July 25, 2022 “C.A.M.” (** out of four) was a derivative but somewhat diverting end-of-the-world suspense melodrama about a rare parasite that has contaminated a local meat processing plant which requires tactical police (Charlotte Curwood, Tom Ware, Jamie Langlands, and others) to be sent in but they soon realize they are dealing with something far worse that could have grave consequences on a worldwide scale. Yet another ripoff of “28 Days Later” and “Alien” but still it moves fast and keeps you relatively in its grip. Still, though, a little of this does go a long way even at 85 minutes. Title stands for Contagious Aggressive Mutations, not for camera. Continue reading →
July 25, 2022 “World Ends At Camp Z” (* out of four) was a grade-Z horror clunker set during a global pandemic in which various buyers and stayers (Anne-Carolyne Binette, Dean Persons, and Osawa Muskwa) at a campground have to contend with the zombie apocalypse and have to fight to stay alive. With a title like that you know not to expect Oscar fare but film is even worse with inept staging, awful dialogue, and dreadful acting and special effects that may need to be seen to be believed. This makes any of the “Night Of The Living Dead” remakes look like “Spartacus” by comparison. Title is a faint allusion to “World War Z” but film itself looks like something Ed Wood might have made in his spare time. Continue reading →
July 25, 2022 “11th Hour Cleaning” (*1/2 out of four) was a slovenly horror thriller about a group of crime scene cleaners (Anita Leeman Torres, Chloe Brooks, Edward Finlay, and others) who finds themselves trapped in a murder house by an ancient Nordic demon who turns them against one another and turns them (and the audience) gradually insane. In-your-face gore for those who want it but it all wears out pretty quickly. Yet another “Saw” wannabe that doesn’t quite make the cut. Film doesn’t so much end as stop but you won’t be complaining. Continue reading →
July 24, 2022 “The Moderator” (** out of four) was an utterly generic action melodrama about a Russian blogger (Irma Lake) and former hitwoman who decides to return to her previous lifestyle and enact vicious vigilante justice when two of her friends are murdered in Morocco but finds treachery and terror at every turn. Lake’s solid performance holds this together as much as possible but this is simply reheated and rehashed cliches and feels “Bourne” again. Gary Dourdan and Robert Knepper do their best to enliven the proceedings in key supporting roles. Continue reading →
July 24, 2022 “The Wheel” (** out of four) was a maudlin love story about a couple (Amber Midthunder and Taylor Gray) on the verge of divorce who take a weekend vacation in the mountains and attempt to revive their marriage through a book which requires brutal honesty about their past and where they’re going in the future. Never really connects emotionally and as a result film feels jumbled and aloof. Film’s centerpiece on a ferris wheel may remind viewers of “The Notebook” but this one comes off as a series of blank pages by comparison Continue reading →
July 24, 2022 “Shriekshow” (*1/2 out of four) was a low-rent horror show about four friends (Rebecca Rinehart, Diana Noris, and others) who travel to a horror circus and soon meet a ringmaster who tells them four terrifying tales of horror and terror. Unfortunately, none of them is worth listening to. Opening credits have a clever homage to “Halloween IV” but it’s all downhill afterwards. ’80’s horror sirens Tuesday Knight and Felissa Rose have key roles but they themselves may want to “shriek” at this point at what their careers have devolved into. Continue reading →
July 24, 2022 “Moon Crash” (** out of four) was a hackneyed action adventure about a drilling accident which causes a piece of the moon to break off and on a collision course with Earth; a main general (Jeremy London) tries to salvage things by deploying various government workers (Tyler Christopher, Pauline Egan, Jamison Jones) to save the planet as we know it. Obvious low-budget attempt to cash in on the current “Moon Fall” (right down to its title) but also throws in elements of “Armageddon” and “Deep Impact” so no one feels left out. Film’s visual effects and production aren’t bad overall but never rises above mediocrity. Continue reading →
July 24, 2022 “Gateway” (*1/2 out of four) was a dreary horror thriller set in Ireland about a gang of criminals (Tim Creed, Kevin Barry, and others) who seize upon a house in which they think they have found a fortune but it turns out this house has entrapped them in what may be the fight for their lives to get out. It’s much easier to get out of the movie instead. Lackluster movie takes forever to get going and even when it does it covers all-too-familiar material. Even the Ireland scenery looks dull. Drink some Guinness or eat some Lucky Charms instead. Continue reading →
July 24, 2022 “Followers” (*1/2 out of four) was a sorry suspense potboiler about a struggling social media cultist (Henry Jarvis) who soon discovers that the house he is living in is haunted; while he initially greets this favorable as it grants him fame and attention, he soon realizes the deadly consequences that this leads to. Yet another attempt to explore (and exploit) the social media/horror phenomenon; this one mostly like amateur night shot on someone’s spare cell phone. David Sterne adds some style and panache as film’s main villain but there’s otherwise not much worth “following” here. Continue reading →
July 24, 2022 “As A Prelude To Fear” (** out of four) was a stuffy suspense melodrama about a young girl (Lara Lemon) who is kidnapped by a notorious serial killer called the Pied Piper and the police (led by Ian Cumberland) attempt to track him down and find them both before it is too late. Skillful performances do all they can to jack up the pulse and terror but there’s only so much they can do with tired material. Viewers would best re-watch “The Silence Of The Lambs” and “Se7en” for the same material done better 2-3 decades earlier. Continue reading →
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