July 19, 2024 “Space Sharks” (* out of four) was an almost completely inept sci/fi thriller about a military experiment conducted on a space station that goes awry and sends a breed of weaponized and ravenous sharks down to Earth to destroy humanity while a group of doctors and military personnel (Eric Roberts, Brinke Stevens, Scott Schwartz, and others) try to save the world. Sounds like trashy fun but trust me it isn’t and is sunk by shoddy filming and horrendous special effects that would make Ed Wood proud. Roberts picks up another easy paycheck with a token role. Continue reading →
July 18, 2024 “Longlegs” (** out of four) was a jagged but jaded suspense melodrama about an FBI agent (Maika Monroe) who is in pursuit of the title vicious serial killer (Nicolas Cage) and she has to uncover a series of clues to find out his whereabouts to end his reign of terror. Initially suspenseful and compelling with a tense atmosphere of malevolence and rot but soon sputters as it winds up one more pale imitation of both “Seven” and (especially) “The Silence Of The Lambs.” Recommended only for those who want to see Cage as never before, as he looks unrecognizable and chews and throws up the scenery as the killer. Continue reading →
July 17, 2024 “Faye” (**1/2 out of four) was an intermittently interesting documentary of legendary actress Faye Dunaway whose career rose to fame with “Bonnie And Clyde”, “The Thomas Crown Affair”, and “Chinatown” but began to gradually wane in the 1980’s as she battled alcoholism, mental health issues, and seclusion but still became a generational icon and inspiration to a series of new film actresses. Compelling at times especially for an actress who has rarely done interviews although it tends to wander at times. Film features interviews with also Sharon Stone, Barry Primus, and Mickey Rourke. Continue reading →
July 14, 2024 “Twisters” (**1/2 out of four) was a decent sequel to the 1996 blockbuster “classic” about a retired tornado-watcher (Daisy Edgar-Jones) and a hotshot meteorologist (Glenn Powell) who travel to Oklahoma to track a deadly tornado that is ripping through the Midwest and find themselves in for the ride of their lives. More-or-less a remake, and not a sequel, to the (overrated) original and similar to its many imitations over the years but spectacular visual effects, good action scenes, and good performances and chemistry between the leads (Powell and Jones) make it watchable. Final half-hour will have you holding on to your seat. Continue reading →
July 13, 2024 “Last County” (*1/2 out of four) was an uninvolving melodrama about an alcoholic woman (Kaelen Ohm) who finds herself under siege from corrupt small-town cops (Nicholas Campbell, Dayton Sinkia, and others) in her rural home and finds an unlikely ally in a wounded drug mule (Gord Rand) as they both need one another to fight back and stay alive. Leisurely story meanders over all-too-familiar terrain and turns out to be a desperate rehash of “Desperate Hours”. Matthew Kohnen’s crisp and moody cinematography is one of film’s few assets. Continue reading →
July 13, 2024 “The Inheritance” (*1/2 out of four) was an insufferable horror thriller about a billionaire (Bob Gunton) on the eve of his 75th birthday who invites all of his estranged children (Peyton List, Austin Stowell, and others) out of fear someone or something is about to kill him and he puts each of their inheritances on the line unless they help him but this leads to spooky distrust and paranoia amongst all of them. Intriguing storyline goes nowhere thanks to stuffy direction and plodding pace. Film is only 1 hour and 25 minutes but feels much longer than that. Continue reading →
July 13, 2024 “The YouTube Effect” (**1/2 out of four) was an occasionally thought-provoking documentary about YouTube which launched in 2006 with modest origins but went on to revolutionize the internet and change how we watch and consume videos and information and this shows the various pros-and-cons its had on society, the economy, and the worldwide media in general. Director Alex Winter (the actor) shows some interesting ideas with a dizzying array of robustly edited clips and videos and interviews but doesn’t know when to quit as it rambles on and goes on in too many different directions sometimes all at once. Continue reading →
July 13, 2024 “The Madness Of Humpty Dumpty” (*1/2 out of four) was an utterly low-rent horror thriller about a young woman (Emily Webber) with early schizophrenia who moves back into her childhood home and begins experiencing bizarre occurrences with the title doll. Are these symptoms of her mental illness or is the doll possessed and about to kill? (You get 2 chances and the first doesn’t count). Third in this dreadful horror series is certainly no worse than previous entries but let’s just be nice and say this is a long way from “Child’s Play” and makes that look like Hitchcock in his prime. Continue reading →
July 13, 2024 “Latency” (** out of four) was an overly controlled and remote psychological drama about a young woman (Sasha Luss) with severe gambling issues and agoraphobia who receives new equipment to enhance her game but this ends up overtaking her mind and thus her sanity as well. Some creepy images and pertinent observations on the destruction of gambling and psychosis are defeated by film’s plodding pace and aloof approach. Writer/director James Croke uses intelligence and craft but needs a shot of adrenaline. Continue reading →
July 13, 2024 “The Exorcism” (*1/2 out of four) was a misbegotten trifle about an actor (Russell Crowe) who begins exhibiting otherworldly symptoms and strange behaviors while filming a horror movie and some wonder whether he’s backslid back into addiction or if he’s been possessed. Crowe is slumming here in (incredibly) his second exorcist movie in a year but it’s just as blah and dull as that one. Director Joshua Miller is the son of Jason Miller from “The Exorcist” which spawned countless imitations like these. Filmed in 2019 and should have rotted on the shelf until it went to Hell. Continue reading →
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