Author: dlepikcom

“The Barn II” (*1/2 out of four) was a slapdash sequel to a film that I don’t think very many were clamoring for a follow-up; this time around, the Halloween ban has been lifted in Helen’s Valley and a young woman (Lexi Dripps) has been put in charge of the sorority house when uninvited ghouls and zombies decide to drop by for a visit and a snack. If it’s gore you want, you got it but script, story, and acting are all for the birds. Many former horror icons (Linnea Quigley, Doug Bradley, Lloyd Kaufman) pop up in minor roles and cameos but you’d fare best seeing them at a horror-movie convention instead.

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“Secrets In The Marriage” (*1/2 out of four) was a ludicrous suspense thriller about a young woman (Brianna Cohen) who is swept off her feet by a young doctor (Alex Trumble) and they are soon married; however she soon begins to suspect that something is not quite right and her suspicions are proved correct when he tries to frame her for murder! Incredible lapses in logic (and narrative) are weakened even more by overripe acting. Yet another movie that seriously makes you regret “Fatal Attraction” was ever made.

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“Streetwalker” (* out of four) was a repulsive horror psychodrama about a young woman (Corissa Gabor) who survives a traumatic ordeal, only to have to endure numerous after effects in which she finds the reality of her mind and the world being called into question. Retro-1970’s trashy decadent filming style is seedy and impressive (you literally think you’re watching a film from 50 years ago); the rest is numbing and unwatchable. Film incorporates numerous themes of PTSD and trauma but it’s all sleazy and exploitative, not explorative. For a much more incisive look at the same themes, walk away from this trash and watch “The Accused”, “Spotlight”, or “I May Destroy You” instead.

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“My Daughter’s Deadly Roommates” (** out of four) was a glossy but empty suspense thriller about a mother (Nicole Marie Johnson) who becomes suspicious when her daughter (Lilly Brody) starts acting bizarre and she comes to suspect she has been put under a spell and brainwashed by a club of girls she has joined at school. Hybrid of sorts of “The Stepford Wives” with some of “Mean Girls” is attractively shot and watchable but overall pretty ordinary and routine. Story was from adult film actor and filmmaker Andrew Stevens. This marks the directorial debut from cinematographer Adam Biddle (“Event Horizon”, “V For Vendetta”).

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“Fear” (** out of four) was a hokey horror thriller about a group of friends (Tyler Abron, Andrew Bachelor, T.I., and others) who go on a vacation getaway in the midst of the nationwide COVID pandemic and find their sanity unraveling as fear permeates all of them and turns them mentally inside-out. Interesting plot points about psychological duress that a lot of us remember at the dawn of the pandemic but end result isn’t satisfying, especially with its abrupt and obtuse ending. Game cast infuses as much energy as they can into a thin script. No relation to the Mark Wahlberg/Reese Witherspoon 1996 cult classic of the same name.

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“Viking Wolf” (** out of four) was a passable horror thriller from Sweden about a teenager (Elli Rhiannon Muller Osborne) who relocates to a small village with her mother (Liv Mjones) whose a cop; when she is a key witness to a murder at a party she attends, she begins to suspect that the killer is a ravenous werewolf who will stop at nothing before it kills everybody and keeps it’s identity a secret. Director Stig Svendsen shows some promise and an alluring mood and style but it’s hampered by a routine and predictable story. Originally titled “Thriller” in reference to the famous Michael Jackson werewolf video but was wisely changed.

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“Bring Out The Fear” (*1/2 out of four) was a limp horror suspense thriller set in Ireland about a couple (Ciara Bailey and James Devlin) who are having problems in their relationship and go on a romantic trip to the middle of the woods and find that they cannot leave and are being watched by ominous and evil forces and they have to reconcile and work together to survive. Had either of them watched “The Blair Witch Project” or even “The Cabin In The Woods” they would have survived and made it out no problem but that might be too much to ask. Film is poured thick with cliches without any conviction or style. Many international horror critics thought highly of this but I’m not one of them. “Bring Out The Script” would have been a much more apt title for this trifle.

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“Find Her” (** out of four) was a muted suspense melodrama about a troubled cop (Nick McCallum) who arrives in a small Midwestern town to uncover the truth about a murdered ranch owner but finds that the pathway to solving this murder is a minefield of mixed agendas and motivations as he becomes involved with the ranch owner’s daughter (Anais Lilit) and mother (Rebecca Lines). Beautifully shot by Evan Zissimopolous on stunning locations but story has little intrigue, tension, or dramatic involvement. McCallum gives a game effort as actor/writer/director but viewers would best “find” another film to watch.

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“Hoax: The True Story Of The Kidnapping Of Sherri Papini” (** out of four) was a hollow melodrama based on the true story of Sherri Papini (Jaime King) who disappeared for 3 weeks and then re-appeared and claimed she was abducted and abused by 2 women but there were immediate suspicions and doubts on the story which led to her later admitting she lied and orchestrated it all in a hoax. Interesting story based on actual events but Papini’s character motivations remain muddy and as a result film never fully grabs you as a whole. Feature film debut from director Marta Borowski who obviously watched “Gone Girl” a few times before filming this.

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“The Mummy: Resurrection” (* out of four) was a lifeless “horror” thriller about a scheming huckster (Chris Bell) who uncovers a cursed Egyptian mummy and then becomes obsessed with unearthing the mummified princess who is buried within it but this eventually leads to all Hell breaking loose. It’s unclear if this is related to or a spin-off of the lucrative “Mummy” series or an insulting cash-in on simply using the title. Probably the latter because the movie has about as much mummy action and scares as your average soap opera on television. This stupefyingly dull entry makes any of the other “Mummy” entries and the Tom Cruise remake look like Oscar fare by comparison.

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