Krull (1983) Review

On the planet Krull, the Beast entity from his mountain-like spaceship called the Black Fortress sends his army of Slayers to kill the kings, destroy their armies and kidnap Princess Lyssa. Prince Colwyn joins forces with a band of unlikely allies to try and defeat the Beast.

Peter Yates delivers an ambitious sci-fi/fantasy with magic, fantasy, and heroic deeds. Many of the special effects are impressive, and those that don’t are of the time. The make-up also holds up quite well. It’s a visually creative production and overall well made. At times it echoes Excalibur mixed with Hawk the Slayer but is overall better than the latter. Memorable scenes include an eerie evil doppelgänger wizard (played by the excellent John Welsh), banshee-like seduction and a giant (stop-motion) spider. The film score by James Horner is iconic, complementing sci-fi and fantasy themes, giving the film a grandiose weight.

The cast is an array of familiar faces, including Liam Neeson, Robbie Coltrane and Todd Carty (Eastenders) in supporting roles. Lysette Anthony has little to do unfortunately but lights up the screen as Lyssa. Led Ken Marshall is impressive as Colwyn and is slightly ahead of his time. Memorable are both David Battley as Ergo the shapeshifter and Bernard Bresslaw’s Rell the Cyclops. Like Welsh, Alun Armstrong is on his usual reliable acting form as Torquil.

At times Yates direction is heavy-handed, possibly due to some editing choices with over length scenes where really nothing is going on. Stanford Sherman writing is a little thin, the sci-fi elements feel a little shoes-horned, either to cash in on Return of the Jedi and/or to distant itself from Lord of the Rings. That said, there are stunning visuals and great costume design notably of the Slayers. Many of the sets are spectacular, the on-location scenery also adds credence and atmosphere to the fellowships’ journey.

Overall, it bests the endless recent DTV CGI low budget films of its genre. It’s not as fun as it should be; but it is sword sorcery fantasy comfort food, with just the ingredients to rightly make it a cult favourite.

Ghostbusters: Afterlife (2021) Review

Spoilers!

When Egon’s estranged daughter, and her two children, Trevor and Phoebe move to Egon’s farm they find Gozerian cultist Ivo Shandor’s entities have been eager to wreak havoc on the town.

Director Jason Reitman successfully pulls off the impossible by offering a mix of revival and nostalgia while bringing a proper sequel of Ghostbusters to the screen. It’s a fine production that benefits from an on-location feel, with some impressive special effects and a fitting score. While it wonderfully lays down the setup and expertly builds the new characters it closes the chapter on the unfinished business of the first Ghostbusters with more nods and homages to ghostbusters 1984 than you can shake a stick at. Visually there are stacked books, arms poping out of chairs, spores moulds and fungus to name a few. There’s a little fridge logic with the Stay-Puft Marshmallow Men, the inclusion of the Terror Dogs; makes perfect sense as it follows some story beats of the source material. For diehard fans there’s bug eye ghost, from the cartoon and toyline, the Ecto 1 swing out gunner chair and other franchise connections.

Thankfully, there’s less on the nose gag comedy than the 2016 reboot, this goes back to the ground feel of the original. There’s also very little reference to Ghostbusters II. That said, while not as witty as the original, writers Gil Kenan and Reitman do a pretty good job of nailing the tone and story beats to feel part of the same world. One quibble is that the writers seem to double handle the exposition of how and why the Spenglers arrive at the house. The first introduction scene to the family and the landlord is needless, and spoils the character-building moments further on making it slightly redundant. As it offers nothing to what we don’t discover later on.

With echoes of the Goonies, due mainly to its likeable, engaging young lead actors. Mckenna Grace shoulders the film and is outstanding as the lead. The action sets up are sparce but when they do happen their skillfully handled. Both Paul Rudd and Carrie Coon offer solid support. Rudd has a memorable supermarket encounter, while Coon Extended cameos from the original actors is a joy when Ray arrives with Peter Venkman and Winston Zeddemore to aid the Spenglers. Olivia Wilde , with some great SFX and costume design, brings Gozer the Gozerian to life and does her best to capture original physical performance. J. K. Simmons appearance as Ivo Shandor is short and sweet. Annie Potts as Janine Melnitz shows up early on briefly and makes perfect character sense.

The third act is an absolute Ghostbusters fan’s dream. Bill Murray, Dan Aykroyd, Ernie Hudson are on form but what is impressive is how they fittingly bring Harold Ramis posthumously back as Dr Egon Spengler. Keeping him fittingly silent, or it would have spoiled the earlier encounters and also respectful to the actor. Only Rick Moranis’ Louis Tull is missing.

Jarring and arguably oddly placed dedication to Ramis aside, it’s a pity the mid-credit scene which features a humorous cameo from Sigourney Weaver as Dana Barrett and a tacked on after credit scenes were not made part of the main film. A total shame. Both Winston and Janine feature in the after credit scenes, (including a deleted scene from the original Ghostbusters) where Egon and Janine appear in a flashback of sorts teasing a sequel.

Overall, an entertaining fitting sequel, while closing a chapter of the Ghostbusters past, Reitman manages to set the ball rolling for a sequel with endless possibilities.

Red Notice (2021) Review

Two thieves and a disgraced special agent find themselves thrown together to find Cleopatra’s three bejeweled eggs.

Director Rawson Marshall Thurbe delivers a never ending self aware, criminal comedy hi jinx and shenanigans part pink panther, part Indiana Jones, all twists and scores.

Leads Dwayne Johnson, Ryan Reynolds and Gal Gadot are perfect in this mindlessly slick, fast-paced action thriller. Yes, it’s derivative, laced with clichés pointless twists but it breezily skips along like the likes of The Mummy (1999), The Tourist, mixed with the National Treasure films. With a cameo and Ed Sheeran you know who this is aimed at. With music by Steve Jablonsky, reminiscent of a James Bond score, modern tracks are thrown in for good measure. As with the film itself it tries to tick every box and hit every demographic.

Overall, fun, fast-paced and frequently amusing, Rawson offers a sickly sweet competent film, you’ll either love it or hate it.

Wrath of Man(2021) Review

A man who starts working for a cash moving truck company becomes known for his amazing dexterity to stop robbers. However, he is actually there for a whole other reason.

It must be said I thought Revolver was underrated, a thought provoking arthouse-like gem and Lock, Stock and Two Smoking Barrels outstanding. Here Guy Ritchie is on directing fine form, but writers Ritchie, Ivan Atkinson and Marn Davies offer more of a conventional styled film, less style, snappy dialogue and story telling. It’s pretty straightforward aside from flashbacks. At one point it almost sways you to feel for the criminals warped motivation, akin to The Rock.

The cast are fantastic, notable are Holt McCallany as Bullet and Josh Hartnett. There’s alsofitting cameo by Post Malone. Scott Eastwood and Andy Garcia deserve a mention but are sorely underused. Darrell D’Silva and Babs Olusanmokun steal every scene as Hargreaves’ henchmen. But of course Jason Statham shines as the perfect antihero. He’s at the top of his game here especially in the acting department, oozing on screen presence.

It loses momentum in the closing and slightly falters with a somewhat anticlimactic ending especially when compared to the fantastic first two acts. It never reaches the heights of The Gentleman or some of his earlier work. That said, Wrath of Man compared to other films in the revenge sub-genre – it ranks highly. Although it seems to recycle Die Hard with a Vengeance original low key ending.

Overall, a slick revenge heist thriller, just don’t go expecting the twists and style synonyms with Ritchie.

No Time to Die (2021) Review

Spoilers!

Bond must stop a deadly DNA encoded virus from being unleashed on the world.

Director Cary Joji Fukunaga offers more Bond distinguishable action-adventure but gone is the pretentious staging of the last two films, this feels less stifled and sterile, with a little more casual tongue in cheek humour synonymous with the old Bond outings. That said, writers Neal Purvis, Robert Wade, Fukunaga and Phoebe Waller-Bridge deliver a high stakes plot. This outing is wonderfully produced and executed, with high production values, without upstaging 007. There’s plenty of callbacks, including music cues, nods particularly to On Her Majesty’s Secret Service, a Bond fan’s dream.

Familiar characters return, including actors Ben Whishaw, Naomie Harris, Jeffrey Wright, Rory Kinnear and Ralph Fiennes reprising their roles. Ernst Stavro Blofeld is the key to the plot, but like its predecessor is sorely underused given Christoph Waltz acting talents. Notable is Rami Malek and Ana de Armas is particularly memorable. Léa Seydoux is even better here. Daniel Craig is on form, the one-liners are as on point as his energy and delivery.

Every Bond troupe, huge sets, larger than life villains, gadgets, everything Bond-like you can imagine is present and correct, and that series familiarity is not a bad thing, there are also plenty of fresh story twists, locations and new characters.

No Time To Die’s impactful ending is polarising, however, it unquestionably and uniquely bookends Casino Royale and Craig’s first outing as the title character, it allows a clean slate for the next actor and producers, as the James Bond films of the past (when they stopped using Fleming’s book titles) including this one states, ‘James Bond Will Return’.

Overall, thanks to an engaging story and Cary Joji Fukunaga directorial eye, Daniel Craig bows out on an all-time almost impossible high. Highly recommended.

Exposed (2016) Review

An investigation into a cop’s death, uncovers a multitude of horrible secrets.

Directed by directed by Gee Malik Linton (under the pseudonym of Declan Dale) due to studio interference, Exposed is a wonderful looking, well acted hit and miss affair. Those new to twist driven dramas will get a thrill out Linton’s offering, while others will see the two main reveals coming a mile away and find unfolding of the payoff somewhat frustrating. That said, there’s plenty to enjoy, from solid performances to Linton’s splashes of semi-surreal imagery on a realistic backdrop.

The supposing cast are great. It’s very much Ana de Armas film and while Keanu Reeves as Detective Scott Galban is present there’s little for him to do. Christopher McDonald and Mira Sorvino also appear but notable is Big Daddy Kane who is outstanding as Black. Gabe Vargas Deserves a mention. Linton includes a strong social commentary about abuse, street crime and corruption through out.

Overall, visually arresting with a gritty atmosphere but don’t expect the usual paced thriller despite the great cast involved.

Amsterdamned (1988) Review

After a series of gruesome killings around the canals of Amsterdam, a police detective sets out to capture the monster before he’s taken off the case.

If Frantic (1988) captured a snapshot of Paris, Dick Maas’ offering does the same for Amsterdam. It’s a paint by numbers slasher, a series of kills strung together with a likeable lead Huub Stapel as hardboiled detective Eric Visser, great locations and setting.

Amsterdamned is an everything but the kitchen sink slasher, point of view shots, blood, severed body parts, an original killer and memorable scenes including a body hanging from a bridge, then being dragged along the roof of a boat in front of tourists and schoolchildren. There’s also actress Leontine Ruiters’ knife attack in a rubberboat, reminiscent of A Nightmare on Elm Street’s bathtub moment. Even a Miami Vice inspired speedboat chase is thrown in for good measure.

Yes, it’s of its time, what would have been seen as bold, hot and steamy, now looks sleazy and sexist; but it is what it is. Yet, double standards of sorts, as no one bats an eyelid at the multitude of reality TV and gratuitous TV shows that makes this look tame in comparison. The pace, editing and staging is of its day, perms, tape players, it is a time capsule of joy. Fom shop assistants to tourists guides and protitutes there’s frowned upon eye-candy littered throughout. Lead Monique van de Ven doesn’t just play the damsel in distress and gets to also dish out some violence. It benefits for an on-location look, the nighttime scenes offer some great atmosphere along with some solid makeup effects. Mass sets up a killer monster in the first act and manages to offer a twist ending, restraining himself of a double bluff twist.

Overall, worth watching not just for nostalgia but the novel killer idea.

The Possession of Hannah Grace (2018) Review

A former policewoman encounters the supernatural while working a nightshift at a morgue.

Director Diederik van Rooije offers a clinical atmospheric setting for an intriguing series of scares that works due to likable Shay Mitchell as Megan. Often overlooked is notable Kirby Johnson as Hannah the Cadave.

Writer Brain Siev’s story would have worked better without the on screen possession shinanagans as its been done so many times. The practical effects of creepy dead bodies, glimps, flashes and video footage work better thanks to the eerie location and great production vaules. While excellently filmed and staged, it would have been better without the in your face setups, that seem to be synonymous with the these type of films recently. Rooije’s delivery is impressive but less would have been more.

With a pile of sound and visual jump scares, due Rooije’s visual flare and thanks to Mitchell performance The Possession of Hannah Grace far more watchable than it should be.

The Night House (2020) Review

After the lost her husband Owen to suicide going through Owen’s belongings she finds there maybe more to his death.

In the vein of The Awakening, Stir of Echoes and What Lies Beneath to name a few, director David Bruckner offers a finely produced horror thriller. The cast are soild and believable, notable is Vondie Curtis-Hall as Mel. Rebecca Hall’s delivers a gripping central performance, and plays the grief stricken obsessive widowed protagonist abdmirally.

With a handful of well filmed locations courteously cinematographer Elisha Christian, Bruckner delivers an atmospheric piece that engages emotionally, heighten by Ben Lovett score. However, writers Ben Collins, Luke Piotrowski screenplay does unravel in the final act, Hall’s struggle while she tries to wrestle the demons and her husband’s secrets in the first two acts is compelling but never clarified satisfyingly in the third. The film works best when its playing physiological horror with thriller dream state rather than the on the nose supernatural elements. Particularly, characters encountered, note books, letters, photos, the house and it’s secrets.

Worth watching for Hall’s performance alone, but recommend with caution.Worth watching for Hall’s performance alone