Archive for October, 2017

The Babysitter Movie Poster*** This review may contain spoilers ***

A funny, popular babysitter is actually a cold-blooded killer who’s in league with the Devil and a teenage boy who finds out the truth must stop her and her friends or end up dead himself.

With a surprise twist reveal (if you’ve not seen the trailer) when a spin the bottle game turns into murder McG’s fast paced offering, works as fun horror comedy in the vein of Tucker and Versus Evil. Judah Lewis’ is excellent as Cole, the 12 year old madly in love with his babysitter Bee played feistily alluring by Samara Weaving. As Cole picks off in a MacGyver, A-Team, Kevin Macalister fashion Bee’s murderous 80s-like stereotype friends, a cheerleader, a jock and so on.

McG’s slick direction is chock-full with comic book gore. The action setups in the everyday American suburban neighbourhood setting reminiscent of the Burbs, E.T, Poltergeist and the like gives this a nostalgic atmosphere. Brian Duffield’s script is packed full of horror homages and Scream self-aware dialogue, that said Duffield refreshingly doesn’t explain every detail about Bee’s motivations, how’s and whys about her magic text and sacrifice secrets saving it for a possible sequel.

Great for teenage boys and girls who love gore and Home Alone style kills and old school film goers who enjoy slasher horrors.

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Knock Knock Movie Poster***This review may contain spoilers ***

Two stranded women reveal a sinister agenda after they spend the night with a married architect and turn his life upside down.

Refreshingly it’s not an on the nose torture horror or full on home invasion film, but it’s a punchy enough moral yarn with a wicked ominous tone. Director/writer Eli Roth uses the remote suburban single location to full effect and Knock Knock never feels repetitive. It also has a warning about fidelity, sheltering strangers and social media usage.

Ana de Armas, and Lorenza Izzo on fine form switching between sexy, innocent and menacing effortlessly as they torment Keanu Reeves’s Evan. While Reeve may not give his best performance throughout he more than makes up for it in the closing act. Roth manages to keep the stakes high without full on exploitation using some slick direction and both Izzo’s Genesis and Armas’ Bel reveal snippets of their character motivations while leaving plenty to the viewers imagination.

Intense and unnerving with a Roth staple downbeat ending. Based on Death Game (1977) if you enjoy the likes of Bad Influence, Fatal Attraction, Pacific Heights, Unlawful Entry to name a few with the modern edge of Hostel this is a must see.

Revolt (2017) Review

Posted: October 31, 2017 in FILM REVIEWS/COMMENTS
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Revolt Movie PosterTwo survivors of an alien onslaught join together to survive.

If you enjoyed The Dead (2010) for its setting and location and Skyline (2010) for its aliens, Revolt director Joe Miale presents a similar feel but a on a bigger budget and with slicker camera work as the foreigner aid worker Nadia and American solider Bo journey though alien invaded Africa.

As Bo and Nadia become allies they encounter ruthless military, poachers and robot aliens. With plenty of shootouts and action sequences, notably a segment in a classic car where are chased down by alien hordes. Moon Bloodgood-alike Bérénice Marlohe is impressive as Nadia and grounds the film. Lee Pace does a good job as amnesia suffering soldier Bo. Excellent Jason Flemyng shows up in a brief but plot pivotal role. Played straight the acting is good along with the music on the gritty location settings. The effects are impressive and the robot alien design is quite good.

While there’s very few original elements it’s the way it’s put together is impressive,this is no Syfy channel looking TV offering. While not as hard hitting as Monsters 2, Miale gives us a war-torn road trip story about the human spirit, internal change, sacrifice in the vein of War of the World and District 9.

Overall, worth checking out if you enjoyed the previous mentioned films and serious toned invasion films.

*** Warning this review contains major skin job spoilers ***

2049, a blade runner for the Los Angeles Police Department, unearths a secret that has the potential to plunge a company and department into chaos.

Without drawing too many comparisons to Ridley Scott’s 1982 classic, director Denis Villeneuve’s neo-noir science fiction film is powerful, atmospheric and like its predecessor mostly likely not an instant classic but a slow burning grower. All the lights are out at the Tyrell building and the weather is more unpredictable than ever before with snow, dust storms on top of the usual expected rain. Even though Hampton Fancher and Michael Green screenplay follows the excellent Ryan Gosling’s character officer K later Joe it’s very much a film about Harrison Ford’s Rick Deckard and Nexus 6 Rachael. Both the advancement in A.I. relationship element is focused upon here as well the expected replicants memories, relationships, life spans and more importantly reproductive system.

Packed with excellent performances, notably limited screen-time from Jared Leto, Robin Wright and Dave Bautista in brief but impressive subtle and violent appearance. Edward James Olmos also reprises his role as Gaff and with ease gives Gosling a run for his his money in the few minutes he appears on screen. Sean Young’s Rachel is also prevalent throughout, whether it be in dialogue, photos, voice recordings, skull and bones or a better than Rogue One’s Tarkin appearance with some jaw dropping, impressive computer generated wizardry film magic.

While Harrison’s screen presence sizzles Golsing carries the film well in amongst the mesmerising effects and earthly sets that are captured by veteran Roger Deakins’ cinematography. Hans Zimmer and Benjamin Wallfisch’s music is fitting and has all the Vangelis staples and expected moving horns and beats. To Villeneuve’s credit he achieves the almost impossible and that is to conjure up a sequel that doesn’t simply rehash, but builds on the first film as Golsing’s Joe goes about finding out what or who he really is and his purpose. As well as subtly answering questions about its predecessor, namely the fate of various characters, life spans and so forth it also leaves many fittingly unanswered. Up for speculation, interestingly not a plot point, without specifically saying so it hints that rule-abiding “Skinner”, “Skinjob” K, KD3:6-7, is possibly a younger version of retired Deckard B-263-54.

A must see, but expect a futuristic breadcrumb detective story with slight of hand memory tricks and a few twists rather the Gosling’s Joe hunting down and simply disposing/retiring Replicants.

*** This review may contain Spidey spoilers ***

Peter Parker tries to balance his life as an ordinary high school student in Queens but is put under threat when he tries to stop a criminal on his own.

Under Jon Watts’ direction Tom Holland capture’s the Peter Parker/Spiderman character nicely, the handfuls of writers inject Homecoming with the humour of source material. Here Parker is not a reporter yet, he’s still really a Spider-boy. Thankfully it’s not another direct origin story but Spidey is coming used to his new powers.

In this Marvel film universe Parker has an intelligent computer Iron Man-like suit, Karen, voice by Jennifer Connelly. The computer and Parker’s relationship makes for some genuine laughs. But it’s never clearly defined what Spidey’s powers actually are without Karen the A.I. suit, aside from strength and practical web-shooters. It’s great that his mask has visors, providing more expressiveness to his appearance like in the comics/cartoons, but we need more Spidey sense.

Watts has a lot of practical and causal suited up Spiderman but there’s still too much obvious CGI as appose to just wire replacement. The on location feel helps sell the environment and you buy into Parker’s world. Holland has the 70’s live action TV show likability of Nicholas Hammond and captures the spirit of Spiderman in the dialogue and action set ups but also the teen angst.

Without drawing too many comparisons, yes, it’s another actor, another Spiderman, while Tobey Maguire was a good actor, arguably Sam Raimi’s offerings struggled to capture the comic or cartoon feel. Although Andrew Garfield was perfectly cast and Marc Webb’s films were closer to the Parker we love, it wasn’t fresh enough coming in the shadow of the previous three. All suffered from a reliance on a CGI Spiderman and overlong paint by numbers story.

What Watts and writers do get right is the bad guy, Michael Keaton does a great job as grounded villain Vulture that offers a curve ball revelation in the last quarter. His character isn’t black and white, with bags of motivation and purpose.

As a nod to fans they also subtly introduce MJ and Flash is updated fittingly. There’s some Avengers jokes and the comedy in general hits the mark. Especially with Holland’s Michael .J .Fox toned quips and Parker’s Teenwolf-like high school insecurities and Superman identity crisis work. His sidekick friend Jacob Batalon’s Ned who offers some good comic relief. Uncle Ben is omitted. Stan Lee has an obligatory cameo.

Jon Favreau’s Hogan and Robert Downey Jr.’s Tony Stark/Iron Man do turn up a little too much and feel forced fan service in their extended cameos. Gwyneth Paltrow Pepper Potts briefly appears along with Tyne Daly. Bokeem Woodbine has notable screen presence as Tom Holland’s Shockers replacement. Also stick around for Keaton’s telling mid-end credits segment.

Overall, as a superhero film it’s good, as a Spiderman film it’s probably the best to date but not without it’s faults.

A survivor of a virus outbreak goes about finding more uninfected people to come to his sanctuary.

Director/writer Hamid Torabpour offers a competent low budget offering, with plenty of kills, CGI blood, hacking and shooting as survivors take down the zombie-like virus infected hordes. It’s played straight, the music, lighting, make up and locations add up to a solid enough production. While it bogs itself down and runs out of steam in the latter half Torabpour still puts in a nice little nihilistic twist in the closing.

It’s not a found footage type film like Zombie Diaries or Diary of the Dead. Zombies is an average low budget flick but sadly lost in the sea of substandard DTV zombie film hell. Produced by Cameron Romero (son of the late George A. Romero) it doesn’t reach the heights of his father’s work or the likes of The Dead or The Battery but thankfully this digital presentation has an almost film like feel appose to the abundance of bland camera work on VOD and SyFy that lack atmosphere.

Veteran horror actor Tony Todd bookends with a welcomed extended cameo as Detective Sommers. Lead Steven Luke’s Luke plays the subtler scenes well rather than the action segments. Notable is Amanda Day as Tala but most memorable is Raina Hein’s Bena. Despite sporting a zombie cliché killing weapon of choice bow Hein makes the most with what’s she’s given and offers much of the emotional clout.

Overall, looks good for the budget, don’t expect a classic and you may enjoy.