November 27, 2025 “Blue Moon” (*1/2 out of four) was a stultifying melodrama set in 1943 in which Lorenz Hart (Ethan Hawke) is trying to save face before the opening of “Oklahoma” and rambles and struggles with mental health issues as he meets various patrons (Bobby Cannavale, Margaret Qualley, and others) in a bar he is in. Many critics thought this was extraordinary but I’m not one of them; film is suffocating as it is mostly set in only one room and none of the characters (or their dialogue) are particularly interesting including Hart. For die-hard Richard Linklater fans only but even they should re-watch better Linklater/Hawke collaborations “Before Sunrise” and “The Newton Boys” instead. Continue reading →
November 27, 2025 “Deadly Obsession 2” (*1/2 out of four) was an inept sequel to a movie that I don’t think anyone was exactly waiting by their Netflix servers over; the seemingly perfect and happy couple (Karen H. Brown and Khari Zyon) from the original return and think their nightmare is over but soon find new problems that challenge their stability and sanity to stay together. But they encumber even more problems from a feeble script and cheap film production values. A Thanksgiving present that feels like leftover stale turkey. Continue reading →
November 27, 2025 “Resurrection Road” (*1/2 out of four) was a slapdash action thriller set during the Civil War about a group of African-American soldiers (Malcolm Goodwin, Triana Brown, Randall J. Bacon, and others) sent on a suicide mission to infiltrate a Confederate fort and assassinate an evil general (Michael Madsen) but soon find they are being overtaken by a dark and evil spirit that is attempting to kill them all. Lackluster mix of historical melodrama and horror themes. Of note solely for being Madsen’s final film but this clunker was unlikely to “resurrect” his career. Continue reading →
November 23, 2025 “The Family Plan 2” (** out of four) was an uninspired and unnecessary sequel to the 2023 hit about the former government operative (Mark Wahlberg) and his family (Michelle Monaghan, Zoe Colletti, Kit Harrington) who have to go on the run when a deadly figure from their past re-emerges and culminates in a slam-bang showdown in Vegas. Lots of action and enthusiastic performances help but it’s all pretty stale and is one more sequel off the assembly line that is more-or-less the same as the original. Film reheats a lot of elements from “Mr. And Mrs Smith” and “True Lies” but is nowhere near as good as either. Continue reading →
November 22, 2025 “Texas Cult House” (*1/2 out of four) was a low-rent horror thriller about a group of friends (Adrianne Palicki, Ryan Cooper, Julius Royale Duenas Cruz, and others) who gather for a party at a house once owned by a cult leader and they find out too-little/too-late that the bloodthirsty leader is still alive and well and they are all going to be stalked to the death. Gimmicky gorefest is permeated with cliches and weak acting. Horror duds like this were more fun in the ’80’s. Inauspicious feature-film directing debut from SXSW festival filmmaker Julia Barnett. Continue reading →
November 22, 2025 “Killer Content” (*1/2 out of four) was a killer mistake about a deranged fan (Casey Casmira) who invades the home of her favorite social media star (Katie Keene) and plans to film her home invasion to become a social media star but doesn’t count on the star being an even bigger psycho than she is and turning the tables and holding her hostage. Potentially intriguing and ironic material about social media and stalking is blunted and bungled by ham-handed attempts at dark humor and irritating overacting. You can only imagine what Scorcese or Fincher would have done with juicy material like this. Continue reading →
November 22, 2025 “Distress Signals” (** out of four) was a hollow psychodrama thriller about a female hiker (Christine Nyland) who suffers a steep fall in the woods and is completely separated from her friends (Jonathon Strauss and Stephanie Hains) and is rescued by a fellow hiker (Terence Krey) who is not quite the helpful guy he appears. Better than most of its kind and holds you in its grip due to Nyland’s controlled and tense performance but is still overall plodding and overly familiar. Interestingly- both Nyland and Krey both co-directed, co-produced, and co-wrote this as well so hopefully this might be the “signals” of better work to come from them. Continue reading →
November 22, 2025 “The Lone Paddler” (** out of four) was an obvious horror melodrama about a group of friends (Vasilios Fillippakis, Emilie Moffat, Andrew Martin, and others) who embark on a camping trip but soon find they have been targeted by a sadistic lunatic (Scott Graham) intent on tearing them all apart, physically and psychologically. Good production values fail to bring fresh paint to a well-worn canvas and tired story. Film is crisply shot by Brian Berneker and decently acted but is only for those who’ve never seen “The Texas Chainsaw Massacre” or “Deliverance” (or any of its imitations). Not to be confused with “The Lone Ranger.” Continue reading →
November 22, 2025 “Snow Falling On Pumpkins” (* out of four) was treacly sentimental drivel about a man (Ben Stobber) who discovers at 43 he has early onset Altzheimer’s Disease and realizes he is at a personal crossroads in life and finds spiritual guidance from a Cherokee mentor counselor (Tony Enos) and finds a new partner (Mel England) who becomes the love of his life. Painfully maudlin handling of interesting themes and material and all that’s missing in some scenes are strings and violins. Film’s topic of Altzheimer’s is appropriate since cast (and the audience) will like want to forget this as soon as possible. Continue reading →
November 22, 2025 “Altered” (**1/2 out of four) was a not-bad futuristic sci/fi melodrama set in an alternate universe in which artificial intelligence and genetically enhanced humans dominate society and two rebellious members (Tom Felton and Elizaveta Bugolova) of society try to overthrow and challenge the systematic and oppressive nature of the world as they know it. Writer/director Timo Viruoensola splatters together a lot of grand themes from a lot of usual futuristic influences (“Blade Runner”, “Robocop”, “2001”) which are derivative and don’t fully gel but this is more thought-provoking and ambitious than others of its ilk and most importantly never stops moving. Highly reminiscent of the earlier work of Phillip K. Dick. Filmed in Kazakhstan. Continue reading →
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