July 29, 2021 “Meander” (*** out of four) was an elegantly done horror thriller about a young woman (Gaia Weiss) who finds herself locked in a strange tunnel full of a series of interlocking and increasingly convoluted traps of which she must escape while her unseen tormentor looks on. Yes, it’s one more derivation of “Saw” but this is elevated above its grimy origins by artful and compact direction from Mathieu Turi and stylish and sleek cinematography from Alain Duplantier. Contrary to its title, film does not meander at all and is lean and concise. Continue reading →
July 29, 2021 “Blood Born” (*1/2 out of four) was a misconceived horror melodrama about a young couple (Rosie Moss and Antoine Perry) who are unable to have children but soon find an elderly woman (Melanie Haynes) and a mysterious doctor (Cole Gerdes) who can fulfill their dreams of having a child but soon find that they are both engulfed in strange rituals and practices that may have deadly consequences. Writer/director Reed Shusterman came up with this story while him and his wife were trying to conceive so he apparently had other things on his mind but that hardly explains why film is so cheesy and bland. 2004’s “Godsend” covered a similar story with more skills and scares. Continue reading →
July 26, 2021 “Assassin’s Vow” (* out of four) was an ultra-shoddy pulp thriller about the daughter (Arlene Tur) of a Miami drug lord (Ari Novak) who arranges for her to be married but she soon finds out that she is a pawn in various underworld schemes and has to fight her way out all guns blazing but this puts her in a crossfire between numerous underworld figures and killers. Inept filmmaking and production makes this fire all blanks for nearly two hours. Peter Greene shows up as (of all things) a priest but he may want to say a few hail mary’s about the current status of his career. Continue reading →
July 26, 2021 “Roller Squad” (*1/2 out of four) was a grindingly dumb comedy thriller about a group of roller-skating friends (Alice Sanders, Benjamin McMahon, Amy Newton, and others) who join forces to try and catch a serial killer who is too fast for the police and who keeps eluding public view. Strictly for those who can’t wait for “Roller Derby” re-runs or who thought “The Mighty Morphin Power Rangers” series was too artistic or intellectually challenging; tough skating for anyone else. This dud is unlikely to lead to a resurgence of roller-skating anytime soon. Continue reading →
July 25, 2021 “Minamata” (** out of four) was an overly diffuse melodrama based on the true story of war photographer W. Eugene Smith (Johnny Depp) who traveled back to Japan to document the devastating effects of mercury poisoning on coastal communities which made him a severe enemy of various Japanese businesses and the government (Hiroyuki Sonada, Masayoshi Haneda, and others) but made him an icon of truth and journalism. Earnest and well-intentioned story never quite connects emotionally and doesn’t have the emotional pull or wallop that it desires and needs. Depp is OK in the lead but lacks the fervency and fire of his earlier and better performances 20-30 years ago. Continue reading →
July 24, 2021 “Mind Games” (*1/2 out of four) was a mindless pulp melodrama about a feisty army psychologist (Jet Jandreau) who is held captive by a mysterious assailant (Robert Lasardo) and she realizes she is in an RV in the middle of nowhere and has to psychologically and physically fight her way out while her military superior (Michael Pare) tries to sort out what is really going on. Just a foundation of ideas borrowed from other (and much better) movies. Good cast is unable to pump much life into this lurid and unpleasant material. Continue reading →
July 24, 2021 “All I Can Say” (*** out of four) was an overall affecting documentary of Blind Melon singer Shannon Hoon cobbled from his own home movies from a camcorder which he always kept by his side showing the last 5 years of his life with the band’s meteoric rise and unfortunate descent into one-hit wonder status and drug addiction that derailed his life at 28 years old. Undeniably self-indulgent (do we really need to see him brushing his teeth and going to the bathroom) at times but extremely well-edited and captures a charismatic artist whose life and music were going out of control. A definite must for Blind Melon fans as it features them at Woodstock ’94 and other rare footage and interviews but a worthwhile watch for rock fans and docudramas in general. Continue reading →
July 24, 2021 “House Of Quarantine” (** out of four) was a tired horror thriller about nine people (Drew Leatham, Phillip Carlisle, Zoey Walker, and others) who are shooting a movie in a secluded house and soon find out that one has been infected with COVID in the midst of the beginning of the pandemic and a global shutdown and they soon find their worst instincts rising to the surface as they all turn against one another for survival. Intriguing storyline with current and topical themes is hampired by routine execution and approach. Overall OK for what it is but another COVID-themed horror movie you’ve seen at least 19 times already. Continue reading →
July 22, 2021 “How To Deter A Robber” (*1/2 out of four) was an irritating story about two inept burglars (Abbie Cobb and Sonny Valicenti) on Christmas Eve who break into the home of a young girl (Vanessa Marano) and her moron boyfriend (Benjamin Papac) and her uncle (Chris Mulkey) who turn the tables on them and attempt to thwart them and take back their home. Film has a hard time making up its mind whether its a witless comedy or a by-the-numbers violent melodrama so it comes close to being nothing; a few scattershot chuckles don’t build to anything more than that. Talented cast is left high-and-dry. Continue reading →
July 21, 2021 “Masquerade” (** out of four) was an unnecessary horror melodrama about a young girl (Alyvia Alyn Lind) who must survive the night after a group of intruders (Michael Proctor and Skyler Samuels) break into her family’s home to steal their priceless art collection. Reasonably watchable but yet another home-invasion story in the vein of “Desperate Hours” and “The Purge” that is pretty basic and predictable. It might be time to put this genre to rest for a little while. No relation to the 1988 Rob Lowe/Meg Tilly cult classic of the same name Continue reading →
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