April 2, 2022 “Boon” (*1/2 out of four) was a boring melodrama about a professional assassin (Neal McDonough) trying to hide from his past life who meets a woman (Christiane Sidel) and finds that her and her son and himself are all hiding from the same underworld criminal organization and have to unite together to try and survive. Schizophrenic movie alternates from faux-sentimentality to flat action and dramatics but goes nowhere with either; only the ending comes alive but it’s too late by then. Mickey Rourke played a similar role in 1987’s “A Prayer For The Dying.” Continue reading →
April 2, 2022 “Kicking Blood” (*1/2 out of four) was a fairly anemic horror melodrama about a vampire (Alanna Bale) who witnesses an alcoholic (Luke Bilyk) in recovery and attempts to quit her vampiring activities in order to save him but finds that this isn’t quite as easy as it may seem. Give writer/director Blaine Thurrier credit for attempting to do something new within the horror genre and infusing this with a sense of style but it’s all frosting on a cake that’s molded and stale. This almost looks like “Blade” redone as a soap opera! Continue reading →
April 2, 2022 “The Ice Demon” (*1/2 out of four) was supernatural hokum about a man (Andrey Marusin) who awakens from a coma and returns to his hometown and his family and is unaware that he brings some otherworldly and sinister life forces with him and everyone has to attempt to run for cover (including the audience). Good production values and atmosphere are definite plusses but story, script, and characters are all for the birds and leave this one on “ice.” Continue reading →
March 26, 2022 “X” (*1/2 out of four) was a severely unpleasant horror thriller set in 1979 Texas in which a group of young filmmakers (Mia Goth, Brittany Snow, Kid Cudi, and others) set out to make a porn film at the home of an elderly couple and all seems fine but when the couple find about it they set out to kill all of them and they have to fight for their lives. Flawless ’70’s detail and atmosphere is defeated by sleazy story and characters and dreary pacing. A prequel to this film is actually set for release later on this year. X both movies off of your list. Continue reading →
March 26, 2022 “Deep Water” (** out of four) was a torpid melodrama about a couple (Ben Affleck and Ana de Armas) in a loveless and open marriage; he looks the other way at her continuous affairs but this soon escalates into jealousy, deception, and murder. Director Adrian Lyne works in his usual grand and swank style but film is empty at the center since it moves at a snail’s pace (and byethway- snails are a key component of the story) and you really don’t care about anyone or their plight and film’s ending is more than a little frustrating. Lyne covered similar ground in earlier (and better) “Fatal Attraction” and “Unfaithful.” De Armas’ sexy performance gives film a stylish charge. Continue reading →
March 26, 2022 “Ambulance” (** out of four) was a tiresome action melodrama about two brothers (Jake Gyllenhaal and Yahya Abdul-Mateen II) who hijack an ambulance after a heist goes awry which leads to a runaway police chase in which they are pursued by a multitude of law enforcement (Garrett Dillahunt, Keir O’Donnell, and others) to the death. Director Michael Bay quickly wears you out with his ritalin camerawork that refuses to sit still and vertigo-inducing editing. Film does have some good action scenes and some clever homages to “Die Hard” and “Speed” but goes on way too long at two-hours plus. A classic example of how less sometimes is more. Continue reading →
March 25, 2022 “Panama” (** out of four) was a muddled paranoia thriller about an ex-marine (Cole Hauser) who is hired by a defense contractor (Mel Gibson) to travel to Panama to complete an arms deal but subsequently becomes involved with the U.S. invasion of Panama and the various crossfires involving political power. Never detonates or ignites as it should, despite interesting locales and subject matter. Even the first-rate Hauser seems to be just going through the motions. A disappointing result from director Mark Neveldine who co-directed the cult classic “Crank.” Continue reading →
March 20, 2022 “Windfall” (*1/2 out of four) was a stultifying suspense melodrama about a man (Jason Segel) who breaks into the vacation home of a billionaire (Jesse Plemons) but things go astray when he and his wife (Lily Collins) visit unexpectedly. Leaden and talky story actually gets slower as it goes along and for anyone who actually sticks with it all the way through- it doesn’t so much end as stop although believe me no one will likely be complaining. Collins (daughter of music legend Phil) is solid but this is unlikely to provide the “windfall” that her career needs. Continue reading →
March 20, 2022 “For The Love Of Money” (** out of four) was a flashy but empty urban melodrama about a hard-working single mom (Keri Hilson) who becomes pushed to her limit when her daughter (Jazzy Jade) is arrested and turns back to the lifestyle of the streets to hold her over and make ends meet but this leads to complications and consequences as well. Best thing about the film is Hilson who is sincere and charismatic in the lead but film otherwise follows a much-too predictable pattern. Jason Mitchell, Keith Sweat, and D.C. Young Fly do what they can in cardboard supporting roles. Continue reading →
March 18, 2022 “Manifest Evil” (** out of four) was a not-bad psychodrama about a Marine Corps drill instructor (Leon M. Brown) with a troubled past who falls victim to a malevolent curse put on him by two vindictive recruits and he then spirals into a descending abyss of hallucinations and psychosis and he has to find the root of his curse to restore his sanity and return to real life. Film does have a few jolts and a few unsettling images but is hindered by an overall sense of deja vu, since this territory has been covered many times before (yes in “The Shining” most prominently). Brown also wrote and co-produced. Continue reading →
dlepikcom 