December 28, 2022 “Conjuring: The Beyond” (*1/2 out of four) was a disposable horror claptrap about a sleep study that starts to go awry when various participants (Victoria Grace Borello, Steve Larkin, and others) start to go missing; could they have disappeared or are they more possible victims of the “Conjuring” demons? Lackluster attempt to cash in on that film’s brand name makes you wish that horror filmmakers would finally start to “conjure” up some new and fresh ideas. Film’s central theme revolves around sleep but it will ironically put most viewers to sleep instead. Continue reading →
December 26, 2022 “The Ghosts Of Monday” (*1/2 out of four) was a boring horror thriller about a group of U.S. filmmakers (Mark Huberman, Flavia Watson, and others) who travel to Cyprus to film a documentary in a hotel in which 100 people died under mysterious circumstances and they soon realize that paranormal activity is arising and they have to get out before they die as well. Umpteenth movie which seems inspired by the success of “The Blair Witch Project” but literally goes nowhere. Of note only for showing one-time horror cult actor Julian Sands (“Warlock”, “Arachnophobia”) who plays the hotel host. Continue reading →
December 26, 2022 “The Blackwell Ghost” (*1/2 out of four) was a spiritless horror thriller about an investigative journalist (Sonny Burnette) who goes on a less-than-enthralling adventure to attempt to prove that ghosts really exist. By the end of this clunker, you may have just wished that he watched “Ghostbusters” instead. Yet another low-budget horror story that looks like it was filmed on someone’s cell-phone and features zero in the way of scares or sick thrills. Only real scare is the ending which leaves the door open for a possible sequel. Continue reading →
December 26, 2022 “High Heat” (*** out of four) was a zesty action comedy about a kitchen manager (Olga Kurylenko) who turns out to be a former KGB agent and trained killer who has to defend her restaurant when the mafia (Dallas Page, Ivan Martin, and others) show up to burn it down after she finds out her husband (Don Johnson) is in debt to them but they soon find out that she is one tough cookie. Fast-paced and fun movie never takes itself too seriously and never stops moving; former Bond girl Kurylenko is first-rate and perfectly cast! Continue reading →
December 25, 2022 “Bring Him Back Dead” (*1/2 out of four) was a deadly dull action melodrama about a botched heist and the various criminals involved (Louis Mandylor, Daniel Baldwin, and others) who attempt to track down one of their own (Gary Daniels) who ripped them off and betrayed them but realize that tracking him down and finding him is a very dark trail. Ineptly done thriller gives you hardly anyone to root for and features little action or suspense. Nice to see Baldwin again trying for a comeback but this film is unlikely to bring his career back from the dead. Continue reading →
December 25, 2022 “Scare Package II” (** out of four) was a mindless but watchable horror thriller set during the funeral of previous entries’ main character which turns into a series of various death traps and his friends and guests (Steph Barkley, Shaina Shrooten, Luxy Banner, and others) have to band together and utilize their knowledge of horror movies to survive. Yet another sequel that no one was exactly writing letters to Santa for but having said that- it’s tongue-in-cheek for horror fans and features enough gross-out kills to keep genre fans somewhat entertained. Film picks up after the original but owes more than a bit to “Scream.” Continue reading →
December 25, 2022 “Infinite” (*1/2 out of four) was an infinitely derivative action thriller about a man (Mark Wahlberg) who begins to have various hallucinations which he begins to realize are reflections from his past lives; a rogue female (Sophie Cookson) attempts to help him remember while a crooked business mogul (Chiwetel Eljofor) attempts to track him down and utilize his memories for ill gains. Director Antoine Fuqua obviously watched “The Matrix” a few times before as film liberally (and incoherently) rips that film off and throws in some “John Wick” and “Bourne Identity” into the blender as well. Cookson provides films only sparks; the dynamic Eljofor is unrecognizable and wasted here. Continue reading →
December 24, 2022 “Where The Crawdads Sing” (**1/2 out of four) was a flavorful if uneven adaptation of Delia Owens’ best-selling novel about a woman (Daisy Edgar-Jones) who survived a tumultuous and abusive childhood and then raised herself on her own finds herself accused of murder of a man she once knew and she re-tells her story of growing up to her attorney (David Straitharn) who is the only one by her side. Stark cinematography from Polly Morgan and strong performances all around keep you involved but film never gathers much momentum and is never as incisive or powerful as it should have been. Marginally worth watching especially for fans of Owens’ novel. Continue reading →
December 24, 2022 “Assailant” (** out of four) was a subpar suspense thriller about a married couple (Chad Michael Collins and Poppy Delevigne) who vacation to the Carribean in an attempt to salvage their marriage and encounter a drifter (Casper Van Diem) who turns out to be a severely dangerous sociopath who turns against them and hunts them down and they realize they have to stay together to defeat him and survive. Tired potboiler goes in all the familiar and predictable directions you expect although this is an image-altering role for Van Diem who is solid as the villain. Easy to watch but just as simply easy to forget by the end. Continue reading →
December 24, 2022 “The Aviary” (*1/2 out of four) was a nonsensical horror claptrap about two women (Malin Akerman and Lorenza Izzo) who are stranded in the New Mexico desert and start to gradually lose their minds as they realize they are being followed and scrutinized by an insidious cult leader (Chris Messina) whose intentions remain unknown. Good performances by Akerman and Izzo and filmmaking can’t help to make you realize that this is much ado about absolutely nothing. By the end, it seems pointless and arbitrary. Crisp cinematography from Elie Smolkin is an undeniable standout throughout. Continue reading →