Facebook

FilmNerd

Blog

  • One Hour Photo (2002)

    One Hour Photo (2002)

    [et_pb_section fb_built=”1″ _builder_version=”4.4.2″][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.4.2″][et_pb_column type=”2_3″ _builder_version=”4.4.2″][et_pb_text _builder_version=”4.4.3″ hover_enabled=”0″]

    After studying cinema and cinematography at Ithaca College, Mark Romanek got his first job working with filmmaker Brian De Palma. He worked as second assistant director on De Palma’s 1980 film, Home Movies, where he met actor Keith Gordon. The two worked together on what would be Romanek’s first film, 1985’s Static, leading to a music video directing career. Some notable artists he worked with included Red Hot Chili Peppers, Nine Inch Nails, Madonna, and Taylor Swift. His most critically acclaimed music video was for Johnny Cash’s cover of “Hurt”, described as his most personal and moving. Around the same time in 2002, Romanek decided to return to feature films nearly two decades after his debut. Inspired by ‘lonely man’ films like 1976’s Taxi Driver, he decided to create a stalker thriller involving photography. The result was 2002’s One Hour Photo starring the late Robin Williams at his most atypical.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.4.2″][et_pb_circle_counter title=”Rating” number=”85″ bar_bg_color=”#7CDA24″ _builder_version=”4.4.3″ hover_enabled=”0″][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.4.2″][et_pb_column type=”4_4″ _builder_version=”4.4.2″][et_pb_text _builder_version=”4.4.3″ hover_enabled=”0″]

    Synopsis

    Sy Parrish (Williams) is a loner and perfectionist who’s been working at a one-hour photo kiosk for twenty years. He takes a particular interest in the Yorkin family, going so far as to plaster their pictures on his wall. He manages to develop a friendship between Nina (Connie Nielsen) and her son Jake (Dylan Smith) through subtle manipulation. However, things start going wrong for Sy when his boss Bill (Gary Cole) fires him for several offenses. Also, his idyllic view of the Yorkins is crushed upon learning that husband Will (Michael Vartan) is having an affair. As retaliation, he sends the pictures of Will and his mistress Maya (Erin Daniels) to Nina and photographing Bill’s daughter. Eventually, Sy goes so far as to confront Will and Maya in their hotel room and threatens physical violence. The police are on his trail, but will they be able to stop Sy?

     

    Review

    One Hour Photo mostly succeeds as a psychological thriller largely thanks to Robin Williams’ haunting performance as Sy Parrish. Perfectly treading the line between sympathetic and creepy, you can’t help but feel sorry for him despite what he does. At the same time, the film acknowledges that what he’s doing is wrong, but also makes you understand his reasoning. His performance alone makes the film worth watching, but that’s not to say the rest of the cast is lacking. Nielsen, Vartan, and Smith have great chemistry with each other and come off as a genuinely loving family. Cole also stands out as the manager who’s stern and slightly cold but is just being practical as an employer. Romanek’s writing and directing are solid, the music video style editing and cinematography help give off an unsettling feel. For not directing a feature in so long, Romanek’s work is impressive.

    However, for all of its strengths, One Hour Photo also has plenty of faults that do hamper its overall quality. For one, as unsettling as the film comes off, it also doesn’t quite go far enough with its premise. I’m not saying this film should’ve gone into Saw or Hostel territory, but it feels like a soft R-rated film. Also, we never learn why Sy specifically targets this family and are only given the slimmest of backstories. Granted, such details aren’t entirely necessary, especially when most obsessive behaviors have no rhyme or reason behind them. With all that said, this is still a fantastic psychological thriller with themes of wanting to belong and find happiness. If nothing else, the film shows how dynamic Robin Williams was as an actor, able to tackle more than comedy. Overall, One Hour Photo is a mostly effective thriller about a sympathetic stalker.

     

    Buy One Hour Photo from Amazon: https://amzn.to/3a3xhlY

    [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]

  • Bloodstone: Subspecies II (1993)

    Bloodstone: Subspecies II (1993)

    [et_pb_section fb_built=”1″ _builder_version=”4.16″ collapsed=”off” global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text _builder_version=”4.16″ global_colors_info=”{}”]Despite some difficulties behind the scenes, the first Subspecies was another bonafide for the still relatively young Full Moon Entertainment. Much like Puppet Master and Trancers before it, this would be the start to one of their most popular franchises. The next two entries would be shot back-to-back with director Ted Nicolaou returning to helm these and every other entry. Much of the original cast and crew returned except for a few replacements, namely the female lead and effects crew. Makeup effects artist Greg Cannom moved on to bigger projects, including Bram Stoker’s Dracula, Mrs. Doubtfire, The Mask, and Titanic. Lead actress Laura Tate refused to return due to how rough the shoot for the first film was. In her place, they cast relative newcomer Denice Duff, whose prior credits include episodes of Northern Exposure and Matlock. Two years after the first film, Bloodstone: Subspecies II was finally released.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_circle_counter title=”Rating” number=”80″ bar_bg_color=”#7CDA24″ _builder_version=”4.16″ global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ global_colors_info=”{}”]

    Synopsis

    Picking up directly after the first film, the villainous vampire Radu (Anders Hove) is restored thanks to his diminutive minions. Now alive again, Radu kills his brother Stefan while he sleeps, only to retreat when the sun rises. At sunset, Michelle (Denice Duff) wakes up to find her lover Stefan dead, and she takes off with the Bloodstone. Once in Bucharest, she calls her sister Becky (Melanie Shatner), who soon arrives in Romania to help her. Meanwhile, Radu seeks out his “Mummy” (Pamela Gordon) for help, and she tells him to retrieve the Bloodstone from Michelle. Once she arrives, Becky gets help from police lieutenant Marin (Ion Haiduc) and US embassy agent Mel (Kevin Blair). Eventually, Becky learns the truth about Michelle: she has become a vampire and is now Radu’s fledgling. Accompanied by Mel and Professor Popescu (Michael Denish), Becky seeks to hunt Radu and save her sister.

     

    Review

    Bloodstone: Subspecies II is the rare sequel that not only continues what worked previously but also expands upon it further. Like the last film, this takes full advantage of the Romanian locations, from the ancient castles to the nearby towns. Plus, Anders Hove once again delivers a great performance as Radu, channeling his inner Nosferatu and giving him some pathos. Also, whereas Laura Tate was somewhat flat in the last film, Denice Duff is a welcome change as Michelle. She adds a real human quality to the role, making the character more sympathetic and conflicted with her vampirism. Melanie Shatner also shines as Becky, the sister who’s determined to rescue her sister no matter what happens. Supporting players Haiduc, Blair, and Denish also have their moments, Denish in particular as the eccentric professor turned vampire hunter. All in all, the cast here is a step up from the previous entry.

    As always, Nicolaou is a great director, incorporating dynamic lighting and harsh shadows to establish a foreboding mood. While Cannom’s effects work is sorely missed, the effects done by Wayne Toth and Norman Cabrera are still impressive. Speaking of effects, those expecting the return of the titular subspecies will be disappointed that they’re only onscreen very briefly. Starting with Bloodstone: Subspecies II, the title characters gradually get less and less screentime, which is good in this instance. Aside from bringing Radu back to life, they don’t factor into the plot, so nothing is lost with their absence. I’d say my main critique is that the pacing drags in parts, not much happening for long stretches. Even still, this is not only a fantastic sequel but yet another fantastic vampiric tale with more depth than expected. Overall, Bloodstone: Subspecies II is another highpoint in the Full Moon catalog.

     

    Buy Bloodstone: Subspecies II from:

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

    [/et_pb_text][et_pb_code _builder_version=”4.27.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Where to watch Bloodstone: Subspecies II (1993)

    data-api-key=”LMVDLdLSH5ZJnQ4FMGMgyJCB8cmGbfCV” data-object-type=”Movie” data-title=”Bloodstone: Subspecies II” data-year=”1993″ data-theme=”light”>

    [/et_pb_code][/et_pb_column][/et_pb_row][/et_pb_section]

  • Sea Fever (2019) – Only on We Are Movie Geeks

    Sea Fever (2019) – Only on We Are Movie Geeks

    [et_pb_section fb_built=”1″ _builder_version=”3.22″][et_pb_row _builder_version=”3.25″ background_size=”initial” background_position=”top_left” background_repeat=”repeat”][et_pb_column type=”4_4″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.4.2″]

    Back in 2018, I was given the chance to write some reviews for the fine folks over at WeAreMovieGeeks.com. Those reviews included films like Hover, Along Came the Devil, and American Dresser, which varied between decent and terrible. This time, I was asked to review the upcoming aquatic thriller Sea Fever, the feature debut of TV-director Neasa Hardiman. Overall, I enjoyed the film, praising it for its solid performances, impressive direction, decent pacing, and effective use of tension. Granted, the film does take elements from other, better films like Alien and The Thing, but what film hasn’t? You can take influence from all over so long as the result is good, or at least decent. Thanks again to the people at WeAreMovieGeeks.com for giving me this opportunity, and I hope to work with them again. Check out the review at the link below, and check out the site itself.

    SEA FEVER – Review

    [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]

  • Dolls (1987)

    Dolls (1987)

    [et_pb_section fb_built=”1″ _builder_version=”4.4.1″][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.4.1″][et_pb_column type=”2_3″ _builder_version=”4.4.1″][et_pb_text _builder_version=”4.4.1″]

    After the critical and commercial success of Re-Animator, director Stuart Gordon was offered a three-picture deal at Empire Pictures. His next film was From Beyond, which was released in 1986, but it wasn’t exactly his direct follow-up. Before filming his second H.P. Lovecraft adaptation, Gordon went off to shoot a different film based on some real-life experiences. While in college, Gordon found himself locked up in a room full of Victorian-era porcelain dolls, which freaked him out. Also, like most of his productions, Charles Band had presented a concept and a poster for a killer doll movie. Screenwriter Ed Naha turned that concept into a story involving a family trapped in an old house with killer dolls. Much of the cast and crew Gordon had worked with previously returned, though the film wouldn’t be released until 1987. That film would become the underrated gem, Dolls.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.4.1″][et_pb_circle_counter title=”Rating” number=”85″ bar_bg_color=”#7CDA24″ _builder_version=”4.4.1″][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.4.1″][et_pb_column type=”4_4″ _builder_version=”4.4.1″][et_pb_text _builder_version=”4.4.2″ hover_enabled=”0″]

    Synopsis

    On a vacation in England, David (Ian Patrick Williams), Rosemary (Carolyn Purdy-Gordon), and Judy Bower (Carrie Lorraine) get lost. With their car stuck in the mud and a raging storm, they decide to take shelter in a nearby house. They soon meet the residents, eccentric dollmaker Gabriel Hartwicke (Guy Rolfe) and his equally eccentric wife Hilary (Hilary Mason). Before long, hitchhikers Isabel (Bunty Bailey) and Enid (Cassie Stuart), and their driver Ralph (Stephen Lee) show up. The Hartwickes agree to let them all stay for the night, but before long, strange things start happening. Isabel ends up getting killed and dragged off, which Judy witnesses, so she gets Ralph to help her investigate. They discover the secret behind the Hartwickes: they are witches who have brought their dolls to life to kill. Unfortunately, no one else believes them, so it’s up to Judy and Ralph to stop them.

     

    Review

    While lacking the over-the-top gore and dark humor of his previous films, Dolls is still another great Stuart Gordon chiller. For this movie, Gordon went for more of a fairy tale/haunted house vibe, focused on a small child. Like many fairy tales, Dolls is a morality tale, where the bad get punished and the good get spared. In terms of bad, there’s the girl’s hateful father and stepmother, and the two hitchhikers looking to rob the Hartwickes. Each of them gets their comeuppance, and it’s satisfying to see each of them get their just desserts. Ian Patrick Williams and, especially, Carolyn Purdy-Gordon do a great job playing characters that you just love to hate. The two hitchhikers, Bunty Bailey & Cassie Stuart, are fun riffs on 80s punk girls, though they don’t do much. Stephen Lee and Carrie Lorraine make a good and likable pair as well.

    Guy Rolfe and Hilary Mason are the real standouts, acting both warm and friendly, as well as dark and sinister. However, the true stars of the show are the dolls themselves, brought to life thanks to stop-motion animator David Allen. Though they don’t have much screentime, it’s impressive to see them move about and go on their killing spree. It’s pretty easy to see how this film led to Charles Band coming up with the concept for Puppet Master. Also, the makeup effects from the always talented John Carl Buechler are quite good, yet some don’t hold up well. Fans of Re-Animator and From Beyond might be disappointed that this lacks the weirdness and crazies of those two films. Even still, this is worth a watch thanks to its chilling atmosphere, solid performances, and ability to make dolls creepy. Overall, Dolls is an underrated gem from a talented cult filmmaker.

     

    Buy Dolls from Amazon: https://amzn.to/2WKS4aR

    [/et_pb_text][et_pb_divider _builder_version=”4.4.2″ hover_enabled=”0″][/et_pb_divider][et_pb_blurb _builder_version=”4.4.2″ title=”Stuart Gordon, 1947 – 2020″ image=”https://staging.film-nerd.com/wp-content/uploads/2020/03/stuart-gordon.jpg” hover_enabled=”0″ text_orientation=”center” header_text_align=”center” animation=”off”]

    This review is dedicated to the memory of cult filmmaker Stuart Gordon, who passed away on March 24, 2020, at the age of 72.

    [/et_pb_blurb][/et_pb_column][/et_pb_row][/et_pb_section]

  • The Invisible Man (2020)

    The Invisible Man (2020)

    [et_pb_section fb_built=”1″ _builder_version=”4.4.1″][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.4.1″][et_pb_column type=”2_3″ _builder_version=”4.4.1″][et_pb_text _builder_version=”4.4.1″ hover_enabled=”0″]

    In 1897, famed science-fiction author H.G. Wells wrote the novel, The Invisible Man, about a scientist who turns himself invisible. Years later, Universal Studios saw great success with their series of monster movies in the 1930s, including Dracula and Frankenstein. As part of this series, the book was adapted in 1933 directed by James Whale and starring Claude Rains. Following its success, many sequels were made during the 1940s, featuring actors like Vincent Price and John Barrymore among others. The character proved so popular that various other film and TV adaptations have been made over the years. Fast-forward to 2017’s The Mummy, which was to be the start of Universal’s Dark Universe, a cinematic universe about monsters. However, the series was built on hold following its critical and financial failure, and focus was shifted to individual films. The first of these is Leigh Whannell’s 2020 film, The Invisible Man.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.4.1″][et_pb_circle_counter title=”Rating” number=”90″ bar_bg_color=”#7CDA24″ _builder_version=”4.4.1″ hover_enabled=”0″][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.4.1″][et_pb_column type=”4_4″ _builder_version=”4.4.1″][et_pb_text _builder_version=”4.4.1″ hover_enabled=”0″]

    Synopsis

    Cecilia Kass (Elisabeth Moss) has just escaped from an abusive relationship from her ex-boyfriend, Adrian Griffin (Oliver Jackson-Cohen). Now living with her childhood friend James Lanier (Aldis Hodge) and his daughter Sydney (Storm Reid), Cecilia seems safe. However, she’s still paranoid given what she was put through, but things change when it’s reported that Adrian killed himself. Strange things start happening, including Cecilia being drugged, her sister leaving over email, and her being blamed for hitting Sydney. Cecilia tries convincing people that Adrian faked his death and has become invisible, but no one believers her. She starts investigating his house for proof that he’s found a way to make himself invisible and she’s not crazy. Soon enough, Adrian turns up and reveals he’s been using his invisibility to ruin her life after she left him. Will Adrian be stopped, and what will become of Cecilia?

     

    Review

    The Invisible Man is proof that you don’t need a large budget to make an effectively tense horror film. Leigh Whannell, coming off the underrated Upgrade, once again shows his potential as a filmmaker and a name to watch. While his previous outing was more fast-paced and action-packed, this one is much more of a slow burner. Some people might be put off by the much slower pace, but it’s those quieter moments that make it work. Elisabeth Moss gives an amazing performance, perfectly blending fear with raw intensity, and helps keep the film grounded. You instantly sympathize with her and want to see her fend off Adrian despite what’s happening to her. The supporting cast, including Hodge, Reid, Jackson-Cohen, Harriet Dyer, and Michael Dorman have their moments and perfectly complement Moss’s performance. It’s also a clever modernization of the story originally created by H.G. Wells.

    What’s interesting about this version of The Invisible Man is its themes of manipulation, abuse, and psychological effects. It plays on the fear of someone coming after you long after distancing yourself as far away as possible. In an age where abuse victims are more vocal and wanting justice against their abusers, this film is extremely relevant. Thankfully, this film doesn’t focus solely on its message or themes but rather weaves it into the plot. Admittedly, some plot elements don’t make sense or create plot holes, but those don’t ruin the overall experience. This is a very well-written and intelligent psychological horror film that plays on real-world fears that audiences can identify with. Whether or not this starts a new series of Universal monster movies, it’s still successful as its own self-contained story. Overall, The Invisible Man is a fantastic modernization of a classic tale.

    [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]

  • Uncut Gems (2019)

    Uncut Gems (2019)

    [et_pb_section fb_built=”1″ _builder_version=”4.4.1″][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.4.1″][et_pb_column type=”2_3″ _builder_version=”4.4.1″][et_pb_text _builder_version=”4.4.1″]

    The Safdie brothers, Joshua and Benjamin, are New York-based filmmakers who’ve had quite a career in the past decade. Their first film, 2007’s The Pleasure of Getting Robbed, screened at the Cannes Film Festival but received mostly negative reviews. For their second outing, 2009’s Daddy Longlegs, the film received better reviews and won the John Cassavetes Award in 2011. Following this, they were asked by producer Adam Shopkorn to help work on the documentary Lenny Cooke released in 2013. Around 2009, the brothers came up with a concept about a jewel dealer and approached Adam Sandler to star. Unfortunately, Sandler turned them down, so they went off to make 2014’s Heaven Knows What and 2017’s Good Time. Thanks to the attention they got for the past two films, Sandler agreed to star, and the rest was history. After ten years of development, the Safdie’s Uncut Gems was released in 2019.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.4.1″][et_pb_circle_counter title=”Rating” number=”95″ bar_bg_color=”#7CDA24″ _builder_version=”4.4.1″][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.4.1″][et_pb_column type=”4_4″ _builder_version=”4.4.1″][et_pb_text _builder_version=”4.4.1″ hover_enabled=”0″]

    Synopsis

    In 2010, a group of Ethiopian Jewish miners uncovers a rare black opal, which gets purchased two years later. The buyer, jeweler Howard Ratner (Adam Sandler), plans on selling the opal at an auction to settle some debts. In addition to owing money from his brother-in-law Arno (Eric Bogosian), he’s divorcing his ex-wife Dinah (Idina Menzel). The day Howard receives the opal, NBA superstar Kevin Garnett (himself) visits his jewelry store, taking an interest in it. Howard reluctantly gives Garnett the opal in exchange for his championship ring, which he pawns off to bet on Garnett. While Howard wins the best, he’s accosted and assaulted by Arno and his goons over the money he owes. Howard has to get the opal back from Garnett while dealing with his ex-wife and girlfriend Julia (Julia Fox). Will he able to pay off the loan sharks, or will his gambling addiction ruin him?

     

    Review

    Just to get this out of the way, I have never been a fan of Adam Sandler and his comedies. With a few exceptions, I’ve found him to be loud, annoying, and abrasive in every single one of his films. However, he has shown that he has the potential to deliver good performances, including Punch Drunk Love and Funny People. With Uncut Gems, he delivers easily his best performance in years, convincingly making him a likable and charismatic sleazeball. By all accounts, this character’s a loser, and the film acknowledges this, but Sandler’s so good, you root for him. Also, the rest of the cast, including Menzel, Fox, Bogosian, and surprisingly even Garnett all deliver fantastic performances. There are also appearances by Lakeith Stanfield, Judd Hirsch, Pom Klementieff, and even The Weekend, all having their moments. Uncut Gems has one of the best casts of the last few years.

    Going into this, I was unfamiliar with the Safdie brothers’ work, but after seeing this, I’m interested in seeing more. Their directing style is very fast-paced and highly energized, but it never feels like it’s going by too fast. The editing helps keep the pace going, even in the slower scenes, and the cinematography adds to the kinetic energy. Admittedly, this style of filmmaking might make it hard for some people to watch, which is perfectly understandable. Despite this, the story and performances keep the film engaging, even if it can be hard to watch. Writing-wise, the dialogue naturally bounces off the actors and there are plenty of twists and turns to keep you guessing. This is a well-acted and well-made story of greed and addiction, as well as the consequences that come from it. Overall, Uncut Gems is a great film with a great performance from Adam Sandler.

     

    Buy Uncut Gems on Amazon: https://amzn.to/2vJIWbz

    [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]

  • King Kong (1933)

    King Kong (1933)

    [et_pb_section fb_built=”1″ _builder_version=”4.4.1″][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.4.1″][et_pb_column type=”2_3″ _builder_version=”4.4.1″][et_pb_text _builder_version=”4.4.1″]

    In the 1920s, filmmaker Merian C. Cooper, alongside fellow filmmaker Ernest Schoedsack, produced several nature documentaries such as 1925’s Grass. While working on 1929’s The Four Feathers for Paramount, Cooper’s childhood fascination with gorillas was reinvigorated and an idea struck. His concept was to film a movie about a giant gorilla fighting lizards and dinosaurs with a female lead attached. He presented his pitch to Paramount in the early years of the Great Depression but was turned down. Luckily, through a connection with David O. Selznick, Head of Production at RKO, he got to make his dream project. Cooper hired Edgar Wallace to pen the script and hired stop motion animator Willis O’Brien for the special effects. Many of the cast and crew Cooper worked with before would return for what would become his magnum opus. Finally, 1933 saw the release of the eighth wonder of the world, King Kong.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.4.1″][et_pb_circle_counter title=”Rating” number=”95″ bar_bg_color=”#7CDA24″ _builder_version=”4.4.1″][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.4.1″][et_pb_column type=”4_4″ _builder_version=”4.4.1″][et_pb_text _builder_version=”4.4.1″ hover_enabled=”0″]

    Synopsis

    Ambitious filmmaker Carl Denham (Robert Armstrong) is about to set sail on a new project he’s been keeping under wraps. He’s been having trouble finding a female lead until he runs into the beautiful Ann Darrow (Fay Wray). Denham offers her the role and she accepts, despite not being told much about the project or where it’s filming. They finally set sail, Denham finally revealing that they’re headed for Skull Island, an uncharted island near Sumatra. Once there, they meet the natives, the chief offering to trade six women for Ann, but they decline and leave. That night, the natives sneak aboard the ship, kidnap Ann, and offer her up to the monstrous giant gorilla Kong. Kong takes off with Ann, so first mate John Driscoll (Bruce Cabot) leads a team to rescue her. Will they be able to rescue her, and what does Denham ultimately have planned for Kong?

     

    Review

    King Kong is one of the most important films ever made and it deserves all the credit it’s received. The film was revolutionary with its visual effects, using a mixture of stop-motion animation, rear projection, and miniatures. While effects technology has advanced in the decades since its release, the effects here are still impressive given the times. Even if the stop motion models look crude by today’s standards, there’s a charm to them that CGI can’t match. Some of the biggest set pieces are Kong’s fight with the T-Rex, as well as his rampage in New York. Acting-wise, it’s about on par with standard acting seen during the 1930s, with plenty of fast-talking and exaggerated movements. Fay Wray does make for a decent damsel-in-distress, and it’s hard not to get behind Robert Armstrong’s character. Just keep in mind that this was before subtlety in acting was a common thing.

    At its core, King Kong is a very simple adventure story: exotic location, girl to be rescued, fantastical creatures, etc. However, its simplicity is what makes it enjoyable, having the spectacle at the forefront at the sacrifice of narrative complexity. It’s also important to remember that this film inspired some of the greatest filmmakers of the 20th century and beyond. People like Peter Jackson, Rick Baker, John Landis, Joe Dante, Frank Darabont, and Ray Harryhausen were just some of them. Following its success, RKO rushed out a sequel, Son of Kong, followed by its spiritual successor, 1949’s Mighty Joe Young. There have been two remakes, one in 1976 and one in 2005, cartoons, books, comics, and various other adaptations. With a legacy like that, it’s no wonder why King Kong is still remembered fondly several generations later. Overall, King Kong is a historically-significant, though somewhat dated, film everyone should watch.

     

    Buy King Kong from Amazon: https://amzn.to/38Uuxqr

    [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]

  • Candyman (1992)

    Candyman (1992)

    [et_pb_section fb_built=”1″ _builder_version=”4.4.1″][et_pb_row _builder_version=”4.4.1″ column_structure=”2_3,1_3″][et_pb_column _builder_version=”4.4.1″ type=”2_3″][et_pb_text _builder_version=”4.4.1″ hover_enabled=”0″]

    “I have seen the future of horror, and his name is Clive Barker.” That was Stephen King’s reaction when Barker’s Books of Blood, a collection of short stories, was released in the US. Barker started as a playwright during the 1960s and 1970s, opening his own theatre company, The Dog Company, in 1978. Eventually, he shifted his focus to writing horror and fantasy stories, which became popular and attracted the attention of Hollywood. He wrote the screenplays for Underworld, aka Transmutations, and Rawhead Rex but was displeased with how they were handled. Because of this, he decided to adapt his novella The Hellbound Heart into 1987’s Hellraiser, which spawned several sequels. While working on Nightbreed, he met fellow filmmaker Bernard Rose, who was interested in adapting Barker’s short story, The Forbidden. Barker agreed to license the rights, and Rose went off to adapt the story into 1992’s Candyman.

    [/et_pb_text][/et_pb_column][et_pb_column _builder_version=”4.4.1″ type=”1_3″][et_pb_circle_counter _builder_version=”4.4.1″ title=”Rating” number=”90″ bar_bg_color=”#7CDA24″ hover_enabled=”0″][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.4.1″][et_pb_column _builder_version=”4.4.1″ type=”4_4″][et_pb_text _builder_version=”4.4.1″ hover_enabled=”0″]

    Synopsis

    Helen Lyle (Virginia Madsen) and her friend Bernadette Walsh (Kasi Lemmons) are conducting research focused on urban legends. During their research, they learn of one such legend, “Candyman”, an ominous figure with a hook for a hand. According to legend, if you say his name five times while looking at a mirror, he will appear. Helen learns about Candyman’s origin, that he was a well-educated black man who was killed after starting an interracial relationship. She eventually proves that the Candyman is merely a story linked to the hardships the residents of Cabrini-Green go through. That all changes when she’s confronted by Candyman (Tony Todd), who uses her to restore belief in him. This leads to Helen being blamed for several murders committed by Candyman, and her trying to regain her sanity. Will she survive, or will she be seduced by the allure of the Candyman?

     

    Review

    Candyman is by far one of the best and most memorable contemporary horror films to come out of the 1990s. The first notable thing is the acting, especially from leads Virginia Madsen and Tony Todd, both of whom are phenomenal. Madsen gives a very grounded and human performance, and Todd is both imposing and captivating as the titular villain. The supporting cast, including Lemmons, Xander Berkeley, Vanessa Williams, and DeJuan Guy, have their shining moments and give good performances. Bernard Rose, mostly known at the time for directing music videos, manages to mix urban grit with a dreamlike quality. What also adds to the horror is Philip Glass’ haunting score, which helps set the mood right from the start. The makeup effects from Bob Keen are exceptional, and the use of real locations help give the film real authenticity. Plus, there’s a Ted Raimi cameo early on, so that’s cool.

    At its core, Candyman is a film that explores social issues dealing with race, identity, and the effects of fear. Candyman only has power when people fear him, hence why he uses Helen to incite fear by killing innocent people. It also explores how society tends to push to the side things viewed as a problem, such as Helen’s hysteria. While Candyman has plenty of blood and guts to satisfy horror fans, it never feels exploitative or overly grotesque. The film also never relies on cheap jump scares but rather focuses on atmosphere and building tension and suspense. Admittedly, the film does start to lose its meaning in the second half once the blood and guts start happening. Thankfully, it’s never enough to where the film devolves into schlock, and it still retains its good qualities. Overall, Candyman is a fantastic horror film with themes that are still relevant today.

     

    Buy Candyman from Shout! Factory: https://bit.ly/2TSNLIY

    [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]

  • Trancers II: The Return of Jack Deth (1991)

    Trancers II: The Return of Jack Deth (1991)

    [et_pb_section fb_built=”1″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text _builder_version=”4.16″ global_colors_info=”{}”]While not a massive hit upon release, Trancers managed to gain a strong cult following over the years. Following its release, Charles Band started working on an anthology film called Pulse Pounders comprised of three 30-minute segments. These included The Evil Clergyman, an H.P. Lovecraft adaptation, a sequel to The Dungeonmaster, and a Trancers sequel. Unfortunately, Empire Pictures folded in the late 80s, and the film was shelved for several years until it was rediscovered. The Evil Clergyman was released in 2011, and Trancers 1.5: City of Lost Angels was released in 2013. After Full Moon was formed and found success with Puppet Master, many more franchises were established, including Subspecies. Following Tim Thomerson’s return in Dollman, Band decided to resurrect Trancers, with most of the original cast and crew returning. Released six years after the original, the result was 1991’s Trancers II: The Return of Jack Deth.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_circle_counter title=”Rating” number=”75″ bar_bg_color=”#EDF000″ _builder_version=”4.16″ global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    Six years after taking down Whistler, Jack Deth (Tim Thomerson) and Lena (Helen Hunt) have been living the good life. They’ve been living with Hap Ashby (Biff Maynard), who’s cleaned himself up and gotten rich after becoming a commodities broker. Back in the future, Deth’s body has become calcified, so McNulty (Art LaFleur) goes down the line to help him. Now in the body of his 15-year-old ancestor (Alyson Croft), McNulty visits Jack, Lena, and Hap to deliver the news. Meanwhile, Deth’s wife Alice Stillwell (Megan Ward), thought to be dead, is in the present and is onto something big. Turns out Whistler’s brother E.D. Wardo (Richard Lynch) is creating new trancers using an environmental group as a front. Jack, Alice, Lena, Hap, and McNulty must team up to stop Wardo from creating his new trancer army. Will Jack be able to save the world while dealing with two wives?

     

    Review

    Trancers II: The Return of Jack Deth is an enjoyably fun film and a decent sequel, even with its flaws. Like the first film, Tim Thomerson’s charisma is dripping all over the screen, delivering plenty of smartass quips effortlessly. He has great chemistry with both Helen Hunt and Megan Ward, who each have their moments to shine. Richard Lynch makes for a great villain, and Martine Beswick and Jeffrey Combs make for good accomplices. Alyson Croft, who also played McNulty’s ancestor in the original, has tons of fun mimicking an older tough-guy cop. There’s plenty of action to keep fans happy, and there are some great oneliners to go along with those scenes. The makeup effects for the trancers look pretty good, Band’s direction is solid, and the music compliments the fun action. Plus, there’s a cameo from Barbara Crampton, which makes everything better.

    As much fun as Trancers II is, there are some things both technical and story-related that hinder its enjoyment. Firstly, it feels significantly cheaper than the first, which was also low-budgeted but felt like it had higher production values. There are several close-up shots of characters talking directly at the camera like they couldn’t get all the actors together. Also, the few futuristic scenes look very slapdashed and thrown together compared to the stylish-looking future scenes of the original. Granted, you don’t need a huge budget to make a great film, but these drops in quality are very noticeable. Plus, this film has a greater emphasis on comedy, which mostly works, but some of the jokes don’t land. Despite these issues, this is still a fun sci-fi action film with some great characters and solid set pieces. Overall, Trancers II: The Return of Jack Deth gets the job done well.

     

    Buy Trancers II: The Return of Jack Deth from:

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

    [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]

  • Onward (2020)

    Onward (2020)

    [et_pb_section fb_built=”1″ _builder_version=”4.4.0″][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.4.0″][et_pb_column type=”2_3″ _builder_version=”4.4.0″][et_pb_text _builder_version=”4.4.0″ hover_enabled=”0″]

    After graduating from college in 1998, Dan Scanlon quickly rose through the ranks of Disney animation, eventually working for Pixar. He started off working on the direct-to-video sequels to Pocahontas, The Little Mermaid, 101 Dalmatians, and Tarzan amongst others. After being hired by Pixar in 2001, he was a story artist for Cars and Toy Story 3. Later on, he moved up to being part of the senior creative team on Brave and Inside Out. Then in 2013, he directed his first feature-length animated film, Monsters University, a prequel to 2001’s Monsters Inc. The film went on to be a massive commercial hit, though critical reception was mixed, to say the least. Following its success, Scanlon decided his next project would be more personal, inspired by losing his father as a child. That project soon culminated in his second directing effort, the 2020 animated fantasy film Onward.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.4.0″][et_pb_circle_counter title=”Rating” number=”85″ bar_bg_color=”#7CDA24″ _builder_version=”4.4.0″][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.4.0″][et_pb_column type=”4_4″ _builder_version=”4.4.0″][et_pb_text _builder_version=”4.4.0″ hover_enabled=”0″]

    Synopsis

    Once upon a time, the land was inhabited by mythical creatures who could wield magic and go on exciting adventures. However, as new technological advancements were being made, magic started to fade and all the mythical creatures lived normal lives. We soon meet the Lightfoots, including Ian (Tom Holland), his older brother Barley (Chris Pratt), and mother Laurel (Julia Louis-Dreyfus). For Ian’s 16th birthday, their mother gives him a present left behind by their late father: a staff and gem. Turns out he left behind instructions for a spell that would allow him to see them for one day. Unfortunately, the spell goes wrong, and Ian only brings back their dad’s legs, in the process destroying the gem. So, Barley decides to take Ian on a quest to find another gem to hopefully restore their dad before sunrise. It’s an adventure involving pixies, centaurs, and The Manticore (Octavia Spencer).

     

    Review

    Since childhood, I’ve been a huge fan of Pixar, and they’ve delivered high-quality content, for the most part. For every lackluster A Bug’s Life, Cars, and Monsters University, we get animated classics like The Incredibles, Wall-E, and Up. Compared to their other works, Onward lies somewhere in the middle: not one of their best nor worst either. Given that it’s Pixar, the animation is spectacular as always, from the well-designed characters to the imaginative environments. Speaking of characters, the voice work is very well-done, especially from Holland and Pratt, who have great chemistry together. Julia Louie-Dreyfus is fun as the nervous but cool mom, and Octavia Spencer steals the show as The Manticore. Mel Rodriguez is also fun as Officer Colt Bronco, a centaur cop who tries to be a good stepdad. Plus, the story moves at a solid pace and never feels like it’s dragging along.

    While this film marginally better than Scanlon’s last film, Onward is not without its problems, though it’s still enjoyable. Firstly, they talk a lot about how great the father was when he was alive, but we’re never shown it. Also, the fact that the father is mostly just legs makes it hard to feel an emotional connection. Granted, Onward seems more focused on the relationship between the two brothers than necessarily on seeing their dad. Also, most of the film goes through the typical buddy movie tropes with not much of anything exciting happening. Luckily, the film picks up quite a bit in the third act, and you’re still rooting for the brothers. While this is far from being one of Pixar’s best, it’s still a worthwhile watch for kids and adults alike. Overall, Onward is an enjoyable buddy movie about two brothers coming together on an epic quest.

    [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]