S_dot_M_dot Reviews

The Unbearable Weight of Massive Talent (2022)

Pure Genius

[8/10 · 8 April 2022]

When Nick Cage (Nicholas Cage) realizes his finances are disastrous, he agrees to make a one-time appearance at a billionaire's birthday. Once he gets off the plane and meets billionaire Javi (Pedro Pascal), a friendship is struck up. Before Nick can get too comfortable, he finds out that his new billionaire friend is being watched by the CIA, who quickly recruits him to be their new informant.

If this film had been made with and about anyone other than Nicolas Cage, I don't think it would have worked. This film was written to highlight some of Cage's best moments in his career, leaving the viewer with Easter eggs galore. The direction of the film taps into the action genre while still being a true comedy. Just when you think it's just a comedy, it switches gears into a crime drama. The cinematography brings you to the gorgeous paradise of the film's setting.

As previously stated, Nicolas Cage is fantastic and shows why he's had such a long career. Buddying up with Pedro Pascal is a match made in heaven. These two play off of each other so well. Tiffany Haddish delivers some memorable lines and commands the scene when she's in it. Ike Barinholtz has impeccable comedic timing as always, and the biggest downfall is not having more of him and Haddish. Sharon Horgan and Lily Mo Sheen round out Cage's family, and the dynamic feels pure. You get a true sense of a dysfunctional family that truly loves each other. And last but not least, is Neil Patrick Harris, who plays Cage's agent with gusto.

It is hard to find fault with this film. I'm not sure if it's because it is so much fun or because the runtime just flies by. So elements such as the score and other technical areas don't shine too brightly, but I'm not sure they were intended to. Some characters could have used a bit more screen time, but keeping their appearances to a minimum made their moments a little more memorable. Going up a notch in some of the action set pieces would have been the icing on the cake, but now I'm just getting greedy.

The Unbearable Weight of Massive Talent is a film that is going to be talked about for years. The way it is constructed and written leaves it as a prime candidate for multiple viewings. It is genuinely laugh-out-loud funny and earns every one of them. I can't wait to watch this one again and again.

Metal Lords (2022)

Rocking' Coming of Age

[6/10 · 8 April 2022]

When outcasts Kevin (Jaeden Martell) and Hunter (Adrian Greensmith) decide enough is enough and are going to become the raddest metal band the world has ever laid eyes on, they discover they have a few problems. First, they need a bass player. Second, they need to win the Battle of the Bands. When they recruit Emily (Isis Hainsworth), who is a cellist, the new trio has now formed an unstoppable trio that is ready to take the world by storm.

Director Peter Sollett did a good job of creating a coming-of-age film with the backbone of a Behind the Music feel. You see how the three main characters are faced with life changing incidents and how they overcome them. With DB Weiss on as writer, I wouldn't expect a film like this considering his previous producing credits. The writing and directing teams collaborated to create a film that holds the viewer's attention while flying by.

The film's killer soundtrack pushes the narrative throughout. Each song works in unison with what's going on in the film and even blends with the band members' rehearsals. The biggest technical strength is the editing of the music to the instruments. This may even be chalked up to the actors putting in the work to learn the songs. Even if they are stand in musicians, that just shows the editing is doing convincing work to deliver a true rock feel.

Jaeden Martell is the workhorse in the film. He carries the dramatic tones of the film while still delivering the comedic beats. Adrian Greensmith has a tough as screws mindset and is the driving comedic force in the film. Isis Hainsworth teeters on the brink of rage, ready to burst at the slightest inconvenience. For me, Joe Manganiello is the highlight of the film. A small role that doesn't overpower the cast but leaves a lasting impression.

When you hit the later stages of the second act, this film really drops off. The overall story structure is not breaking any new ground, so you would hope things stay consistent throughout. Thankfully, the film redeems itself and finishes strong with a third act that wraps things up. Some jokes feel forced, and things are done just for the sake of doing them.

Metal Lords knows its audience and delivers when it counts. In the age of direct-to-streaming films, you're going to get a lot of films that feel rushed and just put out there. The careful attention to the musical details is what sets this one apart. This is a good way to have a rocking good time with laughs along the way.

Windfall (2022)

Has Potential

[6/10 · 1 April 2022]

A man (Jason Segel) breaks into the home of a tech billionaire (Jesse Plemons). As the man is trying to leave, the billionaire and his wife (Lily Collins) unexpectedly arrive. Now the three are stuck in a predicament that can escalate at any second.

When dealing with a small cast and a single location, you have to make sure your story and your characters are easy to connect with. Director Charlie McDowell stretched each shot to its max in order to build tension amongst the cast. There are a lot of callbacks to classic cinema at play here, keeping things simple yet letting the viewer's mind wonder about the possibilities of what's to come. The score here is one of the best aspects of the film, as there isn't a need for special effects or an elaborate sound design. I love it when a score works as an unknown character in a movie; you're aware of it the entire time but it still blends in.

It's no surprise that an elite cast is needed when there are minimal characters in a film. Casting Jesse Plemons, Lily Collins, and Jason Segel, who also lent a hand in the writing process, is a great way to start out. Jason Segel plays the man who is committing a crime. He is one of the most mild-mannered criminals I can think of off the top of my head. Jesse Plemons is my personal favorite in the film. He has a swagger and an arrogance that gets more unlikeable as the film progresses. You can tell he's on edge the entire runtime and also provides much needed comic relief. Lily Collins does a lot of work with just the expression on her face. She carries the emotional tone and becomes the rational one.

There is a fantastic cast at play, a gorgeous setting, a good concept, and now you hope the execution is there. For the most part, it is. This film already runs at a short runtime but could have benefited from being shorter. There are areas that drag and bring the tone of the film down. There are also some unanswered questions. I understand the need for ambiguity, but small details inserted into the down times could have kept the interest up. It was a smart idea to add a small character when the gardener (Omar Leyva) just to bring something fresh to the screen. It's not that this was bad, but you would expect a bit more considering the cast you have in front of you.

There are problems with this film, but the way they wrap it up in the end saves what could have been a slow disaster. A strong start and a strong finish are what benefit this film and make it worth watching. If you're a fan of crime thrillers of the past, this film is going to be for you. If you are expecting a high-energy, fast-paced film experience, you're going to be disappointed. I, for one, am glad I watched this and will always welcome films of this nature.

The Vast of Night (2019)

Mesmerizing

[8/10 · 19 March 2022]

During a small New Mexico town's basketball game, where everyone is in attendance, switchboard operator Fay (Sierra McCormick) hears a strange frequency. She turns to her friend and radio DJ Everett (Jake Horowitz) to ask if he has heard anything. Once Everett shares the frequency during his broadcast, he starts receiving calls from people who recognize the noise. As the night unfolds, the origin of the frequency reveals itself.

This is a basic story at its core. Writer and director Andrew Patterson knew exactly what he was trying to make. He worked with a crew that was on board with his vision, and this team brought an amazing film to life. The writing is what carries this film. Monologues suck you in and move the film along, leaving you a bit uneasy along the way. There is an ever-building tension and an anxious feeling in the air that has you wanting to get to the bottom of this strange frequency. At the same time, Patterson put a lot of trust in his actors and even more trust in his crew. The most trust he had was in us, the audience, to let this little low-budget film have a blockbuster impact.

The production design of this film pulls you into the small town in the middle of the desert. The cinematography is what shines the brightest in this film. There are long periods of time when there are no camera movements or cuts. A ten-minute scene of a woman operating a switchboard in a single take happens without you realizing it. When we travel from the operator's office to the radio station, going through the empty town and into the crowded basketball game, in one long tracking shot, is a work of art. The planning and meticulous attention to detail make this one of the best shots I have ever seen. A tantalizing score flows with the film and acts as another character.

When a film only has a couple of lead actors, especially when the camera is fixed for minutes on end, casting is crucial. Casting Sierra McCormick and Jake Horowitz put two fantastic actors at the forefront and let them take control. McCormick looks like she was sucked out of the 50's and works the switchboard as though she has been doing it her whole life. Horowitz could be a DJ now if he'd like. He works the callers the way radio hosts dream of. He also works with period -correct recording equipment, switching out tapes in real time with precise execution. Mabel (Gail Cronauer) is a caller the duo meets with and she gives a distraught tale the makes you feel the pain she is feeling. Perhaps the best performance comes from someone who doesn't appear on screen. Bruce Davis plays caller Billy, who tells a tale that is chilling. As he kept his story going, I started getting a faint feeling with goosebumps slowly rising. I was on the edge of my seat, hanging on every word he said.

When you have a feature-length film with a budget like this, you're bound to run into some problems. While this film is fantastic, there are some issues. While the periods of silence and hanging on shots are good for tensions, at times they go a little too long and can slow the pacing down. This film is also set at night, with a lot of dark shots. There are some color grading issues that could have made a lot of the shots a bit more consistent throughout the runtime. I may be biased because I loved this film, but these issues are easy to let go, but do take away from the final product.

When you have a simplistic story to go along with a simplistic shoot, you can get lost in the shuffle of mediocrity. When those simplistic elements are brought to you by fantastic filmmakers and fantastic actors, that's what makes a special film. This is a special film that deserves all the attention it gets, if not more. If you aspire to be a writer or a filmmaker, be sure to analyze this film, as it a perfect example of how less is more. This is a chilling tale that should get praise for years to come.

The Outfit (2022)

Tight Thriller

[7/10 · 12 March 2022]

A master tailor, Leonard (Mark Rylance), or "cutter" as he says, runs a small, high-end tailor shop in Chicago along with his assistant, Mabel (Zoey Deutch). The shop is also used as a drop point for local gangster Roy Boyle (Simon Russell Beale). When Roy's son Richie (Dylan O'Brien) and nephew Francis (Johnny Flynn) show up late one night with a briefcase everyone wants to get their hands on, Leonard must try to outwit the enemies to make it through the night.

Graham Moore makes his directorial debut and is also a co-writer alongside Jonathan McClain. This is Moore's first outing since his Oscar-winning screenwriting win for The Imitation Game, and he really shines. Setting this film in a single location is a smart choice as it lets the characters develop, lets tension build, and keeps everything contained. It also allows you to use your own imagination as to what is really going on outside of the walls you're confined to. You can tell Moore used elements of Hitchcock to make the audience teeter on the edge of their seats, and at times it works, and at other times it falls a little short.

The production design sets the mood for the era and elegance of the high-end shop this take place in. Since the location is singular, the set dressing must be top-notch in order to keep the interest. The costume design also hits the era and works in conjunction with the set designs. The score keeps the pace of the film, doing little dances and pirouettes from problem to problem. It is a companion piece to Leonard's wits as he tries to outsmart the thugs. The cinematography also sweeps through the shop and holds when the tension is taut.

Casting Mark Rylance elevates this film. He himself is an Oscar winner, and his acting chops carry this film. He has the perfect demeanor to portray this character and uses class to engage with the audience. Seeing Dylan O'Brien expand into a serious role really lets him shine with the tough guy moniker. Zoey Deutch has a sense of confidence in her role as she knows what she wants to do with her life and how she is going to get there. Johnny Flynn is the evil henchman who isn't afraid to show his true colors. Simon Russell Beale plays the head boss with poise and an understanding mindset. The addition of Nikki Amuka-Bird brings a bold and stern stare to the film, keeping the audience guessing as to her true intentions.

When you get a tight film such as this, downfalls are bound to show through. There are times when this film tries to get to the next beat instead of organically getting there. Some of the line delivery can feel forced and can feel sluggish. There are minor exposition dumps, which you have to do when your film is constructed like a stage play, that could have been leaner. While there are elements of Hitchcock, some of the tension could be boosted to the next level to really drive it home.

Don't let these minor problems turn you away from seeing this film. The cast is top-notch, and that is what drives this vehicle. When you throw great acting with characters you care about into a tight space, you become attached, and becoming attached to characters is what makes a great film. This film is going to fly under some people's radars, but should really be watched. If this is any indication of where an already fantastic screenwriter is going to take his direction, then we are in good hands for the future.

The Batman (2022)

Near Masterpiece

[8/10 · 9 March 2022]

The Riddler (Paul Dano)has recently murdered a number of high-profile politicians in Gotham City. With the Gotham Police Department unable to crack the case, Lt. Gordon (Jeffrey Wright) calls on Batman (Robert Pattinson) to bring this maniacal killer to justice. Along the way, Batman becomes entangled with Catwoman (Zoe Kravitz), who is seeking vengeance against mob boss Carmine Falcone (John Turturo) and his henchman The Penguin (Colin Farrell). While Batman digs through the city's past, he leans on his butler Alfred (Andy Serkis) to help see how deep corruption runs.

This film is a journey in every sense of the word. A simple riddle sets off a series of events that intertwine and dig deep into the past of Gotham. Director and writer Matt Reeves, along with co-writer Peter Craig, craft a compelling tale that leaves no stone unturned. Reeves is meticulous in his direction. With meaning behind every shot, he has constructed a true detective story involving Batman. It doesn't take long to realize that Reeves knows exactly what he wants and all of the actors are on board with his vision, and when that happens, you end up with a borderline masterpiece.

Every technical aspect of this film lends itself to the spectacular finished product. The cinematography is what pulls you into Gotham alongside every character. When you combine that with a brooding score, which slightly resembles John Williams' Imperial March, you get a dark landscape of Gotham. Once that is layered on top of the seedy production design of Gotham City, which looks like an early 1970's New York with a futuristic element, you have a recipe for a gorgeous film. There is such a great blend of visual effects that you have to actively seek out the effects, which is a testament of the great work done. And lastly, the incredible stunt coordinating and choreography. All of the hand-to-hand combat is hard-hitting and grounded, leaving Batman vulnerable and giving him a realistic human quality. There is also an incredible car chase sequence that fires on all cylinders.

When you have a Batman film, your lead has to portray the caped crusader and his real life persona, Bruce Wayne. Robert Pattinson channels his inner Batman and portrays a gritty detective still trying to get his footing. While donning the cowl, Pattinson fully transcends into the bat. He does, however, leave a little to be desired while portraying Bruce Wayne. This is not the eccentric billionaire Wayne who flashes his money; this is hermit Wayne, still young in adulthood. Perhaps in the future, we can look back at this portrayal as a building block for what is to come.

The rest of the cast were equally on top of their game. Jeffrey Wright plays the trusting Gordon, who goes against the grain and partners up with Batman. The two play good cop and bad cop that leans into the noir aspect of this film. Paul Dano is sadistic as Riddler. Behind a mask for majority of the runtime, he lets his voice and body language pull you into the darkness. Zoe Kravitz brings an elegance to her role, moving around the screen with the grace of a cat. The chemistry between Batman and Catwoman is palpable; they both want the same thing but want to go about it in different ways. John Turturro has the dramatic acting chops to portray a ruthless, fearless crime lord. While his time on screen is limited, Andy Serkis plays Alfred as a stern father figure who has no trouble telling young Bruce the way things are. Finally, Colin Farrell is masterful in his portrayal of the Penguin. He was lost in that role. There were times when I forgot it was Colin Farrell. He was the standout performance in my opinion.

When you get to the flaws in this film, you're getting to preference. I felt like knocking 20 minutes off the three-hour runtime would have been beneficial. Once the third act hit, Reeves may have let up on the gas, leaving you wishing it would have kept the pace of the second act. Don't take that as a knock on the third act; it was phenomenal, but some tightening up would have helped. Pattinson as Bruce Wayne was a little bit of a downer, but this is a different Bruce than we are accustomed to.

There is nothing more to say other than that this film is close to a masterpiece. All of the characters, relationships, setups, style, and atmosphere play a hand in this. Opening and closing voiceovers bring you into the mind of Batman, and everything in between lets you experience the journey he is on and what he must do to become the hero that Gotham needs. Matt Reeves has created a Batman film that will stand the test of time by not only being a great Batman film, but a masterstroke in filmmaking.

Texas Chainsaw Massacre (2022)

Sort of OK

[5/10 · 20 February 2022]

Another reboot, sequel, legacy, or timeline. At this point, I've given up trying to track what is what across all the horror franchises. The Texas Chainsaw Massacre is no different, and to me, one of the more confusing ones. Even when you get the timelines down, they don't seem to logically line up. The Massacre franchise is without a doubt my least favorite franchise as a whole. I love the original and the 2003 remake. Aside from them, I could get away with never watching one again and be fine. Now we have yet another sequel, this time following the Halloween 2018 mold and being a direct sequel to the original, bringing back the original final girl.

Nearly 50 years after the original massacre, Leatherface has gone into hiding and no traces have been found. A group of young friends, led by Melody (Sarah Yarkin) and her sister Lila (Elsie Fisher), and chef Dante (Jacob Latimore) and his girlfriend Ruth (Nell Hudson), head to the ghost town of Harlow with the hopes of revitalizing the once bustling town. Once a resident is removed from the old orphanage, Leatherface (Mark Burnham) is reawakened to take his town back, all the while the original final girl, Sally (Olwen Fouere), comes back for revenge.

This is the second feature film by director David Blue Garcia and, while the finished product may not agree, the film was directed pretty well. It's hard to tell if this was his vision or if the film was hacked apart by the hire-ups. As for the writing of the film, there is a lot to be desired. We know that Leatherface isn't going to get any type of character development, and we also know that just about every character is a throwaway character in the end, but the horrible dialogue and no arcs leave no one to get behind. There is a small backstory involving Lila's past traumas that could have gone somewhere but felt flat. The inclusion of Sally is a blatant rip-off of Halloween 2018 and serves no purpose.

On a technical level, the cinematography stands above everything. The cinematography is a better character than anyone presented on screen, with the exception of Richter (Moe Dunford), who I actually liked, and keeps the film watchable until we get to the saving grace of the film, the violence. The team went with a blend of practical and CGI for the gore and it is night and day. Practicality will always win that battle, but for this film, the bloodbath is what saves it. Maybe the writers and production team knew there was no salvaging the franchise, so they just gave the fans what they wanted: large amounts of blood and violence.

When it comes to acting performances, they are nonexistent. Mark Burnham, portraying Leatherface, who, I might add, should be in his 70's and is running around like a track star, but his look and brooding presence keep the film alive. Like I previously stated, I liked Moe Dunford as the local mechanic tough guy. The rest of the cast hit their marks and kept the film moving, but that is about it.

The problems here are glaring and frequent. The bad writing, unlikable characters, bringing back legacy characters, horrendous dialogue, it's hard to not pick it apart. The gore, which is the saving grace of the film, actually looks really bad when you see the CGI work on it. The film's length is only 83 minutes, including credits, and it could have benefited from a few minutes here and there to try and get you to like some characters and add a little depth.

Now that I've just ripped the film apart, I would actually watch it again. It's so mindless that you can just throw it on and not pay attention until Leatherface goes on a rampage. I do really like the look they gave him, which I didn't at first. This film is going to divide audiences, and I'm sure the producers are fine with that. This could even be enough to make us suffer through another sequel reboot legacy timeline jump sometime in the near future.

Last Night in Soho (2021)

Outstanding

[8/10 · 19 February 2022]

Eloise (Thomasin McKenzie) has aspirations of being a fashion designer. Once she is accepted to fashion school, she is off to London, a place that reminds her of her late mother. Upon arriving, Eloise is overwhelmed and finds a small room to rent where she can lay her head. As the nights go on, she is taken back to 1960's London, a decade she is obsessed with. She finds herself shadowing Sandie (Anya Taylor-Joy), an aspiring singer, as she gets deeper into the London Underground. Blurring the lines between fantasy and reality, she is consumed by Sandie and will stop at nothing to get to her truth.

Edgar Wright and screenwriter Krysty Wilson-Cairns craft a tale that will keep you guessing up until the final act. The pace of this film keeps your attention the entire runtime, as each scene is written and directed to perfection. Every little detail lends its hand to the overall product, and nothing is left out to dry. When you think you have an idea of where things are headed, you are jerked in the opposite direction. Often times, you have a mysterious plot that you have figured out from the get-go, and there are some predictable elements, but not the overall plot, and this film leaves breadcrumbs to lead you to the final crescendo in a masterful way. Wright just feels like he is two steps ahead of you the entire time.

Like in Wrights previous films, the soundtrack acts as another character. When you overlay a well-curated soundtrack on an eerie score, which at times blends together, it sets the overall tone of the film. Couple that with exceptional camera work and you are engaged from the get-go. An element that is often overlooked is the editing. In Soho, quick edits are used to help plunge you into the same chaotic feeling Eloise is experiencing. And the color palette, reminiscent of the Italian giallo films, ushers you into the 60's and is also used to bring the past into the present.

One of my favorite elements in any film is the creative use of mirrors. Mirror effects have been used in cinema history and there are countless tricks that have been used over the years. What this film does when it comes to mirrors is superb. There are times when the subtlety of a background mirror is overlooked but adds a layer of depth. When Eloise looks in the mirror, we see Sandie's reflection and vice versa. There are even clever shots of our two actresses while a perfect match of other actors and actresses is reflected. I cannot wait, and have already begun, to dive deeper into the tricks that were used to achieve some of these shots.

The one aspect of any film that is the most recognizable is the cast. If your characters are not cast properly, they will stand out like a sore thumb. In the case of Eloise, Thomasin McKenzie brings the nervous energy to the character that makes you feel for her and want to jump through the screen and help her along the way. Anya Joy-Taylor has a presence that exudes confidence throughout. Even when she is in compromising situations, she still brings that sense of control to you. And we can't forget about that hauntingly beautiful rendition of Downtown she performs.

As for the supporting cast, each actor brings their own identity to their parts. Matt Smith, who plays Jack, the man who is helping Sandie become a performer, has the suave look of a dapper man of the 60's, and can have you fearful with suspense. Dianne Rig, portraying Ms. Collins, the woman Eloise is renting a room from who acts as a grandmother of sorts, plays her protective part well and is someone you feel you can always go to. My favorite character in the film is love interest John, played by Michael Ajao. He is the most trustworthy member of the group and just has a charm about him. Every time he is on screen, you know you are getting a warm, genuine performance.

There were not many things I had issues with during the runtime, but there were a few. There are some special effects that I felt locked in at times. They are effective and, at times, unnoticed, but there is one aspect I did not like. It may come down to a design that I wasn't too fond of instead of the actual effect, but nevertheless, I found it slightly off-putting. Another thing, which is a preference and not a knock, is the actual dialogue. British accents can be hard to follow at times. For some, this may not be a problem, but being from the States, I am not accustomed to that dialect and can find it hard to follow at times. This is nothing against the actors or the film, just something I personally had a tough time with.

After watching Last Night in Soho, I wish I had experienced this with a packed house in cinemas. Unfortunately, with the times we're currently living in, that can be difficult. I still love this film and appreciate the dedication put into it. Edgar Wright once again leaves me wanting more from him. I can't recommend this film enough to everyone, even those who don't gravitate towards horror. There are enough dramatic and mysterious elements to engage viewers no matter what their preference is.

The Rental (2020)

Inconsistent

[6/10 · 10 February 2022]

After long days working on deals, business partners Charlie (Dan Stevens) and Mina (Sheila Vand) decided on an impromptu vacation getaway at a coastal rental. Charlie's brother and Mina's boyfriend, Josh (Jeremy Allen White), is ready to join, as is Charlie's wife Michelle (Allison Brie). Once the group arrives at the rental, things get tense and the celebratory weekend starts to take a turn for the worse.

While I didn't know much about this film to begin with, I didn't know that this was Dave Franco's feature directorial debut. He also co-wrote this alongside Joe Swanberg, who I remember from the V/H/S days. For the small scale this film is made on, it is very ambitious. Franco succeeds in setting the tension amongst the group and keeping the audience guessing. This atmosphere he sets up is one aspect of the film that gets under your skin. You constantly feel like something is going to happen at any given moment.

The cinematography for this film keeps you engaged. There are long shots that dwell on the subjects, leaving enough space for your eyes to wander as you take in every inch of scenery. The lighting design compliments this and is the main player in setting the tension. The score also fits the tone of the film, which is a nice touch. On the technical level, it wins for being a film with a small cast and one location.

Since the cast is small, Franco chose an outstanding group. Aside from the atmosphere, the cast is the highlight of the film. Dan Stevens can play any role and has shown in the past that he can flip the switch on a dime. Allison Brie is the one character who thinks logically as the film starts to unravel, which is a breath of fresh air when it comes to modern cinema. This was my first time seeing Sheila Vand, and she impressed me. She knows how to carry herself and I look forward to going back through her catalog. Jeremy Allen White is unhinged and is reminiscent of his role in Shameless. This core group plays off each other and tests each other's morals throughout the runtime.

There is one major problem with this film, and that is inconsistency. What starts out as a tense drama among the couples, then becomes a relationship drama in the second act, before transforming into a slasher. The second act is where it dragged for me. The film sets this scenario and has you invested, but then it dwindles. Out of nowhere, the third act becomes a breakneck slasher that comes out of left field.

Although I was lost during the second act, the payoff in the finale is enough to peak my interest in the future of Dave Franco's writing and directing. The cast and the tone are what carries this film, but Franco shows a lot of promise. If you are a fan of tense atmospheres, this film is for you.

Scream (I) (2022)

Honors the Original

[8/10 · 14 January 2022]

When the announcement of a new Scream was made official, I was instantly excited. The franchise that brought me into the world of horror is continuing their story, and my head just started with every possible scenario of the direction it would go. It was hard to think about how this film would work without Wes Craven in the director's chair, but the Radio Silence team of Matt Bettinelli-Olphin and Tyler Gillett paid tribute to the late director and brought a new generation to the streets of Woodsboro.

The town of Woodsboro is no stranger to violence. Twenty-five years ago, Ghostface went on a killing spree that left the quiet town in shock. Now, a new generation is being tormented by the masked murderer. With the group knowing how the previous events played out, they turn to the original survivors to bring down the killer once and for all.

In the era of reboots and sequels, adding another Scream film to the franchise could be a massive undertaking, especially without franchise staple Wes Craven. The fan base from the original trilogy accepted the fourth installment, yet still, not all were on board. The team behind the latest outing crafted a plausible scenario to bring the iconic slasher out of retirement and into havoc. The cinematography keeps the camera moving and twirling to make the audience feel uneasy, and the level of gore and violence is relentless.

The new cast is reminiscent of the origin gang, filling out all of the archetypal characters that make up the modern slasher film. Each actor left their actions open-ended, which leaves you guessing if one of them could be the killer. The original cast, Neve Campbell, Courtney Cox, and David Arquette, are the true heart and soul of this film. It could be a touch of nostalgia, but seeing the familiar faces lets you know the stakes are high and we're in for a ride.

There are some creative choices that are going to divide audiences, and that's not necessarily a bad thing for this film. It will open up discussions and make it a must-see. There is one decision that I did not care for and felt could have been left on the cutting room floor. While the acting is good across the board, a few performances didn't land with me, but I was able to see past that and enjoy the ride I was on.

When you step back and look at the final product, this film just works. There is a realism to some well-crafted set pieces that makes this feel like the real world. When trying to weave the past and present and possibly set up future installments of the franchise, it is a delicate situation, and Matt Bettinelli-Olpin and Tyler Gillett capture the hearts of old fans while enlisting a new generation of fans. With the return of Ghostface, no one is truly safe.

Old (2021)

Worth the Watch

[7/10 · 1 January 2022]

Anytime a new M. Night Shyamalan film is announced, audiences are automatically split, most of the time without even knowing what the film is about, let alone having already watched it. Are we going to get the masterpiece that was The Sixth Sense, or the less than stellar The Happening? After a recent resurgence of critical success, and audience approval, we now land on his latest outing, Old.

While taking their children on a family vacation to an exotic beach resort, Guy (Gael Garcia Bernal) and Prisca (Vicky Krieps) try to mend their fractured marriage. The family, amongst a small group of other guests, is told of a secluded beach where only exclusive guests are granted access. Once there, it is quickly realized that things are not what they seem. As hours pass by, the inhabitants of the beach notice they are aging at an alarming rate. Now the group must band together and try to get off the beach before time catches up.

Setting this film on location outside of the normal Bucks County setting was a first for Shyamalan, and his team was successful in doing so. The beach location is beautiful and brings a calming quality to the film, while just past that is a foreboding rock structure that makes the entire set isolated. This unique setting allows the cinematography to wonder, starting with a an establishing shot and traveling to closeup before you even realize it. There are many long shots that the cast and crew did amazing jobs in executing.

The cast brings you into the chaos with them, even when it feels disjointed. Bernal and Krieps have a loving relationship on the cusp of collapse, and they dance that line without shoving it down your throat. Rufus Sewell, as Charles, takes charge of the situation and has a slow descent into madness. Once the young children are older, Alex Wolff and Thomasin McKenzie are essentially children in adult bodies, and the two pull off this transformation seamlessly. Lastly, Ken Leung and Nikki Amuka-Bird play a couple who, at times, seem to be the only ones who think logically.

While this film has a cast that drives it home in some scenes and some amazing camera work, it isn't consistent across the board. An actor can have an amazing scene followed by one that looks like it was done by the cast of a local theater group. You will have a well-crafted long take where the cast and crew are in sync, followed by a shot where it looks like they just ran around with a camera. To me, the inconsistencies are the biggest letdown. Even though the trademark Shyamalan twist is well done, and although this film is from another source material, I feel like they could have cut it shorter to leave the overall product a bit more ambiguous.

While Old isn't going to set the world on fire and is sure to split audiences and critics alike, this is still a well-crafted film where the good outweighs the bad. Since Shyamalan released the surprise hit, The Visit, he has been on a bit of a hot streak, gaining the trust of audience members. This latest outing is still riding his recent wave of success, and I, for one, am excited to see what else he has in store for us.

Cash on Demand (1961)

Tight Thriller

[8/10 · 28 December 2021]

On Christmas Eve morning, bank manager Harry Fordyce (Peter Cushing) begins his day as he would any other. When his assistant, Pearson (Richard Vernon), enters the office with an inspector going by the name of Colonel Gore Hepburn (Andre Morell), to do a routine check of the bank vault. Once Fordyce and Hepburn are alone, the telephone rings and it is the wife and child of Fordyce, being held by the henchmen of Hepburn. Fordyce must now aid Hepburn in robbing the bank he is responsible for to ensure the safety of his family.

This film is successful because it is contained in a small space, most of the time in a single room, that the director, Quentin Lawrence, navigates with intention and makes every shot count. There is little time that lingers, as you lean up against the wall right next to Fordyce, hoping he makes the correct decision for a clean getaway. When these are combined, you get a compact thriller. This is based on a stage play, which I feel keeps the pace at a breakneck speed, and also as a remake of another film directed and staring virtually the same cast.

Peter Cushing has an Ebenezer Scrooge-type transformation in this film. He starts the picture stern, only caring about the success of his bank, and by the final frame, he has shown he can put everyone ahead of himself in one selfless act after another. Andre Morello becomes the prototypical con man throughout the film. He has confidence in every move he makes and allows the audience to be charmed, yet repulsed, by his actions. Richard Vernon is excellent as the assistant, who seems as though he knows what is happening all along, but, out of respect for his boss, does what he is instructed to do.

The problems of this film are more a product of circumstance and budget. As I previously stated, I love films based on stage plays. They have to be smarter in the dialogue and set up the film without showing a lot of the background actions. This film would have benefited from having a larger set, as well as some location shots. This film is also presented in black and white, which I love, but some may be turned off by it.

Watching Cash on Demand put me in the situation alongside the cast. Everything in this film is tense, leaving you tense as well. The cast is gripping, and the technical aspects of this film serve the plot well. This film is a prime example of what a dedicated cast and a good crew can achieve. Cash on Demand may be a lesser known film, but it is one that should be watched by any fan of thrillers, or any fan of cinema for that matter.

Gremlins (1984)

Classic

[9/10 · 24 December 2021]

Christmas is in the air and Billy (Zach Galligan) gets an early gift from his father. He finds a tiny, cuddly Mogwai, a creature that is mysterious yet cute, which he names Gizmo (voiced by Howie Mandel) and the two bond. Billy is told a certain set of rules the Mogwai must follow: don't expose them to light, don't let them get wet, and above all else, don't feed them after midnight. When Billy inadvertently breaks one of the rules, the Mogwai transform into sinister creatures that multiply and wreak havoc across the quiet town. With the help of Kate (Phoebe Cates), Billy and Gizmo must control the problem before the Gremlins take over.

On a massive scale, Joe Dante was given the task of bringing tiny, animatronic creatures to life, and he succeeds on a massive level. The creation of these creatures, from design to execution, lands this film as one of the most memorable creatures in cinema history. Placing this film in a tight-knit community that has Christmas plastered all over it, is the perfect place to set hundreds of creatures.

All of the acting in this film lets the audience become one of the townspeople. Everyone is inviting, and this helps the film succeed by letting the viewer attach themselves to the characters. Even Gizmo and the evil gremlin Spike (voiced by Frank Welker) have a story arc that could have carried this film. To me, being invested in the characters leaves a bigger impression than the plot of a story. This is a major reason the film has lasted generations.

Gremlins is billed as a family film, which it is at heart and partially in execution. This film was created before the PG-13 rating, so it is not for children under a certain age. This is, however, a perfect gateway horror film for young audiences to test the waters. It says a lot about a film when the biggest problem is a rating system that hasn't been put in place yet.

This is, and forever will be, a Christmas and horror classic. I have fond memories of the Gremlins franchise and it had a major impact on the way I watch movies and the types of movies that have molded me. I, and others, look forward to passing this film down for generations, showing them how practical effects stand the test of time and letting them think that glitch in the TV could be a little gremlin toying with the controls.

Jack Frost (1997 Video)

Late Night Party Movie

[4/10 · 19 December 2021]

Serial killer Jack Frost (Scott MacDonald) is on his way to being executed when the transportation vehicle has an unfortunate accident with a tanker carrying toxic material. While trying to escape, Frost gets covered in the waste and melts into the snow. This has a reaction that allows him to regenerate as a killer snowman and seek revenge on the small town sheriff that sent him to be executed.

This is a wild concept that feels like it is 10 years too late. This type of film is one you would watch in the 80's while trying to have a fun laugh with your friends. The production team did have some good set pieces, as a couple of the death scenes and the makeup effects were the highlights of the film. The camera work plays as another character as it flows and moves as though it's part of the snowman. The rest of the production leaves a lot to be desired.

When you get a film such as this, it can be hard to gauge the acting performances. When some are on screen, they take advantage of that time and put on an over- the-top show. Christopher Allport, who plays the town sheriff, does keep the sense of urgency for the town and allows the audience to keep track of the zany circumstances. The addition of Agent Manners (Stephen Mendel) is to give you an explanation of the entire situation.

This film is riddled with problems, most of which the production is aware of. The team embraces this and looks like they had a fun time making the film, which must be the case since a sequel by the same team was made a few years later. There is one particular scene that is very uncomfortable to watch.

Jack Frost will live on as the evil twin of a family film of the same name. This will also live on as a film you have to watch just for the sake of saying you watched it. It can play as a late-night holiday film that you can throw on at the tail end of a party. You'll probably even make yourself watch the sequel just to see if it can be more bonkers than this film.

Ernest Saves Christmas (1988)

Classic Ernest

[6/10 · 17 December 2021]

In sunny Orlando, Florida, eccentric taxi driver Ernest P. Worell (Jim Varney) goes above and beyond to make his customers happy. When he picks up his latest fare, Ernest learns he is driving none other than Santa Claus (Douglas Seale). Santa is on a mission to convince Joe Carruthers (Oliver Clark) to take over the role of Santa, as the role of Santa gets passed down once the magic wears off. Ernest is now in a race against time to try and save Christmas with the help of Harmony (Noelle Parker), who stumbled into this sticky situation.

John R. Cherry III is in the director's chair, as he is for the Ernest series, to lead the team on a Christmas adventure. The film is fast-paced and in your face. The use of wide angle lenses as our actors, mainly Varney's Ernest, get up close and personal with the audience. The team even breaks the fourth wall as Ernest and Harmony treat the viewer as if they're Vern, Ernest's friend, whose identity is never revealed. This film even has some exciting car stunts to start the film off.

Varney proves to be a top character actor as he portrays not only Ernest, but other characters in his pursuit to save Santa. Speaking of Santa, Douglas Seale plays a Santa who is slowing down and becoming forgetful. This is a great decision by the writing team and the actor to sell the main plot point. Noelle Parker's Harmony has the largest character arc in the film, as she struggles with finally getting what she wants or doing the right thing. And the duo of Chuck and Bobby (Gailard Sartain and Bill Byrge) trying to contain a herd of reindeer is a nice touch to add to the laughs.

This film has its motivations, and they are juvenile. The entire cast and crew set out to create a certain type of film, and they succeed in doing so. The entire film plays out like an extended sketch comedy show. This can be off-putting for older audiences, especially those who are not familiar with the character of Ernest. It's all done with heart, even if it can be overbearing at times.

Ernest Saves Christmas fits into the series of Ernest films and is one of the better outings. A film to watch with the family, Ernest is here to put a smile on everyone's face. The plot line with Santa is an added bonus and a clever way to expand the Santa mythos.

Batman Returns (1992)

Top Tier Sequel

[8/10 · 14 December 2021]

It's Christmas time in Gotham City, and Batman (Michael Keaton) has his hands full. Business mogul Max Shreck (Christopher Walken) is trying to expand his business deals when ditzy assistant Selina (Michelle Pfeiffer) realizes she knows to many secrets. As Shreck attempts to silence Selina, rumblings from the sewer begin to have a larger impact on the city. The Penguin (Danny DeVito) emerges from a lifetime of hiding to become the lost son of Gotham. Now, Batman must clear his name by getting to the bottom of Shreck's plan, discovering the Penguins' sinister plan, and combating a new foe named Catwoman.

Director Tim Burton returns to the Batman franchise with the follow-up to the hit 1989 film which also brings Michael Keaton back to reprise his role as Bruce Wayne. While this film is a sequel, you can watch it without any knowledge of the previous film. This is an excellent decision by the production team as this film attempts to reach a wider audience. This film is larger than life and brings the audience right into Gotham City.

The production design of this film is reminiscent of past Burton outings. A dark and gloomy aesthetic is the perfect counterbalance to the bright and cheery Christmas theme. The makeup and prop production for this film stand out in a very technical film, and the design of Penguin is iconic. The costume design, specifically Catwoman's costume, ties the film together. And what would a Tim Burton film be without a Danny Elfman score?

Michael Keaton delivered once again as the caped crusader and cemented his legacy with this performance. The casting of Danny DeVito as Penguin will go down as one of the greatest casting decisions of all time. Michelle Pfeiffer as Catwoman is also a great casting choice, and she plays the role with an elegant, yet intimidating presence.

The major problems with the film can be narrowed down to the script. The overall plot of the film is solid and hits all of the beats you want to hit. It also has a third act that sees many different storylines come to fruition in poetic fashion. The script issues are the dialogue throughout. The addition of Max Shreck as an original villain plays well, but at times just muddies the water in a crammed storyline.

Batman Returns will go down as one of the best sequels in film history. Iconic characters and design have helped keep this film alive. Setting this film during Christmas, with holiday undertones, makes this a film to revisit every year.

Anna and the Apocalypse (2017)

Mesmerizing

[8/10 · 6 December 2021]

Christmas time is in the air in the town of Little Haven. There is also a zombie apocalypse in the air. Now Anna (Ella Hunt) must team up with her best friend John (Malcolm Cumming), outcast Steph (Sarah Swire), and video junkie Chris (Christopher Leveaux) to travel to the other side of town where all of their loved ones are hiding. The group must fight, dance, and sing their way to safety while also navigating being teenagers in a small town.

Director John McPhail has crafted a modern-day musical masterpiece. Based off a short film written and directed by the late Ryan McHenry, friends pulled together to make his dream project come to life. Alan McDonald took over the writing process and put a lot of heart into each and every character in this film. The duo of Roddy Hart and Tommy Reilly composed wonderful songs that showcase the cast's talents, move the story along, and suck the viewer in.

The cast of this film shines and makes this film one you will always think about. The four main characters are all fantastic, and you want to be friends with all of them. With the addition of bad boy Nick (Ben Wiggins) and Chris's girlfriend Lisa (Marli Siu), the core cast of teens hit every stereotype in high school. Vice Principle Savage (Paul Kaye) is masterful in the maniacal role as he descends into madness.

The songs and dances are crafted as though they are additional characters in the movie. The opening number, "Break Away," sets the tone for the movie, while "Hollywood Ending" has the traditional ensemble you see in other musicals. The number that shows how zany this film is is "Turning My Life Around." Ella Hunt and Malcolm Cumming dance through the streets as everything crumbles around them without a care in the world.

When it comes to the plot, it is a typical zombie film. It follows the majority of the beats you find in similar films. The pacing early on can be slow at times, which is done to set the tone for our characters. Since this film uses a lot of traditional zombie film tropes, there are some scenes that become predictable.

Anna and the Apocalypse is the perfect example of creating memorable characters that you are going to love and hate. In doing this, this film is able to connect with a large audience and stand out among the overly saturated state of zombie films. Once you watch this film, you will not be able to stop singing the songs, which is an example of how memorable this film is.

Fatman (2020)

Nice Alternative

[6/10 · 4 December 2021]

In the town of North Peak, Alaska, Chris Cringle (Mel Gibson) and his wife Ruth (Marianne Jean-Baptiste) struggle to keep their Christmas business afloat. With too many children being on the naughty list, profits are not where they should be, which concerns the US government, which has financial interests in their business. Now Chris and Ruth must make a major decision to help the government so they can continue to receive help from them. While all of this is taking place, the rich and spoiled Billy receives a lump of coal for Christmas. This leads to Billy hiring a hitman, Skinny Man (Walton Goggins), to take out the Fatman once and for all.

This is a refreshing take on the typical Santa story. All things considered, the concept of the government's having an interest and helping fund the Christmas operation actually feels like a plausible scenario. The manhunt Skinny Man goes on is the most entertaining aspect of the film. Once he has his mind set, he will stop at nothing to find out where Santa is to not only hold up his end of the deal, but to get back at him for not delivering the one thing he always wanted for Christmas.

Mel Gibson as the Fatman works well when you ground Santa in the real world. He has the look and the charm to blend in as Chris, the neighborhood nice guy who runs a farm on the edge of town. Casting Jean-Baptise as Ruth puts her in a position to act as wife and mediator to Chris. She carries herself with poise through the film and is the heart of the film. The standout role in this film is played by Walton Goggins. His character is maniacal and will stop at nothing once his mind is set. Goggins is already a fantastic actor, as seen in many other standout roles, and he brings all of the tools needed to make a memorable villain.

While this film is a breath of fresh air in a sub-genre watered down by romantic holidays, it feels like two separate movies. The plot of Santa's workshop shutting down because of the increase in misbehaved children, only to have the government bail them out, would work on its own. The same can be said for the hitman aspect of the film. Walton Goggins plays the part so well, you could create a stand-alone film as well. The writing and directing duo of brothers Eshom and Ian Nelms crafted a story that works well on paper, but becomes a bit disjointed in the final product.

Fatman has more peaks than valleys and offers a nice alternative to the traditional Christmas movie. Even if the film feels disjointed at times, it is well paced and keeps the viewer's attention for the duration of the film. The thought of a disgruntled Mel Gibson sliding down the chimney as the beloved Santa Claus will make any kid want to be on the nice list.

Better Watch Out (II) (2016)

A Twisted Delight

[7/10 · 3 December 2021]

During the holiday season, the Lerners (Patrick Warburton and Virginia Madden) leave their twelve-year-old son, Luke (Levi Miller) with the always responsible Ashley (Olivia DeJonge) while they go out for a night on the town. Luke, with the help of friend Garrett (Ed Oxenbould), has decided tonight is the night to make a move on longtime sitter Ashley. Before Luke can make his move, an unexpected intruder attempts to break in. With them being in the safe suburbs, the two are on their own as they have to navigate a home invasion with twists and turns at every corner.

This film keeps you guessing as each scene evolves. Director Chris Peckover, along with writing partner Zack Kahn, crafted an excellent story that drops hints at the big reveal throughout the movie, but never enough to give too much away. Keeping the film confined to the house keeps everything tight, which could hinder the production, but in this case, it let's the viewer experience everything with the cast. Setting this during Christmas helps make this work and actually adds to some scenes.

The acting in this film is exceptional, especially Olivia DeJonge and Levi Miller. Miller, for instance, unravels and becomes unpredictable as the film goes on. Olivia DeJonge brings a sense of realism to the situation. Ed Oxenbould is cast to perfection as the timid best friend. All around, the entire cast brings this film to life.

When you break down the film, there are some issues. The film is paced at a good speed, but some beats are rushed while others drag. Some scenes can become uncomfortable, which is good in a way, but easing up could let the scenes breathe.

Better Watch Out takes the traditional home invasion scenario and turns it on its head. The cast is tight and the setting is as well. Once this film gets going, it's hard to tell what track it's going to stay on. All the way down to the final shot, Better Watch Out will keep you guessing.

Bubba Ho-Tep (2002)

Has Some Flaws

[6/10 · 30 November 2021]

At a decrepit rest home in East Texas, Elvis (Bruce Campbell) is alive and well. Not only is Elvis a resident, but so is JFK (Ossie Davis), except he's black and goes by the name Jack. When Jack discover an ancient mummy has been feeding off the souls of the elderly, he enlists Elvis to help take it down. Now, the unlikely duo are the only hope for the remainder of the residents.

Don Coscarelli takes a short story and expands it into a feature-length film that shouldn't work, and at times doesn't work. The reason the audience gets invested in this is that the material is treated seriously. This could have easily been a slapstick-style comedy, but the team brings a lot of heart to the film. The home they set this in gives you a dreaded feeling as everything, including the walls, look dirty. It takes true craftsmanship to turn out a product the way this film turns out.

Speaking of craftsmanship, Bruce Campbell gives an Elvis performance to remember. The backstory as to why he is there is fantastic and actually plausible. Ossie Davis makes a strong argument for being the real JFK. The relationship between the two gives this film a lot of heart and keeps you invested in the finale.

While the production team and acting keep this film afloat, there are areas where it does drag and can take the viewer out of it. The source material is a short story, and it shows. Some of the effects work they use doesn't feel like a good fit for the tone of this film either.

The overall product is one that has replay value. There are enough high points in this film to make it a good one that many people will enjoy for years to come. It can also make you wonder if one of those Elvis impersonators was actually the King himself.

The Night Comes for Us (2018)

Violence Galore

[8/10 · 27 November 2021]

While serving as an enforcer for the Triad, Ito (Joe Taslim) tries to turn his life around and do what's right by saving a young girl from a massacre in her village. While doing this, Ito betrays the Triad and is now on the run with the little girl. Turning to friends for help, the two must now face an onslaught of assassins, including former friend Arian (Iko Uwais), in a fight for their lives while the crime syndicate looks to clean up what Ito has done.

This film is a showcase for exceptional fight choreography, stunt work, and action sequences. The team behind all the set pieces have crafted a unique and relentless brutality that makes the viewer cringe, yet they are not able to look away. The level of violence and the amount of gore are abundant to the point of oversaturating the film, but the story behind it keeps the interested beyond the brutality. The mix of practical and CGI to create this violence is done almost seamlessly to give an authentic feeling to and uncomfortable situation.

The acting in this film takes the viewer on a journey that has them feeling like they must escape as well. Joe Taslim shows why he is a rising star in the action genre and should be regarded as a key player for years to come. Iko Uwais tries his hand on the opposite side of the coin by portraying the villain, and the confidence he brings to his work instills fear amongst those he is after. Hannah Al Rashid and Dian Sastrowardoyo play the female assassins with poise and present themselves as a threat whenever on-screen. Julie Estelle as The Operator plays her character with mystique while the audience tries to decipher which side she is on. Friends Bobby (Zack Lee) and Chien (Sunny Pang) do whatever they have to to ensure the safety of our protagonist, with Zack Lee, in particular, turning in a performance to remember.

While the action in this film is top-notch, the level of graphic violence can be a deterrent at times. While the fight scenes are well choreographed, some of the jolting camera work can take you out, not allowing the performers to take complete control of the sequences. Most of the issues are going to come down to personal preference. There are enough elements of different genres to satisfy even the harshest critics.

The Night Cones for Us proves that there are well-crafted and exceptional films being made outside of the American market. While this film in particular may cater towards a certain group, the polished final product does the industry justice and can help broaden the viewership to these regions. If you are a fan of action films that are primarily crime thrillers, this film is sure to please.

Planes, Trains & Automobiles (1987)

Holiday Masterpiece

[8/10 · 25 November 2021]

With Thanksgiving quickly approaching, advertising agent Neal Page (Steve Martin) must make it from New York City to Chicago in time for Thanksgiving dinner with his family. A run-in with shower curtain ring salesman Del Griffith (John Candy), who is also traveling from New York to Chicago, adds a layer of frustration. When their flight gets canceled and the duo is stranded in the middle of nowhere, the duo must stick together and use every resource to make it home in time for the holidays.

Writer and director John Hughes gets away from teen comedies and creates a buddy comedy that has a ton of heart. The film is paced to perfection, moving along at a steady pace with comedic obstacles at every turn. The majority of the film was shot on location, which brings the audience right into the elements with our characters. The final product has a light and warm feeling to which everyone can relate.

The duo of John Candy and Steve Martin was a match made in heaven. John Candy has a bubbly personality that no matter the scenario, always looks on the bright side of things. Martin, usually an over-the-top comedic actor, takes a reserved dramatic approach, which amplifies the comedic elements once he reaches his breaking point. Each scene has a bit part played by actors who fit the part and, at times, steal the scene. This is apparent in the car rental scene when Edie McClurg delivers a memorable line.

The problems in this film are few and far between. Production-wise, the team's delivery becomes an afterthought. This is not a bad thing as it leaves everything up to the characters and the story. Any major problems with this film all come down to personal preference, which is the case with any film, but there are such a small number of glaring issues that makes this film difficult to dissect on a technical level.

Planes, Trains, and Automobiles is a film that has a deeper meaning than what appears on screen. When Candy's Del Griffith tells you to go with the flow and everything will turn out just fine, that translates to a daily mantra for many around the globe. This is a holiday film that will be played for years to come when a family gathers to share what they're grateful for, and watching this will put a smile on anyone's face.

Cabin Fever (2002)

Horror Classic

[6/10 · 20 November 2021]

In a desolate cabin, five recent college graduates spend the week off the beaten path. As Paul (Ryder Strong) and Karen (Jordan Ladd) look to start a romance, Jeff (Joey Kern) and Marcy (Cerina Vincent) look to mend theirs. Fifth wheel Bert (James DeBello) has a run-in with a man contaminated with a gruesome disease, who then attempts to get into the groups' cabin. With the risk of infection high and being outsiders in a tight-knit community, the five must trust each other to get help before the disease can spread.

Director Eli Roth had a clear vision for his directorial debut, and used every trick in the book to bring a big-budget feel to a low-budget production. The practical effects take center stage, acting as another character in this film as a flesh-eating virus terrorizes the group of unlucky campers. Roth pays homage to many horror films that came before this one and uses shots, camera tricks, story beats, and other elements that made those films successful.

The core group of actors all played their respective parts well. The budding love between Paul and Karen, the fractured romance between Jeff and Marcy, and the party time antics of Bert. The way each character handles the crisis in their own way shows the human element. The bit players of the townspeople push the plot along and help drive the isolation factor along, leaving the characters isolated with no where or no one to go to. The addition of Eli Roth's character Grim and Deputy Winston (Giuseppe Andrews) brings comic relief to break up the bleak scenario.

As well as the production team pulling off the film's low budget, it also holds the film back at times. The issues are small, but taking a deeper look at the overall product shows some of the downfalls. The film turns one dimensional, with no way of outrunning or beating the virus in the cards. A glimmer of hope would have added an additional layer to give the audience some light at the end of the tunnel.

Eli Roth's Cabin Fever becomes a case study in how a group comes to terms with the inevitable. The true horror of the film lies in the decisions every character makes and the measures they will take to keep the virus away. With the exception of outdated jokes, this film will be viewed for years to come as a horror classic.

Land of the Lost (2009)

Dark Comedy

[7/10 · 17 November 2021]

Following the discovery of ancient artifacts and crystals harnessing a unique energy, paleontologist Dr. Rick Marshall (Will Ferrell) and his newly appointed assistant Holly (Anna Friel) travel to the remote desert where they were discovered. Teaming up with Will (Danny McBride), who runs a roadside attraction on the land where the crystal was found, the trio gets sucked into another dimension. There, they are met by an array of items from years past; dinosaurs, slow-moving lizard men called Sleestaks, and their new friend Chaka (Jorma Taccone). Now they are in a race against time to get back home or end up lost forever.

In an adaptation of a popular television series, the writing team tries to put a modern twist on it. The world-building and production design are one of the high points of the film. Creating a baron landscape with touches of the past, present, and future, the design keeps the eye wandering. Although Chaka and the Sleestaks designs are from the original series, the make-up department did a phenomenal job of recreating the iconic characters.

This film has a lot of slapstick comedy elements. With Ferrel and McBride being great at comedic timing and improvising depending on the situation, the majority of what ends up on screen probably isn't in the script. Anna Friel plays the assistant turned love interest with leadership and a sense of urgency the other characters lack. Even the CGI T-Rex, Grumpy, becomes a great addition to the team.

This film was made when a lot of advancements in computer-generated production were happening and in areas it shows. While some areas appear seamless, others have you wanting that same look. It is most evident in green screen moments, which, unfortunately, there are a lot of them. Also, as likable as Chaka is, there are times when his character is a bit much and could be toned down.

The biggest downfall of this film is the source material. Since the series depicts and is geared towards families, many may go into this film with the same idea. However, this is not a family film. This film plays well as a slapstick comedy with high-end effects. While not being the blockbuster it was intended to be, Land of the Lost is a fantastic action adventure that should be enjoyed for what it is.

Paranormal Activity: Next of Kin (2021)

Should Be a Stand-Alone

[6/10 · 11 November 2021]

Tracked down by a distant relative after being abandoned by her mother, Margot (Emily Bader) gets a documentary crew to get a first-hand account of where she is from. Traveling to Amish country alongside Chris (Roland Buck III) and sound guy Dale (Dan Lippert), Margot discovers the way of life her true family lives. Night after night of unsettling encounters, Margot soon discovers why her mother may have given her up.

The paranormal crew has now traveled to Amish country, and the result adds an extra layer of dread. There is an eerie quality to being in the middle of nowhere with no modern technology, leaving you vulnerable to anything that passes by. The homestead where they stay is vast, and each creak of the floorboards has you gripping your seat. The team behind this builds the tension in grand fashion.

The cast involved all carry the story towards the finish line. Dan Lippert as Dale steals each scene he is in and is the life behind the film. Emily Bader and Roland Buck III have good chemistry between them that can get you invested in their relationship. Some of the family members are dialed in but flat in their presentation.

While the POV found footage can add that extra layer of tension, which this film does at times, there are moments where things feel staged. Even though they are filming a documentary, areas that should be caught in the moment seem to have perfect blocking and everything falls perfectly into place.

Next of Kin tells a story that is a part of the Paranormal Activity franchise, but could have worked as its own entity. A tweak here and there could have elevated the suspense of the film. Since it is a part of this franchise, you already have an idea of the outcome. This is still a film that should be watched by fans of the franchise, and it could also attract a new audience because of its separation from the series.