June 5, 2022 “There Are No Saints” (** out of four) was a lukewarm action melodrama about a man (Jose Maria Yazpik) wrongfully imprisoned whose wife is murdered and son kidnapped and he then embarks on ruthless revenge against the various underworld figures (Ron Perlman, Tim Roth, Brian Cox, Neal McDonough) but finds deception and treachery at every turn. First-rate cast helps put window dressing on a tired story of revenge and sadism; has its moments here-and-there but doesn’t congeal into a satisfying whole. Paul Schrader wrote the typically uneven screenplay. Continue reading →
June 5, 2022 “White Elephant” (*1/2 out of four) was a threadbare action thriller about an ex-Marine enforcer (Michael Rooker) who has to battle his own conscience and code of honor when he is forced to work for the mob and becomes caught in the crossfire of various underworld figures (Bruce Willis, John Malkovich, Lorenzo Antonucci, and others). Good cast is wasted on a routine story of double-crossings and shootings; final 30 minutes (finally) delivers the goods but by the end it’s too late. Sadly, Willis’ real-life health problems are evident here. Continue reading →
June 5, 2022 “Row 19” (** out of four) was a not-bad Russian horror suspense thriller about a young doctor (Hayden Daviau) and her daughter (Marta Kessler) who are on a late-hours airplane flight caught in the midst of a terrible storm when passengers suddenly start dying and she starts losing her grip on reality and reliving horrific memories from childhood. Professionally made and features an efficient amount of scares and action but story gets overly cerebral and cornball especially in its final third and can’t stay in the air. Continue reading →
June 4, 2022 “Father Stu” (*** out of four) was an agreeably done melodrama based on the true story of Stuart Long (Mark Wahlberg) who started out as a ruthless boxer and then suddenly found a higher calling in life as a priest even as severe health problems derailed his life. The type of film that is make-or-break based on its lead performance and Wahlberg once again shows his charisma and power and carries this movie whole-heartedly even through minor lulls. Mel Gibson is well-cast in a key role as Long’s loutish and alcoholic father and Malcolm McDowell has one of his better roles in years as a monsignor. Continue reading →
June 4, 2022 “Interceptor” (*** out of four) was a rock-solid action thriller about an army captain (Elsa Pataky) who finds herself under attack when the remote missile station she is commanding is attacked by terrorists but soon find that they don’t know who they’re messing with. Routine action story is proficiently done with fierce hand-to-hand combat scenes and very stylish direction from noted Australian author Matthew Reilly who never stops giving you something to look at. Chris Helmsworth (Pataky’s husband) has a minor role as a television salesman. Continue reading →
June 4, 2022 “Dashcam” (0 stars out of four) was a mind-numbingly awful horror show about two friends (Annie Hardy and Amar-Chadha Patel) who embark on a road trip that turns into horrific violence and they livestream what soon turns into the most terrifying night of their lives (and maybe yours). Hard to tell what’s most unwatchable in this film, between the headache-inducing handheld photography, Hardy’s screaming (and rapping at the camera!), or the cluttered computer visuals onscreen but either way it’s an unendurable mess. A new low of found-footage horror films and also for Blumhouse Productions. Continue reading →
June 4, 2022 “The Overnight” (*1/2 out of four) was a hokey horror thriller about a young couple (Zebedee Row and Brittany Clark) off on a romantic getaway weekend who find themselves stranded and staying at a hellhole hotel in which they find themselves in a time warp and the bait for a murderous demon (James Lorinz). Supernatural claptrap is yet another ripoff of “The Shining” and also “The Amityville Horror” that we didn’t need. The type of movie that plays at 3:00 in the morning on cable but is hardly worth staying “overnight” for. Continue reading →
June 2, 2022 “County Line: All In” (** out of four) was a thinly drawn sequel to the 2017 original about the local sheriff (Tom Wopat) who is forced to work with a newly elected sheriff (Kelsey Crane) to resolve a series of murders and must put aside their differences to save their county before the murderer escapes and goes on the loose some more. Yet another sequel that not very many people were exactly waiting on their Netflix subscription for. Not bad, with pretty cinematography from Brent Christy and some good chemistry between the two leads, but never rises above the routine. Continue reading →
May 30, 2022 “Top Gun: Maverick” (***1/2 out of four) was a soaring sequel to the 1986 blockbuster classic about the ongoing aerial adventures of Pete Maverick (an ageless Tom Cruise) who is called back to Top Gun to lead a group of young misfits (Glenn Powell, Miles Teller, Monica Barbaro, and others) but has to come to terms with his past and his own daredevil tendencies. A rare sequel that not only does justice but equals the original, with exhilirating aerial fight scenes, some strong character development, and genuine emotional punch in its interplay and character relationships (with particular nods to Val Kilmer’s returning Iceman and Teller who plays Goose’s son). Final 45 minutes will have you on the edge of your seat. Bullseye! Continue reading →
May 29, 2022 “Dark Cloud” (**1/2 out of four) was a mildly engaging futuristic sci/fi thriller about a young woman (Alexys Gabrielle) who endures a horrific accident and then volunteers herself to be subject to artifical intelligence for rehabilitation. Derivative amalgam of “A.I.”, “2001: A Space Odyssey”, and just about every other movie about the future and robots but directed with enough mood and style by Jay Ness to keep it watchable. Gabrielle is strong in the lead and Nathan Eby/Chad Fjerstad’s striking musical score is an undeniable plus. Continue reading →
