Author: dlepikcom

“The Primevals” (*1/2 out of four) was a slapdash hodgepodge about a group of explorers (Juliet Mills, Richard Joseph Paul, and others) who go off in search of a yeti but find themselves under siege from a group of ancient creatures who want to overtake the world. Made predominantly in 1994 but was incomplete for decades due to the death of director David Allen and was only recently finished 30 years later but hardly seems worth the bother. Result is a smorgasbord of sci/fi cliches that would have seemed stale even back then.

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“Wild Eyed And Wicked” (*1/2 out of four) was an incredibly dull melodrama about a young woman (Molly Kunz) who seeks out her estranged father (Michael X. Sommers) to learn the art of swordplay and fencing and how to fight off supernatural monsters and hopefully ward off the demons of her past. Plodding and unconvincing, as both a father-daughter tearjerker and action melodrama. Colleen Camp adds some spice as usual in a supporting role and is one of film’s few virtues.

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“Single Black Female 2: Simone’s Revenge” (*1/2 out of four) was a by-the-numbers sequel about Monica (Raven Goodwin) who tries to start life over as the host of a Seattle television show; when her amnesiac sister (Amber Riley) sees her on tv, her vengeful memories come back and she proceeds to track her down for bloody revenge. Strictly for those who thought the 2022 original was robbed at Oscar time. Otherwise, this might be the single most unnecessary sequel of the year. Film’s climax and showdown are particularly silly.

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“Campton Manor” (*1/2 out of four) was a boring horror thriller about a faded author (Jeremy London) who investigates a ghost story that leads him to the mansion of a wealthy businessman (Kenneth Welsh) but nothing is what it appears and he starts mentally unraveling. Yet another film that really makes you wonder what horror filmmakers would have done had “The Shining” not been made because it’s still being ripped off decades later. Of note solely for being the final film for Canadian character actor Welsh.

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“The Watchers” (*1/2 out of four) was a sputtering horror thriller about a young artist (Dakota Fanning) who goes to Ireland where she gets stranded in an extensive forest in which she is stalked by mysterious creatures which begins to dismantle her sanity. Directorial debut from Ishana Shymalahan (daughter of M. Night) who unfortunately seems to have inherited her father’s worst film tendencies as film is well-lensed but pretentious, overblown, and dull. Fanning is strong as usual but this is hardly worth “watching.”

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“Bad Boys: Ride Or Die” (**1/2 out of four) was an engaging sequel about the title cops (Will Smith and Martin Lawrence) who try to clear the name of their deceased captain (Joe Pantoliano) falsely accused of conspiracy and instead find themselves on the run and having to clear their names and simultaneously clean up the streets. Fourth entry in the series is mechanical and follows the usual formula and pattern but still manages to crank enough action and (at times) laughs to make it fun. By the end, though, you may start to wonder if perhaps they’re getting too old for this shit.

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“The Hangman” (*1/2 out of four) was forgettable horror claptrap about a troubled father (LeJon Woods) who takes his son (Mar Cellus) camping in Appalachia when he is kidnapped by the title evil character who he must confront and defeat. Title is another in assembly line of horror characters (“Candyman”, “The Bye Bye Man”, etc) and film plays like an assembly of horror movie cliches. Watch “The Hangover” instead for a movie with more scares and laughs.

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“Furiosa: A Mad Max Saga” (*** out of four) was a visually enthralling prequel about the origins of Furiosa (Anya Taylor Joy) showing her kidnapping as a child by a vicious warlord (Chris Hemsworth) to becoming a lieutenant in an underworld army and eventually seeking vengeance later in life. Imperfect, with a few too many characters and side-plots at times, but yet another impressive achievement from writer/director George Miller who (at 79) ably replicates the previous film’s style and propulsive energy. Some sensational action sequences as you would expect and stunning cinematography from Simon Duggan.

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