Author: dlepikcom

“The Outwaters” (*1/2 out of four) was a fatally pretentious and overdone horror potboiler about four friends (Robbie Banfitch, Angela Basolis, Scott Schamell, and Michelle May) who go on a camping trip to the Mojave Desert but soon find themselves menaced and stalked by an unseen phenomena that soon threatens their sanity and safety. Star Banfitch also wrote and directed and evidently watched “The Blair Witch Project” several times before making this and tries to compensate with irritating overdirection; relentlessly jerky camera movements may make you reach for the dramamine and loud noise effects will eventually give you a headache.

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“Creed III” (***1/2 out of four) was a dynamite third entry showing Adonis Creed (Michael B. Jordan) who has retired from the ring and now runs a boxing gym training and mentoring new boxers but a dangerous childhood friend (Jonathan Majors) from the past re-emerges and challenges him to get back in the ring. Jordan is sensational again in the lead role and Majors matches him with volatile intensity; a very impressive directorial debut for Jordan who is slick and skillful in telling what is probably the best “Creed” entry and the best “Rocky” entry since “Rocky IV” although Sylvester Stallone sat this round out. Boxing scenes are first-rate!

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“Spoonful Of Sugar” (*1/2 out of four) was a colossally sour suspense thriller about a college student (Morgan Saylor) who is hired to take care of a sickly mute child (Danilo Crovetti) but finds that strange occurrences are going on at the estate and his parents (Kat Foster and Myko Olivier) are a peculiar bunch. Ugly and unpleasant story packs in sadomasochism, child molestation, and repeated scenes of torture and bondage to give everyone their money’s worth. Saylor tries in the lead but by the end this is one sugar offering that will likely give you indigestion.

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“Trigger” (** out of four) was a slight melodrama about two former friends and rock musicians (Tracy Wright and Molly Parker) who reunite over one night at dinner and reminisce about their wild past lifestyles and engage in a long night of indulgence in which they bring back memories of their past lives and what could have been- and maybe what should be- as they are now adults. Interesting story of two former thrill-seekers and rock musicians now reconnecting in middle-age is muffled by jumbled presentation and direction which prevents you from being involved in these characters. Sadly, Wright died after this film was completed and this is the final film of “Go” star Sarah Polley who has a minor role.

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“The Red Dress” (*1/2 out of four) was a pretty boring suspense psychodrama about a married couple (Callum Blue and Rachel Skarsten) who relocate to Malta after the loss of their child but find that strange occurrences start happening after their move which threaten their marriage, their unity, and their sanity. Plodding and predictable, as film goes nowhere slowly through the usual standard-issue thriller themes. Filmed in 2015 and re-tooled and released now to no avail; I wasn’t the biggest fan of 2003’s “Cold Creek Manor” but that told the same story with far more panache and style. “The Dead Dress” would be a better title for this clunker.

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“Her Affair To Die For” (*1/2 out of four) was a stale suspense thriller about a roommate (Meghan Carrasquillo) whose roommate (Logan Mariner) starts dating an older man (Ryan Francis) who she develops a serious crush and fixation on which leads to an onslaught of problems for all of them (and the audience). Packed with the usual logic gaps and contrivances of this genre but doesn’t feature enough twists or suspense or much of anything else to make it worthwhile or justify its existence. 1957’s “An Affair To Remember” offers more tension and drama (and probably thrills) than this timewaster.

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“Jesus Revolution” (*** out of four) was an inspired melodrama set in 1970’s Southern California in which a group of young hippies (Joel Courtney, Jonathan Roumie, Anna Grace Barlow) become involved in their own spiritual awakenings which causes waves and ripple effects within their community and the local adults and parents (Kelsey Grammar, Brian Shoop, and others). Filled with Christian themes of salvation and redemption but directors Jon Erwin and Brent McCorkle infuse the movie with bounce and flair and plenty of great ’70’s soundtrack songs so this is not your typical earnest church religious drama. Film is loosely based on the life of American Evangelical Baptist priest Greg Laurie who also co-wrote the screenplay.

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“Luther: The Fallen Sun” (**1/2 out of four) was an initially taut adaptation of the BBC television series showing the disgraced detective John Luther (Idris Elba) in prison; when a vicious serial killer (Andy Serkis) begins terrorizing London, he realizes it is up to him to stop him and he breaks out of prison and evades the police and attempts to penetrate the London underworld to find him. Elba is commanding as usual in the title role and helps you overlook story flaws and contrivances but film loses its way before its improbable and silly conclusion. A good example of a television series that starts to show its cracks when expanded to feature-length film.

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“Driven To Murder” (** out of four) was a better-than-average suspense potboiler set in L.A. in which a young woman (Lucia Guerrero) is picked up by a Ryde driver (Adam Blake) who turns out to be a serious sicko and she realizes she’s in for a long night as she literally cannot escape his clutches. Ultimately done in by genre cliches and plot holes but effectively directed by Colin Everett on a low-budget and Blake is solidly creepy and scary as the killer. Reminiscent at times of Michael Mann’s “Collateral” but better than most killer Uber/Ryde trash.

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“12 Desperate Hours” (** out of four) was a perfunctory suspense melodrama about an overworked mother (Samatha Mathis) who finds herself and her children under siege in their own home when a murderer (Harrison Thomas) invades their house and threatens them all. Obvious rip-off of “Desperate Hours” right down to its title with little suspense or character development and thus not much to keep you involved. It’s nice to see Mathis on screen again but she can’t do much to enrich this tired material. Inauspicious directing debut for actress Gina Gershon.

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