December 17, 2022 “The Apology” (*1/2 out of four) was a sorry suspense melodrama about a woman (Anna Gunn) who is observing the 20-year mysterious disapperance of her daughter when her brother-in-law (Linus Roache) shows up in the midst of a brutal snowstorm with some dark secrets about the past and what led to her daughter’s disappearance. Good performances fail to enliven or enrich the static proceedings; film may have worked far better better as a play instead but as a feature film it’s suspenseless and boring. Janeane Garofalo is wasted in a nothing supporting role as Gunn’s friend. She and others in the cast should offer a sincere “apology” to viewers and their fans. Continue reading →
December 16, 2022 “Ouija Hosts” (* out of four) was a practically worthless horror potboiler about a group of filmmakers (J. Taviner, Louisa Warren, and others) on a paranormal reality show who film in an abandoned haunted building in which (surprise, surprise) sinister forces are still present and come back to life and threaten everyone’s lives. Umpteenth attempt at making a threadbare horror movie surrounding a ouija board; the 1987 cult-classic “Witchboard” told this story much scarier although the films this dud may remind you of is “Halloween Resurrection” and “The Blair Witch Project 2.” Don’t bother “hosting” this time-waster. Continue reading →
December 15, 2022 “The Mean One” (* out of four) was a terrible one about a girl (Krystle Martin) whose parents are murdered by a bloodthirsty figure (David Howard Thornton) in a Santa suit and she realizes it is up to her to put an end to his brutal reign and save the Christmas holidays. Chintzy and uninspired horror thriller offers almost no horror or thrills and more than lives up to its title. Incredibly, this was based on Dr. Seuss’ classic “How The Grinch Stole Christmas” but seems instead like it was inspired by the evil works of Scrooge. Continue reading →
December 14, 2022 “Cry Macho” (**1/2 out of four) was an amiably done if not altogether successful melodrama about a one-time rodeo star (Clint Eastwood) who is now washed up and in the twilight of his life who is hired by an old friend (Dwight Yoakam) to bring his young son (Daniel Graulau) home from the border but along the way they develop a relationship and he starts to wonder if bringing him back home is the right thing to do and what’s best for him. Eastwood (who also directed) remains an ageless and charismatic wonder at 91 years old and carries this almost single-handedly though the movie moves along too leisurely and film’s ending is unsatisfying and abrupt. Still, an overall worthwhile addition to Eastwood’s catalogue and definitely in keeping with his past themes of redemption and resumption. Continue reading →
December 13, 2022 “Amityville Thanksgiving” (* out of four) was a genuine turkey about a bickering couple (Paul Faggione and Natalie Peri) who visit a sinister marriage counselor (Mark C. Fulhardt) to restore their faltering relationship but soon realize that he has cruel intentions that may make this holiday their last. Latest in a long-line to crassly use the “Amityville” name is crude, stupid, and boring. Aside from a few shots of the original house, this literally has nothing to do with the 1979 classic but may instead remind you of “Dead Again” and “One Flew Over The Cuckoo’s Nest.” Continue reading →
December 11, 2022 “The Fabelmans” (** out of four) was a self-indulgent melodrama loosely based on the life of writer/director Steven Spielberg about a young boy (Gabriel LaBelle) who discovers his powerful love for film and how this helps him to find joy and purpose in life and supercedes his problems at home with his parents (Paul Dano and Michelle Williams) and at school. Spielberg’s most personal and biographical film to date is affectionately done and lovingly detailed (with various homages to Spielberg works including “Back To The Future” in particular in a few scenes) about a young boy’s love for film………but as a film itself it’s self-important and awfully long. David Lynch has a key cameo also as a film director. Continue reading →
December 11, 2022 “Troll” (*** out of four) was a searing adventure melodrama about an ancient gigantic creature who is unearthed deep in the Dovre mountains and starts plowing its way towards Oslo. The military (Gards B Eidsvold, Mads Sjogard Pettersen, and others) wants it destroyed at all costs but a scientist (Ine Marie Wilmann) begins to wonder if the creature is really as menacing as others may think. Unusually done film features spectacular visual effects and some explosive action but also has a strong amount of mood and emotional pull as you genuinely feel sorry for the troll and its struggles. Reminiscent in a lot of ways of 2005’s “King Kong” but a small winner all around. Continue reading →
December 11, 2022 “Dog” (*** out of four) was a winning comic melodrama about a former army ranger (Channing Tatum) who is given an assignment to watch an army canine and take her to the military funeral of her owner and they race down the Pacific Coast and attempt to get there on time but along the way develop a strong and special bond with one another. Uneven, with a few unnecessary scenes that could have trimmed film’s length a little, but has enough effective moments to make it worthwhile. Final 20 minutes are particularly heartwarming and moving. Tatum co-directed and him and the dog are first-rate! Continue reading →
December 11, 2022 “Cemetery Stories” (* out of four) was a wooden anthology horror story about a couple of clairvoyants (Chrystal Snow and Timothy Patrick Quill) who show up at a cemetery to walk amongst the tombstones and are besieged by all kinds of unleashed evil and have no choice but to turn to priests to send the evil back to the depths of Hell. Howlingly solemn at times and very silly at others and the overall effect is numbing and boring. Made by DIY filmmakers who make you sorely regret the existence of the term independent horror movie. Time to bury these horror cliches in a real cemetery where they belong. Continue reading →
December 10, 2022 “Christmas Bloody Christmas” (*1/2 out of four) was a bloody mess about a robotic Santa Claus that goes haywire and goes on a mass holiday killing spree and it’s up to a free-spirited party girl (Riley Dandy) to put down the bottle and put an end to his slaughter before he wipes out the entire town. Tired horror thriller about yet another killer Santa Claus; didn’t anyone hear learn their lesson from “Silent Night, Deadly Night?” Film lacks suspense and scares and looks cheap but Dandy manages to deliver a strong performance in the lead. Continue reading →
dlepikcom 