March 27, 2021 “The Toll” (** out of four) was a leaden horror thriller about a woman (Jordan Hayes) and her Uber driver (Max Topplin) who try to make it to their destination but gradually come to realize they are being haunted by a supernatural threat which makes them grow closer together but threatens their lives. You keep thinking something substantial or significant is going to happen but nothing ever does so film fizzles out. Both Hayes and Topplin do what they can with paper-thin roles. Don’t bother paying the “toll” for this one. Continue reading →
March 27, 2021 “The Banishing” (*1/2 out of four) was a boring horror melodrama set in 1930’s England in which a young reverend (John Heffernan) and his wife and daughter (Jessica Brown Findlay and Anya McKenna-Bruce) move into a mansion that turns out to be haunted although it takes them an awfully long time to figure that out. Umpteenth haunted-house movie is stuffy and blah and goes nowhere for nearly two hours. Yet another shoddy imitation of “The Shining” which is a shining example of why that movie is a classic. Watch “The Vanishing” instead. Continue reading →
March 27, 2021 “Wildcat” (** out of four) was an overly mellow and mild melodrama about a feisty reporter (Georgina Campbell) who is stationed in the Middle East who is taken captive and confronted with the traumas of her past and has to find a way to outsmart the militants who have captured her and find a way to mentally and psychologically survive. Intriguing subject matter is given less-than-compelling treatment and never shifts into high gear; Campbell does what she can with a thin role and all other characters and performances are one-note at best. For a much more fervent and passionate look at the same story, watch Jim Sheridan’s “In The Name Of The Father” instead. Continue reading →
March 27, 2021 “The Widow” (** out of four) was a tepid found-footage horror thriller set in 2017 in St. Petersburg in which a team of volunteers (Vikototoviya Potemina, Anastasiya Gribova, and others) goes searching for a missing search and rescue party but soon find they are overtaken by the same dark and sinister force and that their sanity and safety is threatened. Nowhere near the worst of its type, with decent filmmaking and acting, but takes too long to get going and never rises above the overall routine. Yet another horror film obviously inspired by “The Blair Witch Project” and blatantly ripping-off “The Descent.” Continue reading →
March 25, 2021 “Sacrilege” (** out of four) was a stale horror thriller about four friends (Tamaryn Payne, Emily Wyatt, and others) who head to a remote lodge for a getaway weekend of fun but they are soon terrorized by a local Pagan cult who wants to offer them up as a sacrifice for their solstice. Or something like that. What’s really “sacrilege” is that horror filmmakers continue to spend time and money on making virtually the same story over and over again ad nauseam; by the standards of other horror dreck, this is relatively well-made and well-acted but you’ve seen it all before and much better. Continue reading →
March 25, 2021 “Pearl In The Mist” (** out of four) was a pretty banal adaptation of V.C. Andrews’ novel about the continuing adventures of Ruby (Raechelle Banno) as her and her sister (Karinna Banno) are sent to an exclusive all-girls boarding school where she is hopeful for a fresh start but locks heads with the cruel headmistress (Glynis Davies) of the school and her vindictive stepmother (Lauralee Bell) and once again feels all alone in the world. Overplotted but underdone teenage soap opera melodrama; quite different than you might expect from the writer of the lurid “Flowers In The Attic.” Both sister characters are sisters in real-life but they oddly have little camaraderie together. Continue reading →
March 24, 2021 “Voorhees” (** out of four) was a grisly horror-thriller in the vein of “Friday The 13th” about a group of criminals (Eileen Sugameli, Dan Young, and others) who commit a bank heist and plan on hiding out at Camp Crystal Lake until dawn but don’t count on Jason Voorhees (Jordan Blanco) slashing and skulking in the woods and terrorizes them one by one. Too low-budget and routine to succeed overall but not entirely disposable with some good, gory kills and stylish camera angles. Not up to the level of artistry of the best “Friday The 13th” movies but far better than the last few and better than its abysmal 2009 remake and will gave Jason junkies their fix. Continue reading →
March 23, 2021 “Amber’s Descent” (*1/2 out of four) was a bewildering bore about a pianist (Kayla Stanton) struggling with PTSD after surviving an attack and moves to a rural farmhouse to compose her next symphony; initially it seems to be going very well and the music seems to be writing itself but she is besieged by all kinds of hallucinations and delusions and is wondering whether they are real or imaginary. Passable beginning seems elegant and creepy but the film itself descends pretty quickly and becomes arbitrary and over-the-top yet still pretty dull. Continue reading →
March 23, 2021 “The Seventh Day” (** out of four) was a trite horror thriller about a renowned paranormal preacher (Guy Pearce) who teams up with a rookie priest (Vadhir Derbez) to expunge (yawn) a satanical form of evil with roots deep within the church and this brings their investigation back to their archbishop (Stephen Lang) and to their own moral and religious core beliefs. Good cast and direction tries to enliven this as much as possible but the story decays into sheer corn and covers all-too-familiar paranormal/satannical/religious ground. Watch “The Seventh Sign” instead. Continue reading →
March 22, 2021 “Illuminate” (** out of four) was an overly solemn sci/fi thriller about a young girl (Ava Cardoza) who discovers she has a unique ability to astral travel back through time which may unlock the key to the disappearance of her brother and grandfather (Quinn Stahlman and Kadin Bray). Lots of mood and aura which is enhanced by James Cardoza’s striking cinematography and Michael Langlois’ stirring musical score but story and characters aren’t all that compelling and leave film with a hollow void at its center. James Cardoza also wrote, produced, and edited this apparent labor of love. Continue reading →
dlepikcom 