Showing posts with label Thrillers. Show all posts
Showing posts with label Thrillers. Show all posts

Saturday, February 10, 2024

Review: "GODZILLA" 2014 is Still Awesome

TRASH IN MY EYE No. 7 of 2024 (No. 1951) by Leroy Douresseaux

Godzilla (2014)
Running time: 123 minutes (2 hours, three minutes)
MPAA – PG-13 for intense sequences of destruction, mayhem and creature violence
DIRECTOR:  Gareth Edwards
WRITERS:  Max Borenstein; from a story by Dave Callaham
PRODUCERS:  Jon Jashni, Mary Parent, Brian Rogers, and Thomas Tull
CINEMATOGRAPHER:  Seamus McGarvey (D.o.P.)
EDITOR:  Bob Ducsay
COMPOSER:  Alexandre Desplat

SCI-FI/ACTION/MILITARY/THRILLER

Starring:  Aaron Taylor-Johnson, Elizabeth Olsen, Bryan Cranston, Ken Watanabe, Carson Bolde, Sally Hawkins, Juliette Binoche, David Strathairn, Richard T. Jones, and Victor Rasuk

Godzilla is a 2014 science fiction-monster film and military thriller directed by Gareth Edwards.  Produced by Legendary Pictures and distributed by Warner Bros. Pictures, the movie was the first in the “MonsterVerse” film series, and it is a reboot of Toho Co., Ltd.'s Godzilla film franchise.  Godzilla 2014 focuses on the reappearance of monstrous creatures that have the power to destroy human civilization, but one of them may be humanity's only hope for survival.

Godzilla opens in 1999Dr. Ishiro Serizawa (Ken Watanabe) and Vivienne Graham (Sally Hawkins), two scientists from “Project Monarch,” are investigating the skeleton of a monstrous creature that was unearthed in the Philippines.  Meanwhile, in Janjira, Japan, Joe Brody (Bryan Cranston), the supervisor at the Janjira Nuclear Power Plant, prepares for another day of work with his wife, Sandra Brody (Juliette Binoche).  Something odd has been happening in and around the power plant, and before the day is over, the plant will collapse due to what seems to be an earthquake.  It is an incident that will leave Joe Brody broken and haunted.

Fifteen years later, Lt. Ford Brody (Aaron Taylor-Johnson) is a U.S. Navy EOD officer (United States Navy Explosive Ordinance Disposal).  The son of Joe and Sandra, Ford has moved on with his life and is now on-leave in San Francisco with his wife, Elle Brody (Elizabeth Olsen), a nurse, and their son, Sam (Carson Bolde).  However, Ford is forced to return to Japan when he learns that his father has been detained for trespassing in Janjira's quarantine zone (Q zone).  Joe is determined to find the cause of the meltdown 15 years ago at the Janjira power plant.  Ford thinks his father is crazy and does not believe anything he tells him.

However, what Ford is about to witness will introduce him to the world of the MUTO (massive unidentified terrestrial organism).  One such MUTO has the power to disrupt human civilization by emitting an intense electromagnetic pulse (EMP), and now, it's headed for the United States.  Monarch's Dr. Serizawa believes that the only thing that can stop the MUTO is an ancient alpha predator he calls “Gojira.”  But Gojira is also a MUTO...

The “MonsterVerse” is an American multimedia franchise that includes movies; a streaming live-action television series (Apple TV+) and a streaming animated series (Netflix); books and comic books; and video games.  It is a shared fictional universe that includes the character, “Godzilla” and other characters owned and created by the Japanese entertainment company, Toho Co., Ltd.  The MonsterVerse is a reboot of Toho's Godzilla franchise.  It is also a reboot of the King Kong franchise, which is based on the character, “King Kong,” that was created by actor and filmmaker, Merian C. Cooper (1893-1973).

The fifth film in the MonsterVerse series, Godzilla x Kong: The New Empire, is due to be released sometime in March, so I have decided to watch and review the previous four films:  Godzilla (which is the subject of this review), Kong: Skull Island (2017), Godzilla: King of the Monsters (2019), and Godzilla vs. Kong (2021).  I have previously seen Godzilla and Kong: Skull Island, but I have not previously reviewed them.

I watched parts of Godzilla 2014 more times than I can remember over the last decade.  It is a fascinating American “kaiju” film.  “Kaiju” is a Japanese sub-genre of science fiction that features giants monsters, and the term can also be used to refer to the giant monsters themselves.  Godzilla 2014 is very well directed by Englishmen, Gareth Edwards, who first came to notice because of his excellent 2010 film, Monsters, and later gained notoriety as the director of Rogue One: A Star Wars Story (2016).  Edwards is a natural when it comes to big monsters and big monster conspiracies and threats.

The film includes some good performances, although Bryan Cranston is the real standout with his intense, heartbreaking turn as Joe Brody.  Elisabeth Olsen as Elle Brody is sidelined and wasted, and Aaron Taylor-Johnson gamely plays Lt. Ford Brody as the film's ostensible lead, who is more dragged along by the film's action than leading it.

What makes this modern Godzilla film exceptional to me is the work of the technicians, artisans, and crew that don't always get credit for making a film work.  Godzilla's camera work, the lighting, the film editing, the film score, the visual effects, the sound editing and mixing combine to create a film that is successful in what it conveys.  What this film is pushing to us is a deep and abiding sense of mystery.  It is in the shadows that hides the monsters and incredible battles.  It is in the mood altering and heartbeat pacing score by the great Alexandre Desplat.

The mystery is in the sound and in the silence.  It is in the flitting light and frequent flares and in the subtle film editing that hides itself while controlling the film's pace and mood.  Godzilla's technical skill is the art of cinematic craftsmanship coming together, and that is best exemplified in the beautiful, breathtaking “Halo drop” sequence.

Godzilla's sense of mystery keeps the film from coming across like lowbrow, popcorn entertainment, which was the fate of director Roland Emmerich's 1998 film, Godzilla.  Godzilla 2014's characters are in the dark almost as much as the audience is.  By maintaining a sense of mystery, the film's narrative could convince me that humanity may be on the precipice of extinction, and it did.  I highly recommend the MonsterVerse Godzilla, and I'll keep watching it.

A
8 of 10
★★★★ out of 4 stars

Saturday, February 10, 2024


The text is copyright © 2024 Leroy Douresseaux. All Rights Reserved.  Contact this blog or site for reprint and syndication rights and fees.

-------------------------------




--------------------------------


Wednesday, January 31, 2024

Review: Prime Video's "ROLE PLAY" Offers an Odd Couple

TRASH IN MY EYE No. 4 of 2024 (No. 1948) by Leroy Douresseaux

Role Play (2024)
Running time:  101 minutes (1 hour, 41 minutes)
MPA – R for violence and language
DIRECTOR: Thomas Vincent
WRITER:  Seth Owen
PRODUCERS:  Kaley Cuoco, Alex Heinenman, and Andrew Rona
CINEMATOGRAPHER:  Maxime Alexandre (ASC)
EDITOR:  Gareth C. Scales
COMPOSER:  Rael Jones

ACTION/THRILLER/COMEDY

Starring:  Kaley Cuoco, David Oyelowo, Connie Nielsen, Rudi Dharmalingam, Lucia Aliu, Regan Bryan-Gudgeon, Jade-Eleena Dregorius, Stephanie Levi-John, and Bill Nighy

---------------------------

SUMMARY OF THE REVIEW:

--Role Play is somewhat similar to the Brad Pitt-Angelina Jolie film, Mr. & Mrs. Smith (2005), which was a big-budget action-comedy.  Role Play is a smaller scale action-thriller with darker, edgier humor.

--Kaley Cuoco and David Oyelowo are an odd pairing, and for at least half of this film, they seem miscast in their roles.

--Role Play is an average, entertaining film that is better suited for Prime Video than it is for the big screens of a local movie theater.  Still, the last half hour of the film really intensifies.

---------------------------

Role Play is a 2024 action-thriller and black comedy film from director Thomas Vincent.  The film is an Amazon “Prime Original” that began streaming on “Prime Video” January 12, 2024.  Role Play focuses on an assassin whose secret life intrudes on her life as a suburban wife and mother.

Role Play introduces Emma Brackett (Kaley Cuoco).  She is married to Dave Brackett (David Oyelowo) and is now the mother to his son from his first marriage, Wyatt (Regan Bryan-Gudgeon), and is mother to the daughter, Caroline (Lucia Aliu), she had with Dave.  Emma and Dave have been married seven years and are living in New Jersey.  But Emma has forgotten their anniversary because she was busy overseas killing someone and not in Nebraska, as she told her husband.

To make up for forgetting their anniversary, Emma suggests that they spice things up by engaging in some romantic role play at “the Royal Grand” hotel in New York City.  The fun, however, is interrupted by Robert “Bob” Kitterman (Bill Nighy), who is actually a rival assassin out to claim a bounty placed on Emma by her former agency, Sovereign.  Emma is forced to reveal her real self – Anna Peller, professional killer.  Now, her past has returned to reclaim her.

Dear readers, as soon as you read Role Play's synopsis, you will likely think of the hit 2005 film, Mr. & Mrs. Smith.  Directed by Doug Liman, the action-comedy film stars Brad Pitt and Angelina Jolie.  They play a bored upper middle class couple, but both are actually assassins working for competing agencies.  One day, they are assigned to kill each other.

Role Play is described as an action-comedy, but it is truthfully an action-thriller and dark comedy.  The film does have a comic undertone; there are some genuinely funny moments; and the film's musical score by Rael Jones is action-comedy pitch perfect.  Role Play, however, features several violent fight scenes and brutal killings, in addition to its offbeat sensibility.

One reason is the casting.  Kaley Cuoco is best known for playing the role of “Penny” on CBS's long-running, former sitcom, “The Big Bang Theory” (2007-19).  I found it a little difficult to picture her as an assassin or professional killer.  David Oyelowo is known for his serious dramatic roles in such films as Red Tails (2012) and Selma (2014), as well as for his role in the recent Paramount+ Western television miniseries, Lawmen: Bass Reeves (2023).  For about the first hour of the film, I did not find him convincing as the clueless suburban husband.

However, once Anna Peller's cover as Emma is blown, Cuoco is forced to give it her all trying to convince the audience that she is a killer, and suddenly sitcom Penny seems quite dark, indeed.  Also, it is then that Oyelowo can drop the hubby routine and become the spousal partner-in-crime.  In the last half hour to 40 minutes of the film, Emma and Dave actually become funnier characters.  Then, Role Play takes on its action-thriller aspects with gusto.

Director Thomas Vincent makes the most of the film's more intense moments, giving Seth Owen's screenplay, which probably had more juice on the printed page, a jolt.  Role Play is the kind of easy-going film that could not make it as a theatrical release, but it makes for an entertaining streaming film, especially once the leads really start to... play their roles.

B-
5 of 10
★★½ out of 4 stars

Wednesday, January 31, 2024


The text is copyright © 2024 Leroy Douresseaux. All Rights Reserved.  Contact this blog or site for reprint and syndication rights and fees.

----------------------------


Wednesday, December 20, 2023

Review: "PREY" is the Best "Predator" Sequel to Date

TRASH IN MY EYE No. 55 of 2023 (No. 1944) by Leroy Douresseaux

Prey (2022)
Running time: 100 minutes (1 hour, 40 minutes)
MPAA – R for strong bloody violence
DIRECTOR: Dan Trachtenberg
WRITERS: Patrick Aison; from a story by Patrick Aison and Dan Trachtenberg (based on the characters created by Jim Thomas and John Thomas)
PRODUCERS: John Davis, Marty Ewing, and Jhane Myers,
CINEMATOGRAPHER: Jeff Cutter (D.o.P.)
EDITORS: Claudia Castello and Angela M. Catanzaro
COMPOSER: Sarah Schachner

SCI-FI/THRILLER

Starring:  Amber Midthunder, Dakota Beavers, Dane DiLiegro, Stormee Kipp, Michelle Thrush, Julian Black Antelope, Stefany Mathias, Bennett Taylor, and Mike Paterson

----------------------------------
REVIEW SUMMARY:
--Prey is by far the best Predator sequel, and it is one of 2022's best films.

--The Canadian landscape where this movie was filmed is an equal character in the story while offering magnificent vistas and breathtaking beauty.

--The first half of the film is a tense suspense thriller that builds a sense of mystery similar to that of the original Predator film.

--The second half of the film is an explosion of brutal violence and heart-stopping duels that leads to a showstopping finale.  I highly-recommend it.
------------------------------------

Prey is a 2022 science fiction thriller film directed by Dan Trachtenberg.  It is the fifth film in the main Predator film franchise, which began with the 1987 film, Predator, and the seventh in the overall franchise (when the “AvP” films are counted).  Prey is a prequel to the four main Predator movies, and it is a direct-to-streaming film that was released as a “Hulu original film.”  Prey is set in the early 18th century and pits a young Comanche woman who wants to prove that she is a warrior by taking on a mysterious creature that slaughters everything in its path.

Prey opens in the Northern Great Plains in September 1719Naru (Amber Midthunder), a young Comanche woman, has trained as a healer, but she wants to be a hunter like her older brother, Taabe (Dakota Beavers).  To that end, Naru wants to embark on a “kühtaamia,” which requires her to hunt something that is hunting her.

While tracking deer, Naru witnesses strange lights in the sky, which she believes to be a “Thunderbird,” the legendary creature of Native American folklore.  However, the strange lights are actually an alien ship dropping a Predator (Dane DiLiegro), something her people have never encountered.  Now, Naru, Taabe, and their tribe's other hunters must take on a Predator that is the ultimate hunter.  If she cannot defeat the Predator, she will lose her life and her tribe will fall as well.

I have been interested in seeing Prey since I first heard about it, but I wasn't subscribing to Hulu when it debuted, nor do I currently subscribe to it.  However, my friend and collaborator, Carter Allen, an illustrator, concept designer, and comic book creator, sent me a copy of the 4K Ultra HD/Blu-ray edition via Amazon.

Now, having seen it, I think it is a shame that Prey did not receive a theatrical release.  It's cinematography captures the beautiful vast forest locations outside Calgary, Alberta, Canada, where this movie was shot, in a way that should be seen on a big screen.  The landscape is an equal character in the film, even more so than it has been in previous Predator films.  Prey's director, Dan Trachtenberg, uses the landscape to make his film feel real and to have weight and depth and not come across as if it were some kind of action or video game fantasy.

Prey is the best sequel to 1987's Predator, easily surpassing what I think is the previous best sequel, 2010's Predators.  In some ways, the combatants in Prey seem more authentic and the action more visceral than in the first film.  The fights are brutal and up-close-and-personal.  Flesh is slashed and chopped into raw meat, and bodies are pierced, penetrated, and ruptured with artistic precision.  Heads are lopped off, and limbs aren't far behind.  The Predator of Prey does not kill from on high, shooting death rays as the original Predator did.  In Prey, the Predator moves in for the kill in a way that is similar to what Logan/Wolverine did to the mercenaries in the X-Men film, X2 (2003).  Also, the costume and creature design for Prey's Predator is as much horror movie killer as it is sci-fi monster. In some ways, he seems garbed as a super-villain.

Amber Midthunder as Naru and Dakota Beavers as Taabe give outstanding performances.  Their characters are well written, and Patrick Aison's script is ambitious enough to give the actors the opportunity to explore their characters, which they do.  Midthunder is mesmerizing and fierce as Naru, and she makes me care about her journey every step of the way.

I'm surprised.  Prey easily exceeded my expectations.  I hope that future Predator films are as ambitious as this one.  In the meantime, I pray for a sequel to Prey.

9 of 10
A+

Wednesday, December 20, 2023

You can buy a copy of the PREY Blu-ray at AMAZON.

Discover Carter Allen's latest graphic novel, Ectyron vs. Des Moines here.


The text is copyright © 2023 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

------------------------------------




-------------------------------------


Thursday, October 5, 2023

Review: "THE BROTHERHOOD OF THE WOLF" is Crazy (Literally), Sexy, Cool

TRASH IN MY EYE No. 6 (of 2002) by Leroy Douresseaux

Pacte des loups, Le (2001)
COUNTRY OF ORIGIN:  France; Language: French, German, Italian
The Brotherhood of the Wolf (2002) – USA title
Running time:  142 minutes (2 hours, and 22 minutes)
MPAA – R for strong violence, gore, and sexuality/nudity
DIRECTOR:  Christophe Gans
WRITERS:  Stephane Cabel and Christophe Gans
PRODUCERS:  Richard Grandpierre and Samuel Hadida
CINEMATOGRAPHER:  Dan Laustsen
EDITORS:  Xavier Loutreuil, Sébastien Prangère, and David Wu
COMPOSER:  Joseph LoDuca

DRAMA/HISTORICAL AND HORROR/MYSTERY/THRILLER with elements of adventure

Starring:  Samuel Le Bihan, Vincent Cassel, Emilie Dequenne, Monica Bellucci, Jérémie Rénier, Mark Dacascos, Jean Yanne, Jean-Francois Stévenin, and Jacques Perrin

Le Pacte des loups is a 2001 French period film, action and horror movie directed by Christophe Gans.  The film was released in the United States in early 2002 by Universal Pictures under the title, The Brotherhood of the Wolf (the title by which I will refer to this film in this review).  The film's plot is loosely based on the legend of the “beast of Gévaudan” and a real-life series of killings that took place in France in the 18th century.  The Brotherhood of the Wolf focuses on a French knight and his Native American companion who are sent to investigate the mysterious slaughter of hundreds of people by an unknown creature in the county of Gévaudan.

At the beginning of The Brotherhood of the Wolf, Old Thomas d'Apcher (Jacques Perrin) recounts a fantastic fable/story of his youth.  It is France of 1765, and the King sends two envoys to the Gevaudan province (which no longer exists) to investigate a series of brutal murders of which the locals believe is committed by a mysterious beast.  The envoys are the Chevalier Gregoire de Fronsac (Samuel Le Bihan), a naturalist, and his companion, Mani (Mark Dacascos), a Mohawk Iroquois shaman of New France (Canada).  They arrive in Gevandan to find the provincials bigoted and superstitious, even in the midst of the death all around them.

Among the colorful cast of characters include a mysterious and powerful priest, Henri Sardis (Jean-Francois Stevenin), and a sly and dangerous one-armed hunter, Jean Francois de Morangias (Vincent Cassel).  The young Thomas d’Apcher (Jeremie Renier) becomes a hunting companion of Fronsac and Mani.  Two strong female characters compete for the attentions of the virile and intelligent Fronsac: Marianne de Morangias (Emilie Dequenne), Jean Francois’s beautiful younger sister, and the nubile and hypnotic courtesan Sylvia (Monica Bellucci).  As Fronsac and Mani pierce the veil of mystery and terror that covers the province, intrigue and deceit surround them, and the beast continues to kill.

Directed by Christophe Gans, The Brotherhood of the Wolf bends genres as easily as the film’s beast tears through its victims.  Horror, thriller, western, martial arts, and mystery, the film is filled with suspense, terror, romance, eroticism, and political intrigue.  It is at times intoxicating and mind bending and at other times, languid and thoughtful.  It is difficult to categorize, but the movie is largely fantasy and action, but different from most of the movies that both genres recall.

Fronsac is a man of reason who sees a human conspiracy behind the killings that is darker and more insidious than any beast of Hell.  Still, this man of science also understands the mystic worldview and belief system of his friend and blood brother, Mani.  Fronsac is enlightenment’s soldier against the backward and ignorant peasants and nobles of Gevaudan.  The provincials fear the ways of a city like Paris, and Sardis and Jean Francois resent the capital’s intrusion into their world.  They disdain the confidence and intelligence of the King’s envoys.  The beast is a physical manifestation of the provincials superstitions, isolationism, hatred, and evil that feeds upon the populace, and the creature resists the authority of the government.

The movie’s creature is a computer-generated image (CGI); at its best is fearsome.  At its worst, the creature, especially during some daylight scenes, is hokey.  However, Gans wisely holds revealing the beast in scenes that go by so quickly that we rarely get a good look at it.  Sometimes, just the unseen beast’s roars, growls, and footsteps are enough to set the heart racing.

Le Bihan as Fronsac is strong and strongly confident.  He is the romantic lead upon which the audience hitches its wagon.  When he and Mani arrive early in the movie, after the film’s opening murder, they appear in a driving rainstorm, masked minutemen with the presence of demigods.  Mani’s assault upon the villagers recalls fight scenes from The Matrix, but his are down to earth and more physical, more visceral; the threat of danger to him from the attackers is much greater.  Decascos is mostly very good on the screen as Mani, though a few bits of his screen time are a little flat.  When Gans unleashes him late in the movie, Decascos is a beautiful force a nature, a small storm in human guise tearing through his antagonists.

Vincent Cassel’s Jean Francois is the serpentine equal to Fronsac.  He dominates all of his screen time, except for his scenes with Fronsac, in which both must share the screen.  The movie nearly bursts from having to contain both their magnetic presences.  They alone are worth the price of admission, but the rest of the cast, both veterans and newcomers, make the most of their roles.

Although a little long, The Brotherhood of the Wolf is wonderful; a dark horse, it is one of the best films of the year 2001.  Gans and his screenwriting partner, Stephane Cabel, created a script that melds raw action with social intrigue, and the result is quite an accomplishment.  The Brotherhood of the Wolf is plainly good entertainment.  Not quite high art, it is eye candy that is very smart and very fun.

8 of 10
A
★★★★ out of 4 stars

Edited:  Wednesday, October 4, 2023


The text is copyright © 2023 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

-----------------------------




-----------------------------

Amazon wants me to inform you that the affiliate link below is a PAID AD, but I technically only get paid (eventually) if you click on the affiliate link below AND buy something(s).


Wednesday, September 6, 2023

Review: "JOHN WICK: Chapter 4" is Too Long, But Keanu is Still Hot

TRASH IN MY EYE No. 42 of 2023 (No. 1931) by Leroy Douresseaux

John Wick: Chapter 4 (2023)
Running time:  169 minutes (2 hours, 49 minutes)
MPA – R for pervasive strong violence and some language
DIRECTOR:  Chad Stahelski
WRITERS:  Shay Hatten and Michael Finch (based on characters created by Derek Kolstad)
PRODUCERS:  Basil Iwanyk and Erica Lee
CINEMATOGRAPHER:  Dan Lausten (D.o.P.)
EDITOR:  Nathan Orloff
COMPOSERS:  Tyler Bates and Joel J. Richard

ACTION/THRILLER/CRIME

Starring:  Keanu Reeves, Bill Skarsgard, Donnie Yen, Shamier Anderson, Ian McShane, Clancy Brown, Marko Zaror, Hiroyuki Sanada, Rina Sawayama, Scott Adkins, Aimée Kwan, George Georgiou, and Laurence Fishburne and Lance Reddick

John Wick: Chapter 4 is a 2023 action and crime-thriller starring Keanu Reeves and directed by Chad Stahelski.  It is a direct sequel to 2019's John Wick: Chapter 3 – Parabellum and is the fourth film in the John Wick film series.  Chapter 4 finds John Wick facing off against a new enemy who has powerful alliances around the world and who can turn John's friends into John enemies.

John Wick: Chapter 4 finds the legendary assassin and hitman, John Wick (Keanu Reeves), hiding in the underground lair of the crime lord known as “The Bowery King” (Laurence Fishburne).  Wick prepares to unleash his revenge against the High Table (the entity that rules the assassins guild) and its current “Elder.”  In response, the High Table tasks one of its members, the Marquis Vincent Bisset de Gramont (Bill Skarsgard), to kill John Wick.  The Table gives the Marquis unlimited resources to kill John, and the first thing he does is punish Winston (Ian McShane), the manager of the New York Continental hotel, for failing to kill Wick.

The Marquis puts a twenty-million dollar bounty on John Wick's head, and then, enlists Caine (Donnie Yen), a blind, retired High Table assassin, to kill his Wick, who is an old friend of John's.  Despite all the Marquis' machinations, John Wick has devised a plan to defeat him and to be freed of the High Table.  To do that, John will need help from a number of erstwhile friends and allies and also from one strange new friend or enemy, The Tracker a.k.a. “Mr. Nobody” (Shamier Anderson), and his resourceful dog.

I have been a long time fan of actor Keanu Reeves.  I have enjoyed and even loved Reeves in films like the original Point Break (1991) and in The Matrix film trilogy, beginning with The Matrix (1999).

Thus, I was very interested in seeing the original John Wick (2014), but I didn't see it in a theater.  I was interested in John Wick: Chapter 2 (2017) and John Wick: Chapter 3 – Parabellum (2019), but I didn't see those in a theater, either.  I was very interested in seeing John Wick: Chapter 4, but I was put off by its runtime.  So I didn't see it in a movie theater.

Now, I've seen it, and I'm glad I waited.  I would have been pissed to sit in an uncomfortable movie theater seat for almost three hours for the way-too-long John Wick: Chapter 4.  Most of the film's narrative is story padding, and the filmmakers could have easily shaved an hour from this film's runtime without really changing the story.  I will say that Chapter 4 is a beautiful-looking film.  The cinematography, production design, locations, and lighting are museum quality.  Yes, the action and fight scenes are spectacular, but some of them, like the entire “Arc de Triomphe” car chase and fight, went on for far too long – for all their inventiveness.

But I love me some Keanu Reeves, and because he dominates this film, I can enjoy it.  I couldn't stop watching him.  If just about anyone else were the star, I would have stopped watching John Wick: Chapter 4 after an hour.  The supporting cast also helped me enjoy a movie that I basically did not find as enjoyable as the series' previous entries.  I can never get enough of the great Hong Kong actor and martial artist, Donnie Yen, and I'm always down for more Laurence Fishburne.  Shamier Anderson and the dog that is his co-star add some nice new flavors to this series.  Bill Skarsgard is magnetic as the Marquis, and a spoonful of Clancy Brown (as “the Harbinger”) helps the average movie go down.  Also, it was great to see the late Lance Reddick (1962-2023) as Charon one last time.

I wouldn't be surprised to see a fifth John Wick movie down the line, and I won't see it in a theater either – if the runtime is around three hours.  But for John Wick fans, John Wick: Chapter 4 is a must-see for the main reason to see all of them – Keanu Reeves.

6 of 10
B
★★★ out of 4 stars

Wednesday, September 6, 2023


The text is copyright © 2023 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for syndication rights and fees.

-----------------------------------





-----------------------------------

Amazon wants me to inform you that the affiliate link below is a PAID AD, but I technically only get paid (eventually) if you click on the affiliate link below AND buy something(s).


Wednesday, August 30, 2023

Review: "THE EQUALIZER 2" is Brutal and Personal

TRASH IN MY EYE No. 40 of 2023 (No. 1929) by Leroy Douresseaux

The Equalizer 2 (2018)
Running time:  121 minutes (2 hours, 1 minute)
MPAA – R for brutal violence throughout, language, and some drug content
DIRECTOR:  Antoine Fuqua
WRITER:  Richard Wenk (based on the television series created by Michael Sloan and Richard Lindheim)
PRODUCERS:  Antoine Fuqua, Todd Black, Jason Blumenthal, Tony Eldridge, Mace Neufeld, Alex Siskin, Michael Sloan, Steve Tisch, and Denzel Washington
CINEMATOGRAPHER:  Oliver Wood (D.o.P.)
EDITOR: Conrad Buff IV
COMPOSER:  Harry Gregson-Williams

ACTION/CRIME/THRILLER

Starring:  Denzel Washington, Pedro Pascal, Ashton Sanders, Orson Bean, Bill Pullman, Melissa Leo, Jonathan Scarfe, Kazy Tauginas, Garrett A. Golden, and Sakina Jaffrey

The Equalizer 2 is a 2018 action movie and crime thriller directed by Antoine Fuqua and starring Denzel Washington.  It is a sequel to the 2014 film, The Equalizer.”  Both films are based on the television series, “The Equalizer,” which was created by  Michael Sloan and Richard Lindheim and was originally broadcast on CBS from 1985 to 1989.  The Equalizer 2 finds Robert McCall out to make the people who murdered someone he loves pay for their crimes with their lives.

The Equalizer 2 opens on a train headed to Istanbul, Turkey.  Robert “Bob” McCall (Denzel Washington) is about to serve his unflinching brand of justice on man who kidnapped his daughter in order to punish his ex-wife.  McCall still lives quietly in Boston, where he works as a Lyft driver and assists the less fortunate, the exploited, and the oppressed.  Among the people he is currently helping include Samuel “Sam” Rubinstein (Orson Bean), a Holocaust survivor trying to recover a painting of his sister, Magda, who died in a Nazi death camp.  Lately, he has taken an interest in Miles (Ashton Sanders), a troubled African-American teen who lives in the same apartment building.  Miles has tremendous artistic talent, but he is also being recruited by a violent, drug-dealing street gang.

However, the big action is in Brussels, Belgium.  There, Robert's friend and former DIA (Defense Intelligence Agency) colleague, Susan Plummer (Melissa Leo), is investigating the apparent murder-suicide of DIA “agency affiliate” and his wife.  That investigation costs Susan her life.  McCall begins investigating Susan's murder with the assistance of her colleague and his former DIA teammate, Dave York (Pedro Pascal).  Determined to avenge Susan's murder, McCall will have to go deep into his past and risk endangering people very close to him.

With his Oscar-winning turn in 2001's Training Day, Denzel Washington proved to be a convincing bad guy.  With 2010's The Book of Eli, Washington showed that he could be a bad-ass, kick-ass, action hero with fancy martial arts-styled moves.  The first take on The Equalizer allowed Washington to blend hero and anti-hero in a visceral mix.  So in anticipation of The Equalizer 3, I decided to see The Equalizer 2, of which I have seen bits and pieces on television over the past few years.

In the original film, the screenplay by Richard Wenk had McCall constantly in peril or made it seem as if he were in danger even when he was not.  Wenk returns for the sequel and delivers a script that adds compassion to the standard revenge thriller.  McCall can be a gentle soul helping a teen go through growing pains that are filled with danger, and he can lend a kind ear to an old man whose current quest could be the real thing or the result of a failing memory crashing from the accumulation of data over a long life.  On the other hand, McCall will also break a mutha down to the blood and bone if he deserves such a reckoning, even if it means killing him.

The Equalizer would be a standard revenge thriller if its avenger were portrayed by just any other movie star, but Denzel Washington is a consummate professional and charismatic actor.  That means he can deliver the meat and potatoes and the art to every performance – whether it is Shakespeare on stage or Hollywood entertainment product destined for the multiplex.  In this second film, Washington super-charges his performance in order to make the personal so personal that it is murderous. 

Director Antoine Fuqua plays Washington's skills for everything he can get out of this brilliant actor.  Fuqua is an impressive director in his own right, especially when it comes to dark, violent, dramatic thrillers, such as Shooter (2007).  Together, Fuqua and Washington deliver in The Equalizer 2 a film that slightly surpasses the original.  I find myself endlessly fascinated by it because The Equalizer 2 is a really good thriller.

7 of 10
A-
★★★½ out of 4 stars

Wednesday, August 30, 2023


The text is copyright © 2023 Leroy Douresseaux. All Rights Reserved. Contact this site for syndication rights and fees.

---------------------------------





---------------------------------

Amazon wants me to inform you that the affiliate link below is a PAID AD, but I technically only get paid (eventually) if you click on the affiliate link below AND buy something(s).


Friday, July 14, 2023

Review: "MISSION: IMPOSSIBLE - Dead Reckoning Part One" Embraces the Impossible

TRASH IN MY EYE No. 32 of 2023 (No. 1921) by Leroy Douresseaux

Mission: Impossible – Dead Reckoning Part One (2023)
Running time: 163 minutes (2 hours, 43 minutes)
MPAA – PG-13 intense sequences of violence and action, some language and suggestive material
DIRECTOR:  Christopher McQuarrie
WRITERS:  Christopher McQuarrie and Erik Jendresen (based upon the television series created by Bruce Geller)
PRODUCERS: Tom Cruise and Christopher McQuarrie
CINEMATOGRAPHER: Fraser Taggart (D.o.P.)
EDITOR:  Eddie Hamilton
COMPOSER: Loren Balfe

ACTION/ADVENTURE/SPY/THRILLER

Starring: Tom Cruise, Hayley Atwell, Ving Rhames, Simon Pegg, Rebecca Ferguson, Vanessa Kirby, Esai Morales, Pom Klementieff, Shea Whigham, Greg Tarzan Davis, Frederick Schmidt, Maria Garriga, Cary Elwes, and Henry Czerny

Mission: Impossible – Dead Reckoning Part One is a 2023 action-thriller and espionage film directed by Christopher McQuarrie and starring Tom Cruise.  It is the seventh film in the Mission: Impossible film series, which is based on the American television series, “Mission: Impossible” (CBS, 1966-73), that was created by Bruce Geller.  In Dead Reckoning Part One, Ethan Hunt and his IMF team race to obtain half of a key that is connected to something that could be a doomsday device.

Mission: Impossible – Dead Reckoning Part One opens in the Bering Sea.  Beneath the surface, an advanced Russian submarine, the “Sevastopol,” prepares to test a new AI (artificial intelligence) system.  But disaster strikes.

Later, Eugene Kittridge (Henry Czerny), the director of the IMF (Impossible Mission Force), offers IMF agent Ethan Hunt (Tom Cruise) a new mission.  Should he accept, Hunt must retrieve half of a mysterious cruciform key.  It is currently in the possession of his ally, the former British agent, Ilsa Faust (Rebecca Ferguson), who also has had a 50-million-dollar bounty placed on her.

Next, Hunt and his team – Benji Dunn (Simon Pegg) and Luther Stickwell (Ving Rhames) – must trace the current holder of the second half of that cruciform key to a buyer.  However, the mission is complicated by the intercession of new players:  Grace (Hayley Atwell), a professional thief; Alanna Mitsopolis (Vanessa Kirby), a black-market arms dealers also known as the “White Widow;” and Paris (Pom Klementieff), a French assassin.  The most shocking new player is Paris' boss, Gabriel (Esai Morales), a powerful terrorist with an intimate connection to Ethan Hunt's past.  Ethan and his IMF team clash with these new people in a struggle for a key that is connected to something that could rule the world or destroy it, The Entity

I divide the six Mission: Impossible movies into two trilogies.  Mission: Impossible (1996), Mission: Impossible 2 (2000), and Mission: Impossible III (2006) make up the first trilogy.  Mission: Impossible – Ghost Protocol (2011),  Mission: Impossible – Rogue Nation (2015), and Mission: Impossible – Fallout (2018) form the second trilogy.

Mission: Impossible – Dead Reckoning Part One is something new.  It was originally meant to be the first part of a two-part send off for Ethan Hunt, but that has apparently changed.  Still, Dead Reckoning Part One feels like the beginning of the end.  It's as if Ethan is facing his ultimate test, a mission in which most of the potential resolutions can make things worse for the U.S. and the rest of the world.  Honestly, this feels like a mission in which Ethan should not survive.

That aside, should you choose to accept this mission, dear readers, Mission: Impossible – Dead Reckoning Part One is a non-stop thrill machine full of heart-pounding races, car chases, standoffs, and Tom Cruise running more than he ever has.  I balked at the runtime of two hours and forty-three minutes, but the film doesn't feel that long.  It's always moving and grooving to a electrifying pace.  The plot is a bit thin, and even that thinness manages to be a bit convoluted, but Dead Reckoning Part One moves too much to allow you to think about any inconsistencies.  Why think about plot when the action and thrills are so mesmerizing and exhilarating?  I had seen several video clips of Ethan Hunt's motorcycle cliff dive, which is the super-big stunt in Dead Reckoning Part One, but seeing the entire thing on the big, silver screen still made me nervous.  That's the peak power of the extravagant action movie treats that this film offers.

Dead Reckoning Part One has beautiful cinematography and a hypnotic, pounding film score, and killer production values.  Everyone is dressed so nicely, and all the sets put the art in art direction.  The cast is amazing, and I couldn't get enough of Pom Klementieff's Paris.  But the stars here are true movie star, Tom Cruise, and director Christopher McQuarrie.  They wanted to give people a reason to come back to movie theaters, and they have.  Mission: Impossible – Dead Reckoning Part One is the kind of high-quality and breath-taking entertainment that demands to be seen in a darkened movie theater with a bunch of other people as equally thrilled as you or I are.

8 of 10
A
★★★★ out of 4 stars

Friday, July 15, 2023


The text is copyright © 2023 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

---------------------------




---------------------------

Amazon wants me to inform you that the affiliate link below is a PAID AD, but I technically only get paid (eventually) if you click on the affiliate link below AND buy something(s).


Tuesday, July 11, 2023

Review: "MISSION: IMPOSSIBLE 2" is Still on Fire

TRASH IN MY EYE No. 31 of 2023 (No. 1920) by Leroy Douresseaux

Mission: Impossible 2 (2000)
Running time: 123 minutes (2 hours, 3 minutes)
MPAA – PG-13 for intense sequences of violent action and some sensuality
DIRECTOR:  John Woo
WRITERS:  Robert Towne; from a story by Ronald D. Moore and Brannon Barga (based upon the television series created by Bruce Geller)
PRODUCERS: Tom Cruise and Paula Wagner
CINEMATOGRAPHER: Jeffrey L. Kimball (D.o.P.)
EDITORS:  Steven Kemper and Christian Wagner
COMPOSER: Hans Zimmer

ACTION/ADVENTURE/SPY/THRILLER

Starring: Tom Cruise, Dougray Scott, Thandie Newton, Richard Roxburgh, John Polson, Brendan Gleeson, Rade Serbedzija, William Mapother, Dominic Purcell, Nicholas Bell, Kee Chan, Antonio Vargas, and Ving Rhames with Anthony Hopkins

Mission: Impossible 2 is a 2000 action-thriller and espionage film directed by John Woo and starring Tom Cruise.  It is a sequel to the 1996 film, Mission: Impossible, and is based on the American television series, “Mission: Impossible” (CBS, 1966-73), that was created by Bruce Geller.  In Mission: Impossible 2 (also known as M:I-2), Ethan Hunt battles a rogue fellow agent in a bid to obtain a genetically modified virus.

Mission: Impossible 2 opens in a lab at Australia's Biocyte Pharmaceuticals.  There, Dr. Vladimir Nekhorvich (Rade Serbedzija), a bio-genetics scientist, sends a message to his old friend, “Dimitri,” which is the cover name for Impossible Mission Force (IMF) agent Ethan Hunt (Tom Cruise).  Nekhorvich's employer, Biocyte Pharmaceuticals, has forced him to create a biological weapon, which he calls “Chimera,” and a cure for it, which he names “Bellerophon.”  Biocyte's CEO, John C. McCloy (Brendan Gleeson), plans to profit from Bellerophon as cure for Chimera after the virus is released into the unsuspecting world.

Nekhorvich injects himself with Chimera and carries Bellerophon with him and heads to the U.S., where he hopes to meet “Dimitri.”  However, he is intercepted by IMF agent Sean Ambrose (Dougray Scott), who is, in some ways, Ethan Hunt's equal and opposite.  Ambrose and his men steal Bellerophon and begin their hunt to obtain Chimera, not knowing that it was inside Nekhorvich.

IMF Mission Commander Swanbeck (Anthony Hopkins) orders Hunt to lead his team – computer hacker, IMF agent Luther Stickwell (Ving Rhames), and helicopter pilot, William “Billy” Baird (John Polson), on a mission to get Chimera before Ambrose does.  Swanbeck also orders Hunt to add to his team a professional thief named Nyah Nordoff-Hall (Thandie Newton), who was, until recently, Ambrose's girlfriend.  Can Ethan trust Nyah, or has he gotten to close to her?  And is Ambrose more than a match for Ethan?

I divide the six Mission: Impossible movies into two trilogies.  Mission: Impossible (1996), Mission: Impossible 2 (2000), and Mission: Impossible III (2006) make up the first trilogy.  Mission: Impossible – Ghost Protocol (2011),  Mission: Impossible – Rogue Nation (2015), and Mission: Impossible – Fallout (2018) form the second trilogy.

That's just my personal thing.  M:I-2 is its own thing.  Directed by Hong Kong auteur, John Woo, the film features the hallmarks of Woo's directorial style, including his “bullet ballet” action sequences, stylized imagery, slow motion action and character drama scenes, Mexican standoffs, and fight sequences that recall the Chinese martial arts sub-genres “wuxia” and “wire-fu.”  However, the film doesn't really kick into high gear with some of Woo's best flourishes until its second half.

The first half of the film focuses on Ethan Hunt's obsession with Nyah Nordoff-Hall, which mirrors Sean Ambrose's obsession with her.  This “love triangle” allows Woo and his screenwriters to build tension between Hunt and Ambrose that explodes with jealousy and rage and eventually leads to a fight to the death.  M:I-2 may be the film in this franchise in which Tom Cruise's Ethan Hunt shares the most screen time with other characters, especially Newton's Nyah and Scott's Ambrose.

Anyway, the film really begins to rumble in the second half.  The last half-hour or so is a masterpiece of directing, film editing, cinematography, and stunt coordinators and stuntmen.  My high rating is mainly because of this exhilarating last act, which makes me want to see this movie again.

Tom Cruise was in his late 30s when Mission: Impossible 2 began filming, yet he looks much younger onscreen, about a decade or so (at least to me).  His long hair, that boyish grin, his immature and petulant anger and jealousy would be largely gone 19 months later when his trippy drama, Vanilla Sky (2001), arrived in December 2001.  So for me, Mission: Impossible 2 is a good-bye to the Mission: Impossible film franchise's beginnings.  The series would rapidly begin to morph with the third entry, and boyish Tom Cruise would finally give way to adult Tom Cruise.  At least, I now remember why I loved this film so much 23 years ago, and now, I want to see it again.

8 of 10
A
★★★★ out of 4 stars

Tuesday, July 11, 2023


NOTES:
2001 Image Awards (NAACP):  2 nominations: “Outstanding Supporting Actor in a Motion Picture” (Ving Rhames) and “Outstanding Supporting Actress in a Motion Picture” (Thandie Newton)


The text is copyright © 2023 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

--------------------------------





---------------------------------

Amazon wants me to inform you that the affiliate link below is a PAID AD, but I technically only get paid (eventually) if you click on the affiliate link below AND buy something(s).


Wednesday, July 5, 2023

Review: "65" is Lean, Mean, and Much Better Than I Expected

TRASH IN MY EYE No. 30 of 2023 (No. 1919) by Leroy Douresseaux

65 (2023)
Running time:  93 minutes (1 hour, 33 minutes)
MPA – PG-13 for intense sci-fi action and peril, and brief bloody images
WRITERS/DIRECTORS:  Scott Beck and Bryan Woods
PRODUCERS:  Scott Beck, Bryan Woods, Sam Raimi, Zainab Azizi, Deborah Liebling,
CINEMATOGRAPHER:  Salvatore Totino
EDITORS:  Josh Schaeffer and Jane Tones
COMPOSER:  Chris Bacon with Danny Elfman

SCI-FI, ACTION, THRILLER

Starring:  Adam Driver, Ariana Greenblatt, Chloe Coleman, and Nika King

65 is a science fiction action-thriller film from writer-directors Scott Beck and Bryan Woods.  The film focuses on a pilot and a young girl who fight for survival after their starship crashes on a mysterious planet.

65 opens on Planet Somaris.  There, a spaceship pilot, Mills (Adam Driver), convinces his wife, Alya (Nika King), that he should take on a two-year space expedition to earn the money needed to treat their daughter, Nevine (Chloe Coleman), who is suffering from a deadly illness.

Later, Zoic Exploratory Charter 3703 is deep into its journey when it is hit by a mass of asteroids and crash-lands on an alien planet.  The Zoic is damaged beyond repair, and Mills discovers that all the ship's passengers, except one, have been killed.  The other survivor is a young girl named Koa (Arianna Greenblatt), and she does not speak the same language as Mills.  Meanwhile, Mills has sent a distress beacon, and he has also discovered that the spaceship's escape shuttle is still functioning.  However, it is 15 kilometers away (a little over nine miles), resting on the side of a mountain.

Now, Mills and Koa must track across an unknown landscape that they discover is home to dangerous and aggressive creatures.  What the duo doesn't know is that this planet is actually Earth 65 million years ago, and the animals are dinosaurs.  Plus, another danger has followed Mills and Koa from space.

Once upon a time, 65 would have been referred to as a “high concept film,” which is a movie with a premise that can be easily pitched or summarized.  65 is written and directed by Scott Beck and Bryan Woods, the duo who wrote the initial story and screenplay that became the 2018 hit film, A Quiet Place, a high concept film.

65 turned out not to be the hit that A Quiet Place was, but I found it to be a hugely entertaining film.  Yes, it shares elements with another film about humans from another planet, crash landing on Earth, After Earth (2013), and also, Pitch Black (2000), which finds humans stranded on a mysterious planet and facing monsters.  Still, Beck and Woods have so tightly written and directed 65 that I found myself enjoying it even when I was questioning its plot and narrative choices.  For instance, the human characters seem surprisingly unsophisticated considering they come from a race that possesses the technology to span the stars.  Also, Mills uses tech that can track objects in space, but it doesn't have a simple translation app?

The intense dinosaur attacks really don't start until after the 38-minute mark of the film, and I think that serves the story well.  First, this gives the directors and the cast the opportunity to gradually depict the growing bond between Mills and Koa.  Secondly, making the audience wait for the baddest and the biggest dinosaurs can create a sense of anticipation that is satisfied when the most awesome “thunder lizards” finally arrive.

Some of 65's plot and action stretches credulity past the breaking point, but this movie is a pop corn thriller that would be a great choice for a movie night.  For families with children, this film is appropriate for teens, but it is a little too dark and violent and has adult subject matter that is a bit much for elementary school age and maybe even middle school age children.  I love it and give it an unqualified recommendation.  I plan on watching it again, and truthfully, I'm curious about the world/universe in which this film is set.  65 is not a 10, but as far as dinosaur movies go, I found it more fun and entertaining than Jurassic Park III (2001) and Jurassic World: Fallen Kingdom (2018).

7 of 10
B+
★★★½ out of 4 stars

Wednesday, July 5, 2023


The text is copyright © 2023 Leroy Douresseaux. All Rights Reserved. Contact this site or blog for reprint and syndication rights and fees.

------------------------------




-------------------------------

Amazon wants me to inform you that the affiliate link below is a PAID AD, but I technically only get paid (eventually) if you click on the affiliate link below AND buy something(s).


Friday, February 3, 2023

Review: "KNOCK AT THE CABIN" is Not Worth the Ticket Price; Stream It

TRASH IN MY EYE No. 6 of 2023 (No. 1895) by Leroy Douresseaux

Knock at the Cabin (2023)
Running time:  100 minutes
MPA – R for violence and language
DIRECTOR:  M. Night Shyamalan
WRITERS:  M. Night Shyamalan, Steve Desmond, and Michael Sherman (based on the book, The Cabin at the End of the World, by Paul Tremblay)
PRODUCERS:  Marc Bienstock, Ashwin Rajan, and M. Night Shyamalan
CINEMATOGRAPHER:  Jarin Blaschke (D.o.P.) and Lowell A. Meyer (D.o.P.)
EDITOR:  Noemi Katharina Preiswerk
COMPOSER:  Herdis Stefansdottir

FANTASY/THRILLER/HORROR

Starring:  Dave Bautista, Jonathan Groff, Ben Aldridge, Nikki Amuka-Bird, Rupert Grint, Abby Quinn, Kristen Cui, and M. Night Shyamalan

Knock at the Cabin is a 2023 fantasy, thriller, and horror film from director M. Night Shyamalan.  The film is based on the 2018 novel, The Cabin at the End of the World, from author Paul Tremblay.  Knock at the Cabin focuses on a small family of three and the four armed strangers who take them hostage and demand that the three members sacrifice one of their own … in order to stop the end of the world.

Knock at the Cabin introduces Andrew (Ben Aldridge) and his husband, Eric (Jonathan Groff), and their adopted daughter, Wen (Kirsten Cui).  They are vacationing at a remote cabin in the woods, but during their first day at the cabin, terror strikes.  Four strangers break into the cabin and tie up Andrew and Eric.

The strangers identify themselves as Redmond (Rupert Grint), Adriane (Abby Quinn), Sabrina (Nikki Amuka-Bird), and Leonard (Dave Bautista), the apparent leader.  Leonard explains that the Apocalypse is coming.  The oceans will rise, a plague will descend, and the sky will fall to the earth like pieces of shattered glass; then, there will only be unending darkness.  These horrors can only be averted if this family of three kills one of their own as a sacrifice.

Leonard tells Andrew, Eric, and Wren that if they do not chose, they will survive the Apocalypse, but they will be doomed to be the last people alive on a dead world.  Andrew and Eric believe that these people are delusional, and Andrew believes that this situation is rooted in bigoted hate against their family.  But bad things are starting to happen … all around the world...

I saw Knock at the Cabin just last night (as of this writing) at a Thursday night preview.  When the credits started rolling, I started laughing, not loud enough to draw attention, but I found that I had a hard time not laughing.  In Shyamalan's filmography, I have a personal favorite, The Lady in the Water (2006), and two films I enjoyed quite a bit, After Earth (2013) and Old (2021).  There are two movies that I thought were really good, but had ridiculous endings that ruined the movies for me, Unbreakable (2000) and The Village (2004).

Knock at the Cabin reminds me of 2010's The Last Airbender.  Both are films that are good concepts and that begin with good ideas.  Ultimately, however, both have something missing, or maybe a lot missing.  For instance, in Knock at the Cabin, Andrew and Eric are well-developed characters, and the actors playing them give performances that convinced me Andrew and Eric were in love and were a committed couple.  However, the flashbacks about their lives are more vague than they are informative.  Also, I was quite put-off by the fact that the couple lied to adopt Wen.

For an apocalyptic movie, Shyamalan is stingy with the apocalyptic imagery.  The tsunami was a little impressive; the plague was underwhelming; and the plane crashes were impressive … mostly.  When Leonard warn Andrew and Eric that not making a choice means that a hundred thousand people will die, it does not feel like a real threat.  And honestly, when a disaster is shown onscreen, it does not look like something that will kill a hundred thousand.  I think Shyamalan wanted to play it cute with Leonard and his companions for the audience.  Maybe, they are deranged and delusional.  Maybe, the disasters are a coincidence.  It's when I thought that maybe the Apocalypse is real, but Leonard and company are too crazy to do their part correctly that I knew this film had story development issues.

As an end of the world scenario, Knock at the Cabin doesn't have real traction.  Yes, the actors give good performances, especially Dave Bautista as Leonard and Nikki Amuka-Bird as Sabrina.  However, all the actors are mouthing nonsensical dialogue for a narrative that can't quite escape being ludicrous.  I think that the actors are more convincing about Knock at the Cabin's story that Shyamalan and his co-screenwriters are.  If not for the cast, I would give this film a lower grade that the one I ultimately gave it – maybe much lower.

There are better films about a small group of people trapped in a remote cabin and fighting off supernatural doom, such as The Evil Dead (1981) and Cabin in the Woods (2011).  Shyamalan has a reputation for revealing a big twist at the end of his films.  In Knock at the Cabin, the big twist is that there is no big twist.  I didn't want there to be one, but now I believe that a big twist would have made Knock at the Cabin feel like more than a meaningless story and empty cinematic experience.

4 of 10
C
★★ out of 4 stars

Friday, February 3, 2023


The text is copyright © 2023 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

--------------------------





--------------------------

Amazon wants me to inform you that the affiliate link below is a PAID AD, but I technically only get paid (eventually) if you click on the affiliate link below AND buy something(s).


Thursday, November 17, 2022

Review: "THE INVITATION" is the Movie Invite You Don't Want

TRASH IN MY EYE No. 70 of 2022 (No. 1882) by Leroy Douresseaux

The Invitation (2022)
Running time:  103 minutes (1 hour, 43 minutes)
MPA –  PG-13 for terror, violent content, some strong language, sexual content and partial nudity
DIRECTOR:  Jessica M. Thompson
WRITER:  Blair Butler
PRODUCER:  Emile Gladstone
CINEMATOGRAPHER:  Autumn Eakin (D.o.P.)  
EDITOR:  Tom Elkins
COMPOSER:  Dara Taylor

HORROR/MYSTERY/THRILLER

Starring:  Nathalie Emmanuel, Thomas Doherty, Sean Pertwee, Hugh Skinner, Carol Ann Crawford, Alana Boden, Stephanie Corneliussen, and Courtney Taylor

The Invitation is a 2022 supernatural horror, mystery,and suspense thriller from director Jessica M. Thompson.  The film focuses on a young woman who is swept off her feet by the chance of meeting members of her long-lost family, who are mysterious and odd.

The Invitation opens in New York City and introduces struggling artist, Evelyn “Evie” Jackson (Nathalie Emmanuel), who is still dealing with the recent death of her mother.  She and her best friend, Grace (Courtney Taylor), make a living freelancing for a catering business.  Evie takes a DNA test from an online company called “UnlockYourPast” and discovers that she has relatives in England.  She meets one of those alleged distant English cousins, Oliver L. Alexander (Hugh Skinner) of London.  Oliver tells Evie that she is related to him via her great-grandmother, Emmaline, who created quite a scandal decades ago.  He also invites her to an upcoming family wedding in Whitney, Yorkshire, England.

Evie and Oliver eventually arrive at New Carfax Abbey where several connected families: the De Villes, the Billingtons, the Klopstocks, and the Alexanders, have gathered for the nuptials.  Evie meets many family members, including the alluring Walter De Ville (Thomas Doherty), who seems to be the focus of everyone's attention.  However, Evie does not meet the bride and groom.  Before long, Evie discovers that not only is New Carfax a strange place, but also that the gathered family members are both eccentric and full of mystery.  It is a mystery that Evie must solve before she falls prey to the four families' darkest secrets.

The Invitation is a vampire movie and not a very good one.  The main reason is the vampire characters.  The film is inspired by author Bram Stoker's 1987 Gothic novel, Dracula.  Film vampires can be alluring and attractive, and they can often be the audience's favorite characters, although they are monsters and are often film villains.  The Invitation's vampires are not alluring and are mostly caricatures of the British upper class or assorted versions of Euro-trash.

The Invitation is not a very good horror movie simply because it is not scary.  Bumps in the night, shifty shadows, random yelps and screams, etc. are more annoying than chilling.  Evie is way too careless and clueless.  I understand that there are plenty of people in the real world who are not wary, who don't understand that when things seem too good to be true, they usually are too good to be true.  In this movie, the extent of Evie's lack of common sense is simply too much; it's irritating.

Also, I don't think that it is a coincidence that Nathalie Emmanuel, the actress who plays Evie, really resembles American actress Meghan Markle.  You know Meghan, right?  She married into an old British family that has its share of conspiracies and family members who are snobs, crypto-racists, and monsters.

The last twenty minutes of The Invitation – before the credits – are actually quite good, but by then it is too late.  I get why the studio and filmmakers would try to hide the fact that this film involves vampires as deep into the running time as they could.  Vampire films generally under perform at the box office, even good ones, which The Invitation is not.  Honestly, the last few minutes of this film could be used as the starting point for an even better film.  I cannot recommend The Invitation, and I want to discourage you, dear readers, from watching it if you have to pay to do it.

3 of 10
C-
★½ out of 4 stars

Tuesday, November 16, 2022


The text is copyright © 2022 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for syndication rights and fees.

--------------------------




--------------------------

Amazon wants me to inform you that the affiliate link below is a PAID AD, but I technically only get paid (eventually) if you click on the affiliate link below AND buy something(s).


Friday, October 28, 2022

Review: Idris Elba and the Lion Be Beastin' in "BEAST"

TRASH IN MY EYE No. 65 of 2022 (No. 1877) by Leroy Douresseaux

Beast (2022)
Running time:  93 minutes (1 hour, 33 minutes)
MPA – R for violent content, bloody images and some language
DIRECTOR:  Baltasar Kormakur
WRITERS: Ryan Engle; from a story by Jaime Primak Sullivan
PRODUCERS:  Baltasar Kormaku, James Lopez, and Will Packer
CINEMATOGRAPHERS:  Philippe Rousselot and Baltasar Breki (D.o.P.)
EDITOR:  Jay Rabinowitz
COMPOSER:  Steven Price

THRILLER

Starring:  Idris Elba, Iyana Halley, Leah Sava Jeffries, and Sharlto Copley

Beast is a 2022 wildlife thriller film from director Baltasar Kormakur.  The film focuses on a widowed father and his two teenage daughters who must fight for survival after they are attacked and stalked by a rogue lion.

Beast opens in South Africa.  Recently widowed Dr. Nathaniel “Nate” Samuels (Idris Elba) and his teenage daughters, Meredith “Mare” Samuels (Iyana Halley) and Norah Samuels (Leah Sava Jeffries), travel to South Africa for a vacation.  They arrive at the Mopani Reserve where Nate reunites with his old friend and dear family friend, Martin Battles (Sharlto Copley), a biologist and manager of the Mopani Reserve.

Nate was recently widowed when his wife, Amahle, died of cancer, and he is somewhat estranged from his daughters.  Mare is argumentative and rebellious, and Norah is sensitive.  Both girls are bitter about the separation of their father and late mother prior to the latter's death.  Nate hopes that this trip will help him to reconnect with his daughters.

On the second day of the trip, Martin takes the Samuels to the reserve's restricted areas.  Along the way, they encounter an injured man that has apparently been mauled by a lion.  That same lion attacks again, and suddenly, Nate and his daughters are trapped in their vehicle.  Stranded in a remote area inside a damaged vehicle, Nate must find a way to save himself and his daughters from a bloodthirsty rogue lion that does not stop stalking its prey until it they are dead.

First, I wish that I'd seen Beast on a movie theater screen.  Secondly, the mini-melodrama between Nate and his daughters did not interest me.  I found Mare and Norah to be often irritating, and more than once, they made their plight against the lion worse.  Beside that subplot, the film is well written.  There are certainly enough death-defying moments to keep the viewer's attention on the film.

Still, Beast is very well directed and edited.  As soon as Martin, Nate, Mare and Norah leave Martin's home, director Baltasar Kormakur begins turning up the heat.  Before Beast becomes a full-on survival thriller, Kormakur makes it a riveting suspense thriller as the story moves about the reserve, visiting a local pride and moving on to a small village.  That's where the movie explodes, and the rest of the way, Beast is a gripping, edge-of-your-seat thriller.  Honestly, I feel like the film mesmerized me, and I certainly didn't think that I would end up liking it as much as I did … and still do.  I can see myself watching it again.

In addition to having a great monster – the rogue lion, Beast also has a great actor and true movie star, Idris Elba, as its lead.  Elba has that kind of big screen magic that can make the viewer want to vicariously experience a movie through him.  I certainly found myself following his every step, living through the obstacles and threats to Nate Samuels' very life.  Elba also convincingly plays a medical doctor and a loving and patient father, especially to two stubborn daughters.  So Beast has a lion of an actor and movie star to go along with its killer super-lion.  Both will make you feel as if you need to catch your breath, dear readers.

7 of 10
A-
★★★½ out of 4 stars


Friday, October 28, 2022


The text is copyright © 2022 Leroy Douresseaux. All Rights Reserved. Contact this site or blog for reprint and syndication rights and fees.

--------------------------



--------------------------

Amazon wants me to inform you that the affiliate link below is a PAID AD, but I technically only get paid (eventually) if you click on the affiliate link below AND buy something(s).


Sunday, September 11, 2022

Review: In "THE BLACK PHONE," the Children Answer the Call

TRASH IN MY EYE No. 52 of 2022 (No. 1864) by Leroy Douresseaux

The Black Phone (2022)
Running time:  103 minutes (1 hour, 43 minutes)
MPA – R for violence, bloody images, language and some drug use
DIRECTOR:  Scott Derrickson
WRITERS:  Scott Derrickson and C. Robert Cargill (based on the short story “The Black Phone” by Joe Hill)
PRODUCERS:  Jason Blum, Scott Derrickson, and C. Robert Cargill
CINEMATOGRAPHER:  Brett Jutkiewicz (D.o.P.)  
EDITOR:  Frédéric Thoraval
COMPOSER:  Mark Korven

HORROR/CRIME/MYSTERY/THRILLER

Starring:  Mason Thames, Madeleine McGraw, Jeremy Davies, E. Roger Mitchell, Troy Rudeseal, James Ransone, Miguel Cazarez Mora, Rebecca Clarke, Tristan Pravong, Brady Hepner, Jacob Moran, Banks Repeta, and Ethan Hawke

The Black Phone is a 2022 supernatural horror, mystery,and crime thriller from director Scott Derrickson.  The film is based on the short story, “The Black Phone,” from author Joe Hill.  The story was first published in the The 3rd Alternative No. 39, the Autumn 2004 issue of the former British horror magazine.  The Black Phone the movie focuses on a teen boy who is abducted by a child killer and imprisoned in a basement where he starts receiving phone calls from a disconnected phone.

The Black Phone opens in North Denver, 1978.  A presumed serial killer, nicknamed “The Grabber” (Ethan Hawke), has been prowling the streets of a particular Denver suburb and abducting teenage boys.  Shortly after the film begins, a boy named Bruce Yamada (Tristan Pravong) disappears and is presumed a victim of The Grabber.

Teen Finney Blake (Mason Thames) lives in this North Denver suburb with his younger sister, Gwen Blake (Madeleine McGraw), and their abusive, alcoholic, widowed father, Terrence Blake (Jeremy Davies).  At school, Finney is frequently bullied and harassed, but he has struck up a friendship with a classmate, Robin Arellano ( Miguel Cazarez Mora), who fends off the bullies.  Then, the Grabber gets Robin.

Meanwhile, Gwen, who has psychic dreams like her late mother, dreams of a masked man who drives a van and kidnaps Bruce, leaving black balloons in his wake.  Then, Finney has a violent encounter with the Grabber.  Finney awakens in a soundproofed basement where the Grabber has imprisoned him.  On the rear wall is a black rotary phone that the Grabber says does not work.  The black phone is supposedly disconnected, but later, the phone rings.  When Finney answers it, he here's a familiar voice – a voice of one of the Grabber's victims.  Now, Finney must rely on the instructions of ghosts, his own shaky bravery, and (unknown to him) the dreams of Gwen if he is going to survive the murderous plans of a maniac.

I have not read the short story, author Joe Hill's “The Black Phone,” upon which this film is based.  [I have read Hill's 2013 novel, NOS4A2, and his 2019 short story and novelettes collection, Full Throttle.]  Not reading the short story did not stop me from enjoying The Black Phone the movie, for the most part.

It takes a bit to really get into the nonsensical scenario:  a guy drives around in a pitch black van, snatching kids in the middle of the day, practically right out in the street, and no one sees a thing.  However, co-writer/director Scott Derrickson and co-writer C. Robert Cargill thrive on generating scares out of ridiculous scenarios, such as in their 2012 creepy horror film, Sinister.  Truthfully, horror films should not necessarily make sense; whether the film is driven by a killer, demonic possession, or haunting, horror films are a fantastic scenario.  Scary movies should not be logical or perhaps, be somewhat illogical.  Still, until the Grabber grabs Finney, I was not invested in the film, although I was already feeling some fear.

That said, the children are the stars of this film, especially the siblings, Finney and Gwen Blake.  Finney tries to find answers in the mysterious phone calls he receives on the disconnected black phone.  Gwen battles her own doubts even as she deals with an abusive father who is afraid of what will become of her and her abilities, to say nothing of the two police detectives who must come around to believing her visions.

The Black Phone is one of those times when both a boy and a girl come of age and undergo the heroic journey at the same time in the same movie.  That makes the struggle and victory all the more satisfying.  Mason Thames as Finney and Madeleine McGraw as Gwen are convincing as both the heroes and as the sensible ones.  They make The Black Phone's last act visceral and invigorating, and dear readers, you will vicariously fear for your life, which makes the resolution so, so satisfying.  It is rare that I cheer the end of a horror movie, but I did it for The Black Phone.

7 of 10
A-
★★★½ out of 4 stars


Saturday, September 10, 2022


The text is copyright © 2022 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for syndication rights and fees.

-----------------------



-----------------------

Amazon wants me to inform you that the affiliate link below is a PAID AD, but I technically only get paid (eventually) if you click on the affiliate link below AND buy something(s).