April 26, 2022 “Reign Of Chaos” (** out of four) was an overly dour horror thriller set in the not-too-distant future in which a virus enacted by a villainous ruler (Mark Sears) has turn mankind into rabid and bloodthirsty creatures; only three feisty young women (Rebecca Finch, Rita De Tuccio, Georgia Wood) can stop him and save the world but are they up to the task? By the admittedly pretty low standards of these post-apocalypse/future thrillers, this is not the worst of the lot, but is at times laughably solemn and overblown. Final third involving battle scenes works best but by this point- movies set in the future should hopefully remain in the past. Continue reading →
April 26, 2022 “Prototype” (*1/2 out of four) was an earthbound sci/fi suspense story set in (yawn) a dystopian future in which artificial intelligence serves humans at their homes; one such family (Jamie Robertson, Marshall Hawkes, and others) live in happiness until (to the surprise of no one) the robots start to show their true sinister intentions and plan to rise against their human servants. Just a pile of generic ideas borrowed from more movies than one can count, “A.I. (Artificial Intelligence)”, “Robocop”, and “I Robot” just to name a few- but even worse it’s plodding and dull. Film’s title is pungently ironic since it seems to be following obvious “prototypes” from other and better movies. Continue reading →
April 26, 2022 “Zero Fucks Given” (** out of four): (Yes that’s the actual title). A fizzled melodrama about a young airline attendant (Adele Exarchopoulos) who loses her job at an airline and has to rebuild her life from scratch but finds herself at multiple crossroads and trying not to get distracted by love and partying. Film does succeed in showing you the stresses of working as an airline attendant that you may not have realized and lead Exarchopoulos is stirring but film is also aimless and doesn’t have enough plot to fill up 2 hours time. Even still, this won numerous awards at the Mannheim-Heidelberg International Film Festival. Continue reading →
April 25, 2022 “7th Secret” (* out of four) was a lifeless melodrama about an unhappy young wife (Kristin Minter) who decides to seek sexual fulfillment elsewhere and begins exploring the sexual underworld and leading a double life. Probably sounds juicy and sexy but is almost worthless on every level. Natasha Henstridge, Stacey Dash, and Joan Jett are all wasted in meaningless supporting roles; why they signed on for this timewaster might be the film’s real “secret.” Some of the dialogue and acting are laughably awful. Continue reading →
April 23, 2022 “The Unbearable Weight Of Massive Talent” (*1/2 out of four) was a rambling action comedy starring Nicolas Cage (playing himself) as an actor who is facing financial ruin in his older years and has to accept a $1 million dollar offer from a dangerous superfan (Pedro Pascal); somehow or another, he is then recruited by a C.I.A. operative (Tiffany Haddish) and has to re-enact some of his most famous roles in order to save the world! Genuinely bizarre story has some amusing touches but is awfully self-indulgent and arbitrary and gets really stupid. Die-hard fans of Cage (I’m not) may obviously like this much more but it’s “unbearable” for most of the rest of us. Continue reading →
April 23, 2022 “Measure Of Revenge” (*1/2 out of four) was a muddled psychodrama about a theater actress (Melissa Leo) whose son (Jake Weary) dies from an accidental drug overdose and she then begins her own investigation tracking down the dealer (Bella Thorne) who sold him the drugs and they actually become friends (!) as she goes through her own personal odyssey of deciding whether to avenge her son’s death or not. Potentially interesting moral storyline of whether a drug dealer is responsible for a drug user’s death or not completely eludes the makers of this mess; film’s story goes in all different directions but still goes nowhere slowly. Continue reading →
April 23, 2022 “9 Bullets” (** out of four) was an emotionally flat melodrama about a troubled former drug addict (Lena Headey) who goes on the run with a young boy (Dean Scott Vasquez) when both of their lives are threatened by her unstable ex-boyfriend (Sam Worthington). Earnestly done film is given a boost by sincere performances but fires mostly blanks because it never gets going or takes off. Sharon Stone played a similar role in 1999’s bleak (and underrated) “Gloria.” Continue reading →
April 23, 2022 “The Cellar” (** out of four) was a stiff-jointed horror thriller about a woman (Elisha Cuthbert) whose daughter mysteriously vanishes in the cellar of her mansion and she soon uncovers that there is a whole lotta paranormal activity going on and that she has to leave before it is too late yet at the same time try to find and save her daughter. Lushly lensed and has good atmosphere but unfortunately story covers all-too-familiar territory (can they please stop making horror movies about haunted houses) and is ploddingly told. Director Brendan Muldowney has Cuthbert looking at television and watching “The Changeling” which covered the same material over 40 years ago! Continue reading →
April 23, 2022 “Titanic 666” (*1/2 out of four) was a paltry horror thriller about a crew (Keesha Sharp, Jamie Bamber, Lydia Hearst, and others) aboard the Titanic III who are besieged in the middle of the ocean by dark forces that rise to the surface and threaten everyone on board. Basically a Roger Corman version of “Titanic” but (to put it mildly) these thespians are not up to the level of Leo and Kate and director Nick Lyon is no James Cameron. Cheesy production and feeble writing might make viewers wish this voyage really did hit an iceberg! Continue reading →
April 23, 2022 “Brut Force” (*1/2 out of four) was a brutal suspense melodrama about a recently fired reporter (Patricia Velasquez) who returns to her native California town to investigate harassment and corruption at a local vineyard but uncovers a minefield of duplicity and deception that leads to danger at every turn. Velasquez’ terrible performance enacts real “brute force” on the audience but film was already weak and contrived. For a richer and more stirring look at almost the same subject, watch “The Milagro Beanfield War” instead. Continue reading →
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