No Man of God (2021) Review

FBI analyst Bill Hagmaier and serial killer Bundy sit down to find out what makes a murder tick during Bundy’s final years on death row.

In a flurry of screen outings featuring Ted Bundy this is probably one of the better ones since Mark Harmon’s performance in
The Deliberate Stranger (TV Mini Series 1986). Even though a difficult feat, Luke Kirby as horrific Ted Bundy uncannily manages to evoke Bundy with an outstanding performance. Elijah Wood is likeable as Bill Hagmaier in a subtle and interesting outing. Both Robert Patrick and W. Earl Brown are notable in their small but pivotal roles.

Director Amber Sealey and writer C. Robert Cargill offer a fresh perspective on a well trodden subject. It very much hinges around one location focusing on both Bundy and Hagmaier interactions. With an on location feel Sealey keeping the camera work interesting, both
Wood (reminiscent of actor Nicholas Hammond) and Kirby pull off what could have been a static conversation piece. The two leads thankfully heighten the subject matter.

Overall, while not a definitive – Bundy and the murder of his victims film, it’s an insightful take on the horrific killer and overview of the inner workings of the justice system. Worth seeing for Wood and Kirby alone.

Fear the Walking Dead (2015– ) The Beacon Season 7 Episode 1. Review

Spoilers!

After the landscape was destroyed by nuclear warheads Victor Strand thrives in his new building but when a survivor crosses his path, connecting him to his past a journey changes his outlook with dire consequences.

Remember when spin-off Fear the Walking Dead put a fresh feel on The Walking Dead? Pre-apocalypse, then, on the sea and Mexico before becoming a carbon copy, mirroring its parent series with gangs and the like crossing characters unnecessarily waving under ratings and giving up its own identity? Thankfully, the outlandish ending of the sixth series resets Fear somewhat and in the opening of season seven, The Beacon, director Michael Satrazemis and writers Andrew Chambliss and Ian Goldberg (at last) return the series to former glory and form.

Opening with a fallout vibe echoing Hardware (1990) and Mad Max, following a new character wonderfully built up by Chambliss and Goldberg, Satrazemis delivers some creepy visuals reminiscent of the The Fog (1980). Actor Gus Halper is notable as Will and for good reason, likeable, akin to Nick Clark, as a viewer seeing his plight you root for him from the off, which adds to the genius move to pull the carpet from under the viewer’s feet, his sudden death offers an impact not felt for a long time. Here actor Colman Domingo shines, while it sadly lays out a path for Strand, that said, who knows maybe season 7 has more surprises.

It feels like a short film. This memorable story beat and setups coupled with the zombie action and outstanding effects; plus production values put this shoulders above other episodes, harking back to earlier series surprises. Overall, The Beacon is one of Fear the Walking Dead’s strongest and freshest episodes. Highly recommended.

Dune (2021) Review

Young Paul Atreides and his family accepts the stewardship of the planet Arrakis and gains control of a powerful commodity ‘Spice’ a power struggle ensues as the rival Harkonnen plot their revenge.

If you’ve read Frank Herbert’s novel, or seen the 1984 adaptation, and/or the Dune Mini-series (2000) it is difficult to look upon director Denis Villeneuve’s and Legendary Pictures lavish version with fresh eyes. Those brand new to Dune will no doubt have an incredible fresh experience. Others will enjoy watching story beats unfold.

To date this the definitive version of Dune, from the performances, writing and outstanding special effects to Hans Zimmer’s score; Villeneuve’s ambitious production is first rate. It’s a sobering and never lets up with a sense of urgency, by design lacking fun and swashbuckling action. The story explores politics, religion, ecology, technology, and human emotion, as the factions of the empire confront each other in a struggle for Arrakis and its spice. Personal intimate fight and battle scenes are effective. The grim atmosphere equals, if not surpasses the tangible moody experience of Blade runner 2049.

At times though it impresses more than entertains; some viewers not expecting a first act; but a complete story may find the pacing off. It’s inherent with the world building source material, writers Jon Spaihts, Eric Roth and Villeneuve struggle with this, as it feels like a prologue, or origin story as David Lynch’s version did, it can seem plodding without a pay off, especially if a sequel isn’t made, as if Lord of the Rings had stopped at Fellowship, Back to the Future at Part II or Empire Strikes Back had no Return of the Jedi. It is not made as a stand alone, feeling like a cliffhanger part two.

The stirling modern star studded cast ensemble cast including the likes of Rebecca Ferguson, Oscar Isaac, Josh Brolin, Stellan Skarsgård, Dave Bautista and Charlotte Rampling, Jason Momoa, Javier Bardem are impressive. Timothée Chalamet is notable as Paul Atreides.

Overall, Villeneuve and company deliver a vivid adaptation, an unnerving vision of the future, should the sequel not happen it’ll be a crying shame. Recommend.

Old Henry (2021) Review

A farmer defending an injured man from a posse has his true identity called into question.

From the opening director Potsy Ponciroli’s offering, you know your not having to sit through another glossy looking made for streaming looking western. It has a filmatic look with wonderful cinematography from John Matysiak. It’s centred around the homestead and every inch of location used, giving a feel of solitude and hopelessness. This with some old school editing by Jamie Kirkpatrick and Ponciroli’s visual flare and attention to detail echo Pale Rider and is reminiscent at times of modern great westerns, emulating The Unforgiven, with touch of the classics.

Complimented by Jordan Lehning music Stephen Dorff leaves an impression as Ketchum and showcase why he should be making more quality films. Old Henry is clearly Tim Blake Nelson’s vehicle, he gives a solid, steely performance.

Throwing in a few twist Ponciroli with his writing hat on leans on the tropes of the genre while not shying away from the harsh reality of the Wild West that all accumulates to a satisfactory conclusion. Recommend.

Halloween Kills (2021) Review

Spoilers!

After Laurie Strode, her daughter and granddaughter survive an attack from killer Michael Myers, they thought they killed him. However, when the masked man returns the Haddonfield community are pushed to the limits and try to take matters into their own hands.

Oozing with atmosphere and suspense director David Gordon Green follows Halloween (2018) giving us another well-deserved horror follow up to the 1978 original. It is very bloody with more graphic creative kills, stabbings, neck-snapping and foot-stomping head breaking terror to name a few. While all this plays out Green even manages to echo some of the best elements from the disregarded sequels. The humour (thankfully limited) is dark and done just right.

Donald Pleasence as Loomis is respectfully (with special effects wizardry) brought back in a ’78 flashback that reminds us how great he was, while also expanding on the original film. There’s also usage of clips from the Carpenter classic. Writers Green, Danny McBride, Scott Teems and Green echo some of the story beats and setups in previous outings, the local mob, the hospital, a twist on someone being mistaken for Michael. The icing on the cake is the return of a handful of original actors, including Kyle Richards as Lindsey Wallace, Nancy Stephens as Marion Chambers, Charles Cyphers as Leigh Brackett, it’s a fan dream. Some characters also return, even if played by different actors, they’re welcomed, effective additions. Notably Anthony Michael Hall as Tommy Doyle.

It’s played terrifyingly straight without cheap self-referentiality, the surprise ending offers weight. Although a little choppy and Michael’s injuries are a little over the top, it still is a sequel in the trustest sense with continuity joy to Halloween (2018), that coupled with the original is sure to satisfy fans.

Highly recommended.

Day of the Dead TV Series (2021–) Review

As a small town begins to be overrun with zombies a group of people must face the horror head-on.

One of the directors of the excellent The Void (2016) Steven Kostanski, delivers a reimagining of modern horror classic Day of the Dead (1985) with lacklustre results. Based on the opening episode, as a fresh-faced cast come face to face with the dead in a flashback, it glaringly is on a budget, which wouldn’t be a problem, or fall short of expectations if it wasn’t being sold as Day of the Dead.

The make-up effects and music are surprisingly effective. The cast do a fine job and appear to be having fun, Keenan Tracey, Daniel Doheny, and Natalie Malaika are notable.

It appears to utilise George A. Romero’s character names, akin to Day of the Dead (2008) but the tone is reminiscent of Night of the Living Dead 3D (2006) and Night of the Living Dead 3D: Re-Animation (2012), particularly the mortuary setups, with a touch of Return of the Living Dead Part II and Zombie Night (2013).

Greddy town officials and workers are straight out of Forest Of The Dead (2007). Shoehorning in every trope in the genre, writers Jed Elinoff and Scott Thomas offer a new slant with the dead body chained in a cavern but the production appears to be SYFY cynical attempt to cash in on a classic. Plodding, familiar and falling short as both a homage and a gimmick. There are debatably better or certainly enough TV zombie series of varying degrees of quality already out there. Kostanski can and has delivered imaginative and resourceful work; but this sadly and surprisingly isn’t one of them.

As a low budget zombie TV series, it is adequate, but as a series connected to Romero’s work, it’s extraordinarily empty.

The Muppets Haunted Mansion (2021) Review

Believing they’re going to a celebrity bash, Gonzo and Pepe The Prawn spend the night in a haunted mansion.

While it hasn’t all the dynamics of a film, it excels as at TV movie, director Kirk Thatcher utilising some clever modern technology and virtual sets delivers a sterling production. This tonally line films from the past including Muppets Treasure Island and A Muppets Christmas Carol. It has all the the charm, fun and wit you’d expect from The Muppets. Those who love the Disneyland attraction of the same name will find this a blast with its surprises and Easter eggs all the way through.

Although Rizo the rat only appears in paintings (his character being retired due to some off screen issues), Pepe is a good stand-in/replacement having grown a fan favourite over the years. The performers, voice actors, crew, writers and Thatcher bring all Jim Henson favourites to life; from Kermit to Miss Piggy, Scooter to Rowlf the Dog and everyone in-between. Even adding some genuinely likeable new ghost characters too.

Just like the original Muppet Show it delivers a real family experience. Will Arnett is great throughout as they encounter all kinds of Muppet-inspired ghouls, celebrity cameos including, Taraji P. Henson, Yvette Nicole Brown, Danny Trejo (who appeared in Muppets Most Wanted) and Ed Asner in one of his final roles.

The Muppet version of The Haunted Mansion thankfully delivers all The Muppet goodness we love. Sharp, punchy, brilliant. It’s The Muppets!

The Many Saints of Newark (2021) Review

When Dickie’s father with his new Italian wife, Giuseppina arrive in the USA, his life is turned upside down as he struggles to manage both his professional and personal activities.

Alan Taylor is vindicated after the diabolical Terminator Genisys and offers the fastest, sharpest ride in recent gangster film history. Offering a hard-hitting at times stylish film.

Both Tony Soprano and the organised crime takes a backseat in some respects focusing on the other characters. Even if you’ve not seen The Sopranos TV series, you would have heard of it. Keeping Tony not centre focus works especially watching The Many Saints of Newark as a stand alone.

All of the performances are first-rate. Alessandro Nivola gives a standout performance a Dickie Moltisanti. Ray Liotta playing duel twin brothers roles “Hollywood Dick” Moltisanti and Salvatore “Sally” Moltisanti, reminds us why he is so great. Liotta shines with his seemingly unscripted manner.

Yes, there are few clichés, spurts of violence, the obligatory GoodFellas-like voiceover that has become synonymous with gangster films. It echoes Carlitos Way in some respects; but from the present day camera passover graves to the 1967 riot setting and early 1970s Taylor offers some great cinema-and also a good time. It really works by avoiding the ‘business’ which has been seen before from The Godfather to The Irishman and everything in between; the writers refreshingly go out of there way to avoid as many tropes as possible.

It has a big budget on location feel. Production values and music are on point. Its scale and setting is rich and the story subtle and engaging. While Moltisanti’s stone walling Tony’s feels rushed and the ending abrupt – especially if you’ve not seen The Sopranos. With Jon Bernthal’s limited screentime as Johnny Soprano it is as if it’s setting up another film sequel.

One of Taylors best films, great entertainment.

No One Gets Out Alive (2021) Review

Possible Spoilers.

A young undocumented immigrant enters a supernatural nightmare after moving into a rundown boardinghouse in Cleveland.

Director Santiago Menghini offers plenty of chills, thanks to mysterious and world building back stories for all the main players and the supernatural force. The screenplay by Jon Croker and Fernanda Coppel is based on the 2014 novel by Adam Nevill works well for the most part in terms of realism.

It benfits from a filmed on location feel. Leads Cristina Rodlo and Marc Menchaca are notable and the supporting cast are solid. The socially commentary is thankfully not too on the nose. It’s creepy and effective when it’s being played as a haunting psychological horror, here Rodlo shines, however, it loses its edge when it goes Hostel-like with heavy hitting violence.

Overall, Menghini delivers a well crafted, yet, mixed bag of tricks. Worth viewing.