Author: dlepikcom

“Stolen By Their Father” (** out of four) was a dutifully solemn psychodrama about a mother (Sarah Drew) whose ex (Kimonas Kouris) kidnaps her children and takes them to Greece and she tries to take him to court but finds to her shock that neither the law nor the courts are on her side and her ex has all legal rights to do whatever he wants and has to play at his own game to get them back. Earnestly based on a true story and co-written by the main character Lizbeth Meredith but doesn’t have any fresh voltage of surprise and may remind hard-core film viewers too much of Sally Field’s 1990 “Not Without My Daughter.”

Continue reading →

“Lost Phoenix” (**1/2 out of four) was a scattershot but skillfully done melodrama set in the year 2020 in which an amnesiac (Wan Dral) awakens from a coma and finds the world on the brink of the destruction with the COVID pandemic and rioting and has to piece together his life while various enemies and hitmen (Lesa Cole, James Couche, and others) are chasing him down. Hybrid of elements from “The Bourne Identity” to “Memento” and other sci/fi classics can’t fully transcend its origins but is efficiently made and never stops moving. Originally made as a short film but was later expanded and expounded for feature length.

Continue reading →

“Dying In Plain Sight” (**1/2 out of four) was an unexpectedly moving melodrama about an overweight high-school outcast (Raffa Virago) who goes through heartbreaking ordeals at school and at home with her mother (Nicola Correia-Damude) as they both try to come to terms with a severe social/medical/personal problem. Many effective moments in a film that is no masterwork but consistently dodges cliche and bathos and is anchored by strong lead performance from Virago. Starts to peter out after a while but is still worthwhile especially for those afflicted by bullying and weight problems.

Continue reading →

“Spring Lakes” (* out of four) was a suffocating spiritual psychodrama about a young man (James Jaysen Bryan) who goes searching for his missing sister (Samantha Loxley) in the title town of Spring Lakes but soon finds there are strange and supernatural occurrences going on surrounding a satanic cult and his life might be in danger. Lead-handed direction from Ranjeet S. Marwa combined with molasses-moving screenplay make this a real chore to watch. Film also goes on forever at nearly two hours. Based on the 2019 concept film “The Missing” but film itself is missing any fire or dramatic interest.

Continue reading →

“The Piper” (* out of four) was a turgid, tedious timewaster about a music composer (Charlotte Hope) who is tasked with finishing the concerto of her mentor (Julian Sands) but she soon realizes that playing the melody leads to a series of bizarre and disturbing consequences which lead her to uncover the origins of the music in the first place and how it leads to madness. Insufferably dull for most of its running time and even the ending is a letdown for anyone who sticks it out that far. Daniel Katz’ striking cinematography is film’s sole worthwhile virtue.

Continue reading →

“Founders Day” (*1/2 out of four) was an uninspired horror thriller about a series of ominous and brutal killings in a small town and how the various townsfolk (Naomi Grace, Devin Druid, William Russ, and others) are shaken up and how virtually everyone becomes a suspect while the bodies keep piling up. Cliche-strewn throwback to ’80’s style horror thrillers is done with lack of conviction and imagination. The type of movie that makes you appreciate “Scream” that much more. Writer/director Bloomquist has a small supporting role but unfortunately there’s not much “finding” here.

Continue reading →

“The Painter” (** out of four) was a rudimentary action melodrama about a former CIA operative (Charlie Weber) who now lives a peaceful life as a remote painter but a mysterious visitor (Madison Bailey) from his past plunges him right back into mayhem and murder as he is targeted by rogue agents and has to turn back into his former mentor (Jon Voight) for help. Not bad but yet another unnecessary “Bourne” rehash that didn’t need to be told. Great to see Voight as always but he’s wasted in an underwritten supporting role.

Continue reading →

“The Harbinger” (*1/2 out of four) was horror-movie hokum about a determined father (Will Klipstine) whose daughter (Madeline McGraw) may be faced with eternal damnation and seeks exorcism and spiritual guidance from a Native American seer (Irene Bedard) but this puts them all in a crossfire to Hell. Or something like that. Star/director/co-writer/co-producer Klipstine bears most of the blame for this gooey and pretentious mess. Overlong and overbaked and unintentionally laughable at times. Even still, Klipstine won Best Director at last year’s Crypticon Festival.

Continue reading →

“The Kitchen” (*1/2 out of four) was a misfired futuristic thriller set in yet another dystopian future in London in which social housing has been eliminated and two residents (Kano and Jedaiah Bannerman) fight to stay in their title community which refuses to abandon its roots and go along with corporate and political tyranny. Both over and underdone with clumsy social commentary and directed with leaden grandiloquence by Daniel Kaluuya and Kibwe Tavares. Film won some awards at London Film Festival but is a real long slog.

Continue reading →

“Bring Him To Me” (*1/2 out of four) was a slovenly pulp melodrama about a grizzled getaway driver (Barry Pepper) who is forced to pick up a passenger (Jamie Costa) and drive him on a long road to an ambush execution but the two naturally form a bond and face numerous unexpected hurdles on the long road ahead. Seemingly endless movie moves aimlessly at first and covers a course of all-too-familiar material as it winds to an inevitable and bloody conclusion. Final spectacular car chase (with homages to “The Road Warrior”) can’t save it. It’s great to see the talented Pepper in a lead role again but this is unlikely to “bring him” back to former glory.

Continue reading →