January 24, 2022 “The Hunting” (*1/2 out of four) was a fairly toothless horror melodrama about a mysterious monster animal that is mauling townsfolk in a small Midwestern town and a determined detective (Peyton Hillis) and an eager wildlife specialist (Joelle Westwood) try to sort it all out and save the town and prevent the monster from escaping. Less of a horror movie than a movie about the effects of PTSD and the multiple ripple effects of murder on small towns but either way it’s a real bore. Hillis is apparently trying out a new career for himself with acting but fumbles the ball here with a pretty one-note performance. Continue reading →
January 23, 2022 “Badland Doves” (** out of four) was a Western-by-the-numbers about a group of female gunslingers (Sandy Penny, Jessica Y. Martin, Michelle Nuquay, and others) out for vigilante justice against a criminal (Sean Dillingham) who the whole town seems to be protecting but they refuse to leave until he is apprehended no matter the price. Packed with the usual saloon fights, pistol showdowns, and guitar-and-harmonica music soundtrack; not bad but not distinguished from hundreds of other Westerns with the same plotline. Didn’t anyone here learn their lesson from 1994’s really bad “Bad Girls”? Continue reading →
January 22, 2022 “Phony” (*1/2 out of four) was an aptly titled timewaster about a struggling indie filmmaker (David Bush) who is fed up with being unlucky in love and teams up with one of his moron friends (Jeff Pearson) to make an exploitative film about the perils of online dating. A vanity production for writer/director/star/co-producer Bush who seems to have studied the worst imitations of Woody Allen. It’s no wonder these unlikeable idiots are unlucky and women want nothing to do with them. Tacked-on happy ending seems especially false and (yes) phony. Continue reading →
January 22, 2022 “Last Radio Call” (*** out of four) was a chilling and eerie horror melodrama about the 2018 disappearance of a police officer (Jason Scarborough) and how his wife (Sarah Froelich from noise band Consumer Electronics) tries to review his body-cam footage and goes back to an abandoned house and hospital he visited to pick up the pieces and find out what really happened to him that night. Yet another found-footage horror movie but this one is skillful and engrossing; good performances and sturdy filmmaking. Cynthia Bergen’s moody music score is a definite plus throughout. Continue reading →
January 22, 2022 “WarHunt” (*1/2 out of four) was a stale action melodrama set in 1945 in which a U.S. army plane of soldiers (Robert Knepper, Jackson Rathbone, Fredrik Wagner, and others) flies over Germany’s Black Forest and are suddenly engulfed by crow feathers which form a mysterious woman in black; at first they are entranced by her sensuality but soon begin to realize she has been sent to kill them all one-by-one. Not quite as weird as it sounds but unlikely to be shown in war history classes anytime soon. Mickey Rourke picks up a few bucks playing a grizzled mentor of the soldiers but it might be time he was on the “hunt” for better roles and scripts. Continue reading →
January 22, 2022 “Nightmare Alley” (** out of four) was a pointless black comedy about a self-styled hustler (Bradley Cooper) who becomes tired of his way of life and then meets a cunning female psychiatrist (Cate Blanchett) who he realizes too-little/too-late is even more dangerous and deranged than he is. Writer/director Guillermo del Toro employs his usual cheeky visual style and dark wit but it’s told with too heavy a hand and goes on way too long at over two-and-a-half hours. Blanchett is first-rate as usual and gives her scenes a wild and seductive charge and Willem Dafoe, David Straithairn, and Rooney Mara do what they can in minor throwaway roles. Continue reading →
January 22, 2022 “Boiling Point” (*** out of four) was a rollicking melodrama set within the busy confines of a luxurious restaurant as a head chef (Stephen Graham) has to multitask many different struggles on his kitchen team (Vinette Robinson, Alice Feetham, Malachi Kirby, and others) on the busiest day of the year! Not much plot per se but plunges you convincingly right in the middle of working at a restaurant where there is not a moment to waste and things move at a hurtling pace! Entire film was actually shot in a single impressive take! Very nimbly directed in naturalistic style by Phillip Barantini and well-captured and acted by charismatic cast of unknowns. A small winner all around. Continue reading →
January 22, 2022 “Deadlock” (** out of four) was a passable B-movie action melodrama about a world-weary former military solider (Patrick Muldoon) who has to spring back into action when the nuclear power plant he is now working at is overtaken by rogue soldiers (led by Bruce Willis and Matthew Marsden) who want to take over the world. Storyline is pretty thin stuff and is overall basic and routine but Willis is nicely cast against type in a film obviously inspired by his classic “Die Hard” and film moves fast enough to make it an OK watch. Continue reading →
January 22, 2022 “This Game’s Called Murder” (* out of four) was a ludicrous mess about a nutjob family (Ron Perlman, Natasha Henstridge, Vanessa Marano) who’ve made their fortune selling red pumps (don’t ask) and look at the rest of the world beneath them with contempt as they try to plot a scheme to murder all consumers and customers. Writer/director Adam Sherman apparently is trying to make some satirical comments about capitalism and consumerism but it’s bludgeoned by a witless script and in-your-face acting and characters and backfires terribly. Perlman is at his hammy worst as the sadistic family patriarch; Henstridge tries to play against him by sleepwalking through her role. Hardly a “game” worth playing. Continue reading →
January 19, 2022 “The Tender Bar” (** out of four) was a pleasant but minor melodrama about a young boy (Daniel Ranieri and Tye Sheridan) growing up in Long Island who seeks out various father figures at the bar of his uncle (Ben Affleck) where he hangs around and does most of his development. Director George Clooney has his usual colorful casting choices and has some nice individual scenes and vignettes that (once again) don’t add up to a substantial whole, since story and real drama are so utterly lacking. Steve Buscemi told almost the same story with more flair and fire in 1996’s “Trees Lounge.” William Monahan scripted and adapted J.R. Moehringer’s memoir but it might be time for him to check out A.A. instead. Continue reading →
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