July 29, 2022 “The Gray Man” (*** out of four) was an adrenalized Netflix action adventure about a skilled C.I.A. operative (Ryan Gosling) who is brought back into action by his grizzled mentor (Billy Bob Thornton) but it turns out they are both targeted by a vindictive former colleague (Chris Evans) for extinction leading to a chase in which worldwide destruction hangs in the balance. Too long overall and a bit too jokey at times but so fast-paced and packed with action and nonstop intrigue that it’s fun to watch and more than gives you your money’s worth. Gosling’s understating is a nice counterbalance to Evans who makes a very entertaining villain. Continue reading →
July 28, 2022 “River Road” (**1/2 out of four) was a moderately engaging serio-melodrama about a rock musician (Cody Kearsley) and a free-spirited woman (Lexi Redman) who form a relationship that soon spirals into a world of drugs and crime and turns both of their lives and realities inside-out and upside-down. Writer/director Rob Willey works in a hallucinatory style that is at times bleakly hypnotic and compelling but films eventually gets lost in its own ozone of ugliness and self-indulgence. Still it’s an overall worthwhile effort. Strong work from Redman and fierce cinematography from Redman are definite standouts. Continue reading →
July 28, 2022 “Black Wood” (** out of four) was a scattershot Western about a Native American woman (Tanajsia Slaughter) who escapes a notorious gang (led by Bates Wilder) by running into the forbidden Black Wood Forest; they initially pursue her but once inside realize they have to band together to survive after they awaken an ancient ravenous creature that threatens to consume them all. Attempt to cross-pollinate a Western with a monster suspense story doesn’t congeal although film moves sturdily and remains watchable. Not likely to satisfy fans of either genre but far from the worst of its ilk. Continue reading →
July 26, 2022 “The Reef: Stalked” (* out of four) was a needless sequel to the 2010 original which I don’t think anyone was exactly screaming aloud for; after her sister’s murder, the original heroine (Terssa Liane) and two of her friends (Ann Truong and Saskia Archer) go on a kayaking adventure through the Pacific Island but find they are terrorized by (yawn) a killer shark. Even the shark looks bored but not as likely much as viewers will be by this tired snoozefest. Any one scene in “Jaws” has more teeth and bite than this timewaster. Continue reading →
July 26, 2022 “Unboxed” (*1/2 out of four) was an ungainly low-budget horror claptrap about a social-media influencer (Katherine Diaz) who is hired for a Halloween horror party but soon realizes that her life may be in danger as she has to open various boxes each containing a different surprise. Unfortunately, film itself carries little surprises of its own and becomes increasingly arbitrary and ugly. Film was only shot and made in 7 days so you have to give the filmmakers credit but there’s still not much worth “unboxing” here. Continue reading →
July 26, 2022 “Thor: Love And Thunder” (*** out of four) was a rollicking sequel about the continued adventures of Thor (Chris Helmsworth) who is forced to turn to Valkyrie (Tessa Thompson), Korg (Taika Watiti), and ex-girlfriend Jane Foster (Jane Foster) in a fight against Gorr (an unrecognizable Christian Bale) with the fate of mankind and the world hanging in the balance to make the Gods extinct. Fourth entry in this Marvel series is about on par with the previous ones; full of the series’ usual great visual effects and action scenes and has extra kudos for Guns ‘N’ Roses fans by incorporating many of their classic songs in key scenes. As usual with Marvel movies, stay through the closing credits. Continue reading →
July 25, 2022 “C.A.M.” (** out of four) was a derivative but somewhat diverting end-of-the-world suspense melodrama about a rare parasite that has contaminated a local meat processing plant which requires tactical police (Charlotte Curwood, Tom Ware, Jamie Langlands, and others) to be sent in but they soon realize they are dealing with something far worse that could have grave consequences on a worldwide scale. Yet another ripoff of “28 Days Later” and “Alien” but still it moves fast and keeps you relatively in its grip. Still, though, a little of this does go a long way even at 85 minutes. Title stands for Contagious Aggressive Mutations, not for camera. Continue reading →
July 25, 2022 “World Ends At Camp Z” (* out of four) was a grade-Z horror clunker set during a global pandemic in which various buyers and stayers (Anne-Carolyne Binette, Dean Persons, and Osawa Muskwa) at a campground have to contend with the zombie apocalypse and have to fight to stay alive. With a title like that you know not to expect Oscar fare but film is even worse with inept staging, awful dialogue, and dreadful acting and special effects that may need to be seen to be believed. This makes any of the “Night Of The Living Dead” remakes look like “Spartacus” by comparison. Title is a faint allusion to “World War Z” but film itself looks like something Ed Wood might have made in his spare time. Continue reading →
July 25, 2022 “11th Hour Cleaning” (*1/2 out of four) was a slovenly horror thriller about a group of crime scene cleaners (Anita Leeman Torres, Chloe Brooks, Edward Finlay, and others) who finds themselves trapped in a murder house by an ancient Nordic demon who turns them against one another and turns them (and the audience) gradually insane. In-your-face gore for those who want it but it all wears out pretty quickly. Yet another “Saw” wannabe that doesn’t quite make the cut. Film doesn’t so much end as stop but you won’t be complaining. Continue reading →
July 24, 2022 “The Moderator” (** out of four) was an utterly generic action melodrama about a Russian blogger (Irma Lake) and former hitwoman who decides to return to her previous lifestyle and enact vicious vigilante justice when two of her friends are murdered in Morocco but finds treachery and terror at every turn. Lake’s solid performance holds this together as much as possible but this is simply reheated and rehashed cliches and feels “Bourne” again. Gary Dourdan and Robert Knepper do their best to enliven the proceedings in key supporting roles. Continue reading →
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