continue reading →
April 1, 2021 “Framing Britney Spears” (**1/2 out of four) was a somewhat incisive documentary about Britney Spears showcasing her rise from being a Disney Mousketeer to a global pop and music phenomenon to someone whose constant targeting and harassing from the media drove her into a highly public meltdown which left her finances and estate in a legal mess which is still ongoing to this day. Overall relatively superficial, as it doesn’t tell you much that most fans don’t already know (and is limited by Spears’ own lack of involvement), although it does succeed in portraying a woman whose meteoric rise and constant bombardment and scrutiny drove her over the edge. Especially interesting for fans who lived through and remember that chaotic time in her life. Continue reading →
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