January 14, 2023 “The Old Way” (** out of four) was an all-too-typical Western done in the “old way” about a former gunslinger (Nicholas Cage) and his daughter (Ryan Kiera Armstrong) who find themselves in the crossfire when the son (Noah Le Gros) of a man he killed years ago arrives on their frontier for vengeance which leads to bloody warfare. Passably done for Western fans and Cage die-hards but others may find this overly derivative and similar to “Unforgiven” and (especially) “True Grit.” Cage goes through the motions cashing another check in a direct-to-DVD trifle but Armstrong is strong as his daughter. Continue reading →
January 13, 2023 “Bottle Monster” (* out of four) was a nearly unendurable psychodrama about a mother (Billie Proffitt) with severe alcoholism and trying to take care of her young son (Ryker Overacker) and is then confronted with a monster at home (Willie Aames) even more destructive than the bottle she has been battling. Dark and serious subject of alcoholism is bungled by terrible filmmaking and absolutely dreadful acting that will likely make anyone want to drink. Many critics praised this film but they themselves must have been under the influence. A well-meaning but complete misfire. Continue reading →
January 12, 2023 “Naked Singularity” (*** out of four) was a stirring melodrama about an idealistic NYC public defender (John Boyega) who becomes burned out by the criminal justice system of which he is a part of and facing his own disbarrment and disgusted by the leniencies of the criminals he represents getting off- decides to become a criminal himself and team up with one of his clients (Olivia Cooke) and co-workers (Bill Skarsgard) to rob a multi-million dollar drug-dealer. Sharp and incisive script is laced with satirical wit about what a joke our NY justice system has become although story contrivances and plot holes start to weaken the film in its second half. Boyega is winning as usual in the lead and keeps film sturdily on track and Cooke is also in strong form. Continue reading →
January 12, 2023 “Stray Dogs” (** out of four) was a wildly uneven melodrama about a man (Skyler Pinkerton) who has to put his dog down and embarks on a backpacking trip through the wilderness with his brother (Tad Davies) to bury the dog where they found him but along the way encounter a stranger (Adam Gascho) who appears to be on the run and they find their own lives in jeopardy. Opening scenes with Pinkerton and his ailing dog are heartbreaking but once he sets off into the wilderness- film becomes a routine and generic crime caper. Gascho also co-wrote and directed and Pinkerton co-produced; both of them are out-acted by the dog who is great! Continue reading →
January 11, 2023 “Edge Of The World” (*1/2 out of four) was a ponderous historical drama that won’t keep many viewers on the edge of their seats; in 1840’s Borneo, the young explorer Sir James Brooke (Jonathan Rhys Meyers) embarked on a crusade up the river to end slavery, piracy, and head-hunting and found himself up against many personal and oppressive obstacles but refused to give up on his quest for peace. Powerful and inspirational story lacks any sweep or emotional penetration and is instead a real snooze. Director Michael Haussman attempts to paint on a large canvas but he all-too-obviously watched “Dances With Wolves”, “Last Of The Mohicans”, and also “Apocalypse Now” a few times before filming. Continue reading →
January 11, 2023 “The Siege Of Robin Hood” (*1/2 out of four) was a slapdash return to Sherwood Forest about the vicious Sheriff Of Nottingham (David Macrae) who violently attacks the family of young Robin Hood (Paul Allica) who then teams up with Sir Lancelot (Dave Beamish) to end his bloody reign and enforcement once and for all. A vanity production for star/co-writer/director/co-producer/editor Allica but this is a junior-high production of a story that’s been told far too many times and better, with shoddy effects and sets. By now, it might finally be time to lay the Robin Hood saga to rest for a few centuries. Continue reading →
January 10, 2023 “Slayers” (* out of four) was a slayingly awful horror thriller about a group of social-media influencers and thrill-seekers (Kara Hayward, Malin Ackerman, Abigail Breslin, and others) who become trapped in the lair of a vicious vampire and the only one who can save them is a legendary vampire hunter (Thomas Jane). Dumb-and-dumber writing and plotting makes this particularly grueling and the in-your-face direction and filmmaking is no help. Jane’s unlikeable character feels like an additional stake to the heart. By this point, his career needs a transfusion of new and fresh blood. Continue reading →
January 9, 2023 “Wolves Of War” (*1/2 out of four) was a subpar-WWII melodrama set at the end of the war in which various British officers (Ed Westwick, Jack Parr, Matt Willis) go into enemy territory into Bavaria to snatch an American hostage (Rupert Graves) held by the Nazis and attempt to finally put an end to the war in the process. Cheaply done war story with shoddy filmmaking and sets defeating any sense of realism. Story elements and a few scenes may remind you of earlier WWII films but let’s just be nice and say this just doesn’t have the grandeur or scope of “Saving Private Ryan.” Continue reading →
January 9, 2023 “Wifelike” (* out of four) was a muddled futuristic mess about a grieving widow (Jonathan Rhys Meyers) who is assigned an artificial intelligence humanoid (Elena Kampouris) in the mold of his deceased wife; he subsequently finds out that a malicious corporation is attempting to sabotage her programming in an attempt to end artificial intelligence once and for all. By the end of this clunker (and after all the countless other movies about artificial intelligence), you might be rooting for them to succeed. Film incorporates elements of future dystopia, widowed grief, mass paranoia, and even a police chase thriller but it’s all ineptly put together. Continue reading →
January 8, 2023 “Nocebo” (** out of four) was a half-baked horror suspense thriller about a fashion designer (Eva Green) who has a mysterious illness that baffles doctors and perplexes her husband (Mark Strong); an alternative medicine specialist (Chai Fonacier) arrives and offers relief but they soon wonder her real underlying intentions and how the cure she has given may have severe medical/psychiatric consequences. Intriguing storyline has a few pulsating scares and images but doesn’t shift into high-gear and thus peters out. Good performances do what they can to keep this on track. No relation to either the 2014 or 2016 films of the same name. Continue reading →
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