ksj870 Reviews

The Book of Daniel (2013)

God takes care of His people

[7/10 · 24 December 2015]

The Book of Daniel dramatizes the Biblical record of the same name, and does so very well. Built primarily around the story of the Hebrew people's captivity in Babylon and under several different kings, the movie uses the narrative of its title character to portray how even when all seems lost, God is still with His own. The film is fundamentally quite well done, very well-written and refreshingly respectful of its Scriptural source, but as this is clearly a low budget production there are inevitably some cinematic weaknesses. There are no earth-shattering special effects and the overall sweep is somewhat limited. Quality of acting varies, though fortunately both of the actors portraying Daniel--Andrew Bongiorno as the "young" Daniel and Robert Miano as the "old" version of the same--are outstanding and capture the essence of the Biblical character excellently. Conversely, much of the rest of the cast seems a bit cobbled together, with a lot of bizarre American-English accents thrown into the supposedly Middle Eastern setting. Lance Henriksen is the most recognizable "name" actor in the cast, and while there's no doubt Henriksen is an outstanding performer it's questionable if he's the best choice to play the Persian King Cyrus, who holds a great respect for Daniel and fulfills Biblical prophecy by allowing the Hebrews to return to their homeland. It's also a bit disappointing the movie never explores the more Apocalyptic prophecies in the latter portions of the Biblical book, though including them would certainly have meant expanding the scope of the film considerably. But these are small criticisms, and overall The Book of Daniel is an inspiring and often moving cinematic portrayal of one of the most fascinating figures of the Old Testament. And the movie's overarching message--that God will always take care of His people, no matter how hostile or wicked the world around us seems to be-- remains a relevant one today and for all time.

Hammerhead (2005 TV Movie)

Let's mix shark and human DNA. What could possibly go wrong?

[7/10 · 22 December 2015]

Yes this is a b-movie, but it's a fun b-movie! Jeffrey Combs is perfectly cast as a crazy scientist who tries to save his son from terminal cancer by introducing shark DNA into the young man's body. The result, of course, is a shark-man hybrid with some very big teeth and an appetite to match. The ensuing monster madness is highly entertaining with a good combination of action and suspense in a nicely utilized island setting. The cast is excellent as well, as not only does the great Jeffrey Combs do a terrific job of chewing the scenery as the requisite mad scientist, but the wonderful Hunter Tylo steals the show as the beautiful and appealing heroine. William Forsythe does a good turn as well, and he and Tylo make for a great team as they try to lead the other people on the island to safety as the man-shark ruthlessly hunts them down. Special effects aren't top of the line, of course, as this is obviously a low-budget production, but they are adequate and the director does a good job of managing his resources so that everything looks fine. No, this is not Jaws or the Curse of Frankenstein, but as a sort of combination of both it makes a surprisingly effective sci-fi thriller.

Princess of the Nile (1954)

Exciting adventure highlighted by the amazing Debra Paget

[9/10 · 21 December 2015]

This is the movie that made Debra Paget a superstar, and rarely has an actress dominated a film so completely as Ms. Paget does this one. From the moment she is first revealed--practicing an exotic dance, no less--to the the last scene of the film, Paget remains the apple of the camera's eye. Whether dancing seductively before spellbound soldiers, bargaining with duplicitous courtiers, or swinging a scimitar in defense of her people, Paget brings the film's eponymous character to life with a cinematic charisma that is never less than spellbinding.

But while the film is generally remembered as a showcase for Paget's incredible charms, it is in fact a fine all-round action/adventure movie. The ancient eastern setting is well-realized, and if the proceedings are limited to certain sets those sets are nonetheless sumptuous and beautifully crafted. The script and direction are fine and the several action scenes are exciting, with quite a bit of effective humor thrown in for good measure. Jeffrey Hunter and Michael Rennie are effective as the story's hero and villain, respectively, and their rivalry builds to a suitable conclusion. There's never a dull moment either, and between the marauding soldiers under Rennie's banner, the machinations of the seedy court shaman, and a den of surprisingly heroic thieves, the plot moves along at a rapid clip to a satisfying climax.

An excellent adventure from the days of classic Hollywood, Princess of the Nile is as enchanting as it is exciting and a colorful showcase for the wonderful talents of Debra Paget.

Here Comes Mr. Jordan (1941)

Classic Fantasy

[9/10 · 21 December 2015]

Here Comes Mr. Jordan is a nearly faultless example of Hollywood fantasy. The incredible plot works because the film is so wonderfully written and directed with standout performances from just about every cast member. In particular, Claude Rains delivers one of the most outstanding turns of his legendary career as the title character, conveying just the right combination of sympathy and authority as the angel who has to figure out a way to make things right. Robert Montgomery's performance is likewise excellent as our protagonist, and it's great to see Montgomery's character develop as he struggles to find his niche in his new life (afterlife?). The rest of the cast is outstanding as well, and the story moves along from one memorable moment to the next with an irresistible charm. As a comedy, the film delivers a host of hilarious moments but never descends to slapstick, relying instead on clever dialog and character interplay. Throw in some romance, a would-be murder, and a nice message about how things will somehow be made to work out for the best even when we as humans can't see a way, and you have a knockout movie that will continue to delight movie fans for many years to come.

Prisoners of the Sun (2013)

An interesting idea that goes nowhere

[2/10 · 10 March 2015]

"Prisoners of the Sun" starts out with an interesting premise--the idea that elements of Egyptian mythology actually represent extraterrestrial powers who may be brought back to Earth when the signs are right-- but unfortunately fails to develop this idea very well. Admittedly, some of the problems the film has are the result of a low budget, but there are dramatic weaknesses that go beyond that. First and foremost, the script is incredibly tepid, and not much of anything happens for long stretches of time. Even towards the end, when our cast of characters are on the brink of a historic discovery in the haunted catacombs of an ancient pyramid, there is little action or suspense. Naturally, since this is a film about ancient Egyptian mysticism and curses, there is an undead mummy, but despite the mummy's prominent disposition in the film's trailer it actually has only a tiny role in the story and disappears from the proceedings pretty quickly. The screenplay needed a healthy dose of adrenalin to bring the admittedly interesting plot to life, but instead there is simply a lot of unconvincing exposition from one scene to the next. As a result, even the film's relatively short running time seems to go on interminably. One the plus side, the cast is for the most part decent and capable, though regrettably the one exception is the actor playing the part of Dr. Adler, the film's hero, as he is badly miscast as a scholar and is totally unconvincing in the role. Overall, "Prisoners of the Sun" is just too uninvolving and lackluster to recommend. There was the potential to make a respectable movie, but the opportunity is never realized.

Ragnarok (2013)

Hooked by a misleading trailer

[4/10 · 19 December 2014]

There are certain things this Scandinavian production has going for it: the actors all do commendable jobs with what they are given; the wild scenery is beautiful; and there a few moments (not many, but a few) of very well orchestrated suspense. But none of that matters because "Ragnarok" simply isn't what its trailer leads one to believe it is, namely a scary monster movie. There is a monster, or at least a big creature which may have inspired certain stories from Norse mythology, but the monster action is decidedly limited and while there occasional moments of tension there are no real scares. I don't think the filmmakers had any real desire to make a scary picture, but rather an adventure story with a few ideas borrowed from American monster movies. The result is incredibly dry, boring, and unsatisfying, particularly the climax. If you're hoping for the kind of explosive grand finale "Jaws" gave us, forget it. Suffice it to say the creature from "Ragnarok" is only dangerous because our human explorers provoke its maternal instincts. As a longtime fan of both monster movies and Viking mythology, I really expected to like "Ragnarok." More's the pity.

DeepStar Six (1989)

Tepid underwater remake of Alien

[3/10 · 8 December 2014]

Despite a very solid cast and some fairly good production values, DeepStar Six sinks under the weight of it own inertia. This is an extremely uneventful film, and though ostensibly a monster movie there is almost no monster action whatsoever until the final twenty minutes or so, and even then what we get is extremely lackluster thanks to some very poor special effects. The script presumably aims to build tension gradually and spends a lot of time focusing on the ensemble cast (with a little extra emphasis on our heroine, played by Nancy Everhard), but while this may sound like a good idea in theory, in practice it fails utterly, as even a character-driven story needs a certain amount of drama and tension, which DeepStar Six totally lacks. As a result, I zoned out at numerous points in the tedious plot line and found myself strongly considering the stop button more than once...but I persevered in the vain hope that at some point a monster would rear itself from the mysterious depths and serious havoc would ensue. Never happened, as even when the sea monster that is our villain finally awkwardly asserts itself, the resultant action is poorly executed and the creature effects are inferior to similar designs from the 1950s. Some quality performances from a respectable cast that tries hard are unfortunately wasted, and while the aforementioned Everhard does a good job as our likable but underdeveloped heroine, the best performance probably comes from Miguel Ferrer as a burn-out victim whose sanity is slowly slipping away from him after six months of arduous underwater duty. It wouldn't have taken a whole lot for DeepStar Six to have been a solid b-movie, or maybe even a little more than that, if only the script and direction had made action a higher priority and perhaps developed a couple of the key characters a bit better. But as it stands, DeepStar Six is simply monotonous and underwhelming in the extreme.

The Hideous Sun Demon (1958)

The sun demon may be hideous, but the movie is wonderful

[7/10 · 3 December 2014]

The Hideous Sun Demon is an overlooked winner from the legendary canon of 50s science fiction/monster movies. The eponymous "sun demon" is actually quite impressive and hideous indeed, a reptilian nightmare on two legs and, in a neat twist, summoned forth by the rays of the sun. Robert Clarke does a yeoman's job as not only the lead character--a flawed but likable young scientist who finds himself cursed with a monstrous alter ego after being exposed to atomic radiation--but also as the director. Indeed, the entire cast is quite proficient, and everyone acquits themselves honorably in their respective roles, particularly the gorgeous Nan Peterson who plays an especially curvaceous barroom singer that catches the troubled protagonist's eye. The film is quite well-paced with a good mix of action and drama, and the characters are all realistically developed as believable individuals. The special effects are handled nicely, and the scenes of monster mayhem are surprisingly brutal and pack quite a nasty punch. The ultimate climax is perhaps inevitable, but nonetheless exciting and expertly staged. Often neglected in conversations of 50s genre classics, The Hideous Sun Demon is a fine example of monster movie excellence.

The Outlaw (1943)

The Outlaw's only saving grace is the great Jane Russell

[3/10 · 28 November 2014]

The Outlaw is remembered today primarily for being the film debut of the great Jane Russell, and while there are times badly-reviewed films are simply underrated, this is not one of those occasions. Direction is unremarkable, pacing is slow and tepid, and the script never settles on a genre. Is The Outlaw a romance, a comedy, or an adventure film? The screenplay jumps from one to the other, without ever establishing a personality or a consistent tone. The dialog is particularly bad, and even a better cast probably couldn't have done much with the ridiculous things the script requires the performers to say. Miss Russell is literally the film's only bright spot, and while it goes without saying that she brings a lot of beauty and natural sex appeal to the movie, she is also by far the film's most talented actor. Ironically, despite the fact the film is in large measure a vehicle for Miss Russell, she doesn't feature as prominently as she should in the plot, and often disappears for interminable stretches in which nothing much of interest otherwise happens. The Outlaw is simply a failure on almost every level, and even Jane Russell's unique screen presence isn't nearly enough to save it.

Ironclad: Battle for Blood (2014)

Inferior Sequel

[4/10 · 7 August 2014]

The original Ironclad is one of the most underrated movies of 2011, and arguably one of the more unappreciated action films of all time. The sequel--Ironclad 2: Battle for Blood--tries to replicate the formula of its predecessor but fails in almost every regard. The plot still centers around an English castle under siege, but this time the attackers are a raiding party of Scottish rebels. Desperate to hold on to his ancestral home, the lord of the manor sends his young son out to find his cousin, Guy, an accomplished but disillusioned warrior who has forsaken the ideals of his youth and turned mercenary. Guy, along with a few other malcontents apparently chosen at random--including an obnoxious executioner and the female serial killer he was about to behead--follow the nobleman's son back to the castle, and the fighting begins in earnest.

It's a shame the final product isn't a better film, because there's nothing wrong with the basic plot (not much is more fun than a medieval siege!) and the cast is actually pretty impressive. Tom Austen is well cast as Guy, and plays the part with the requisite intensity, and fans of Game of Thrones will appreciate a solid (if limited) performance from Michelle Fairley as the lady of the castle. Roxanne McKee is excruciatingly beautiful as Guy's romantic interest, Blanche, and though her sheer attractiveness guarantees an elemental level of sympathy from us male viewers, her character doesn't really have any other admirable qualities. And that gets to one of the film's major flaws: almost none of the protagonists are the least bit sympathetic, as the best of them are extremely self-centered and the worst actually psychopathic. The only truly sympathetic characters are the nobleman's son and his youngest sister, but they are really only supporting characters. There appears to be a change of heart on the part of one of the main players near the end of the film, but the narrated epilogue which wraps up the picture seems to undercut this so that any imagined character growth is apparently short-lived. Moreover, too many illogical things happen for which there is no reasonable explanation. Characters make decisions for which there is no plausible motivation whatsoever, and the plot develops rather haphazardly from beginning to end. The film is extremely violent, and the many action scenes are the movie's saving grace, and the film is never boring, but even in terms of action the film sometimes disappoints. Many of the action scenes are badly directed, and their potential impact diluted by the infamous "shaky cam" technique. Finally, the film's low budget is a real problem. The original Ironclad only had a modest budget, but the sequel must have had a fraction of that. The opposing forces are absurdly motley, and the attacking Scots never seem like a credible threat to take the castle. There are some good atmospheric shots of wild, beautiful mountain tops and dark forests, but the director never manages to make the battle scenes come alive against this backdrop.

Overall, this simply isn't a worthy follow-up to the original Ironclad. There are a few good performances and the battle scenes keep the plot moving and intermittently entertaining, but ultimately the film is undone by a low budget, an implausible script, and weak characterization. You could do worse if you are in the mood for a little medieval action, but you could do a lot better, too...particularly by merely watching the first Ironclad again.

SnakeHead Swamp (2014 TV Movie)

Leave this one in the swamp

[2/10 · 30 June 2014]

Mutant snakehead fish run amok in a small Louisiana town. Not a bad template from which to craft a fun b-movie, but SNAKEHEAD SWAMP is anything but fun. The potentially entertaining plot is spoiled by sorry effects that never make the monstrous fish remotely believable, much less frightening. The director might have tried showing less of the snakeheads to build up suspense instead of throwing the silly looking monsters at us full on, but one gets the impression there was little intention to make a truly thrilling movie on any level. The script makes fun of itself at every opportunity, so much so that it goes way beyond camp and seems to actually wallow in self loathing, as though everyone involved realizes they are in a terrible movie and want you to know that yes, they know it too. The monster action is lackluster and even the explanation for what caused the outbreak of killer fish remains muddled: was it because a truck crashed into the river with unnatural cargo inside, or due to a voodoo curse, or both? The question is never really answered, and I guess the viewer isn't supposed to think about it too much. The main characters, which range from a crazy old voodoo guy who lives in the swamp to a gang of young people on a boating trip and a female park ranger, are uniformly bad and underdeveloped even by the standards of b-films. In defense of the cast, however, I think the utter hopelessness of the characters has more to do with how they are written (or not) rather than due to the talent of the actors involved, most of whom do a pretty good job with the material as it is. The same cast might have done quite well with a better script to work from, and/or a director with a better handle on things. Sometimes for all their flaws b-movies are tremendously entertaining, but SNAKEHEAD SWAMP never manages to be anything but a very slow, painful experience in dramatic futility.

The Blood Beast Terror (1968)

Worthwhile Gothic in the Hammer Mould

[7/10 · 12 June 2014]

THE BLOOD BEAST TERROR is an entertaining Gothic chiller in the Hammer fashion, albeit lacking the production values Hammer films are often fondly remembered for. Peter Cushing carries off the role of the film's hero--a detective on the case of a series of unorthodox and bloody murders that start off in London and move out in the countryside--with his usual charisma and professionalism, and he's ably supported by a number of solid co-stars, including Robert Flemyng (well-cast as a scientist with a dangerous secret)as well as the lovely and talented Wanda Ventham and Vanessa Howard. The script drifts into the doldrums now and then,and the comic relief isn't always well-conceived, but a rich atmosphere and a measure of unpredictability carry the film through. The eponymous "Blood Beast" is scary enough if you can make the necessary suspension of disbelief often called for in science fiction and horror films. The climax is fitting, if perhaps a bit perfunctory. A better overall production than its given credit for, and certainly superior to many horror films to have been released since.

Beowulf (2007)

Maybe it seemed like a good idea at the time

[4/10 · 29 May 2014]

The first problem this film has is that it simply isn't BEOWULF. It may be inspired by the classic saga of a Nordic warrior and his battles with diabolical monsters (Grendel, Grendel's mother, and a particularly wicked dragon), but it certainly isn't a faithful adaptation of that seminal poem. The script makes huge alterations in both the plot and characters, resulting in a story that has only vague similarities to its source. Grendel isn't a very formidable monster in this film, and his mother, as essayed by Angelina Jolie's CGI avatar, is transformed from a loathsome goblin to a devilish seductress. As for the CGI animation, I've seen both better and worse. The dragon comes across very well in animated form, and is actually one of the most fearsome looking fire- breathers the movies have given us, but the humans all look quite fake and even rather silly. Beowulf isn't the man he is in the original saga, either, where he is portrayed as an honorable and even God-fearing warrior of Good. In this film, he is not merely flawed, but duplicitous, and certainly no Christian (for whom he has little respect). Unfortunately, the film as a whole shows a similar disdain for the poem upon which it is based. Better film adaptations are the also unconventional but basically honorable efforts of BEOWULF AND GRENDEL starring Gerard Butler and THE 13TH WARRIOR featuring Antonio Banderas. As for this film, it is an unreserved failure, save perhaps as a parody of the great work from which it is spawned.

Creature (2011)

Horrendously Bad

[2/10 · 27 May 2014]

When a group of young tourists decide to take a detour on their way through Louisiana, they discover there's more than a legend lurking in the murky swampland. Not a bad idea as b-movies go, but CREATURE is a failure in every department of film making. The script is awful, the dialog crass and unrealistic, and the six young leads are totally unsympathetic and impossible to identify with. There isn't much action, but a few horrific set pieces are extremely gory and exceedingly unpleasant. The eponymous monster doesn't have much to do and it might have been wiser to make the villain one of the several alligators that populate the region in which the story takes place. Failing that, I imagine we're supposed to see this as some sort of homage to CREATURE FROM THE BLACK LAGOON, but this film has absolutely nothing in common with that classic. Insipid, vulgar, and insulting, CREATURE is an altogether toxic film experience.

The Awful Dr. Orlof (1962)

Underrated Gothic Chiller

[7/10 · 24 May 2014]

If THE AWFUL DR. ORLF doesn't quite reach the first rank of classic horror films from the 1960s, it is nonetheless an eerie, thoroughly entertaining little gem that deserves a broader audience. Director Jesus Franco establishes a rich, fog-haunted atmosphere that saturates the viewer in Gothic ambiance, and the story manages to rise above the limitations of formula for all that it lovingly embraces the familiar trappings of genre. The principal characters are believable and quite well acted, notably Howard Vernon as the eponymous mad doctor (who, awful as he is, is motivated to torture and kill young women in the vain hope that he can restore youth and life to his disfigured daughter) and Conrado San Martin as the police detective determined to track him down. Also noteworthy are Ricardo Valle as Morpho, the murderous but helpless thrall of Orlof whose shambling, blind killer is both frightening and yet somehow sympathetic, and the enchanting Diana Lorys, who essays a dual role as both the detective's ballerina girlfriend and also Orlof's comatose daughter. Lorys is blessed with beauty and charisma in equal measure, and her role is in many ways the central one of the film. The movie's only notable flaw is a pace that occasionally drags, but all the same the picture maintains interest and the eventual climax is not only fitting but exciting. Overall, THE AWFUL DR. ORLOF is a small but vital triumph, well-directed with an even hand and a fine Gothic treasure of 60s cinema.

Baron Blood (1972)

Baron Blood Review

[4/10 · 24 May 2014]

Mario Bava is one of the most respected names in all of horror, but BARON BLOOD is a weak link in his resume'. The plot, about a ruthless Austrian nobleman brought back to a semblance of life to take up his brutal ways once again, is serviceable enough, but it never comes to fruition. There is a real dearth of action, and while there are successful moments scattered throughout BARON BLOOD Bava cannot maintain suspense or drama. To his credit, Bava emphasizes atmosphere over gore, and the violence is surprisingly restrained and delicately handled, but there are no thrills.Characters are dull and unrealistic, and Joseph Cotton fails utterly in his turn as the resurrected Baron. Elke Sommer is better as the leading lady, and she's certainly easy on the eyes, and an extended chase scene in which the Baron pursues her through the eerily lit shadows is one of the few times the film begins to realize its potential. Sadly, Bava can't keep it going, and for the most part BARON BLOOD is tepid and dreadfully slow, culminating in an unconvincing climax that is satisfying only in the sense that it brings the tedium to a close.

YellowBrickRoad (2010)

Stay off the Yellowbrick Road

[3/10 · 5 May 2014]

Clearly a labor of love for the filmmakers, YELLOWBRICK ROAD is nevertheless merely an ambitious failure. No doubt inspired to some degree by the writings of H.P. Lovecraft, the film invests a great deal of time attempting to develop an atmosphere of nameless dread in the depths of the New England woodlands, but while this is somewhat successful the plot never develops. The story raises lots of questions which it never endeavors to answer, and in the end no real explanations are ever offered. Perhaps this is supposed to be the point in itself, but if so it makes for very sorry film making. Acting is fine and the camera utilizes the isolated forest scenery to great effect, but ultimately YELLOWBRICK ROAD leads nowhere, and it's not even a very enjoyable journey. Pointless, frustrating, and thoroughly disappointing, YELLOWBRICK ROAD is best avoided by all parties.

The Legend of Hercules (2014)

Legend of Hercules Review

[6/10 · 20 January 2014]

Hollywood turns to Greek mythology for inspiration and comes up with The Legend of Hercules, directed by Renny Harlin and starring Kellan Lutz as the eponymous demigod. As imagined by Harlin and three other credited screenwriters, Hercules is conceived by the king of the gods to deliver his people from the tyranny of the evil King Amphitryon (Scott Adkins). But though Hercules grows up with superhuman strength and skill, only his mother knows he is the son of Zeus. Ironically, Hercules doesn't believe in the gods, and considers his mother's beliefs a waste of time. He prefers to invest his time in the very earthly charms of Princess Hebe (Gaia Weiss). But when Hercules sees his beloved ordered to marry Amphitryon's eldest son, the young man rebels, earning himself an exile where the King intends for him to die and be forgotten. Can Hercules reconcile himself to the fact that he is the son of a god and fulfill the heroic destiny his mother imagined for him?

The plot isn't half bad, and even if it isn't exactly in line with Greek mythology as recorded it could still be a fine story. But while The Legend of Hercules isn't a failure, it is merely a mixed success of sorts. One of the biggest problems is Hercules himself--or rather, Kellan Lutz. Lutz isn't a good fit for the role at all. He lacks the presence required to play a demigod successfully and frankly is too feminine for a part that requires literally superhuman machismo. And while the general storyline is fine, the script suffers in detail. The dialog is often cheesy and too many plot points are awkwardly realized, as though they were not only written hurriedly but acted and directed on the fly. The script flirts with a certain gravitas near the end, but then throws an opportunity to finish with a real punch away in favor of a more conventional--but far weaker--ending that is virtually inexplicable.

On the positive side, some of the rest of the cast is excellent, especially Scott Adkins as Amphitryon. Adkins has been slowly building a formidable reputation among action performers the last several years, and he brings an on screen power to his role as the wicked but mighty King Amphitryon that Lutz simply never matches. It would have been wiser to let Adkins have the starring role as opposed to the younger, more effeminate Lutz. Likewise, Gaia Weiss virtually ignites the screen every time she enters a scene. She's not only almost painfully beautiful, but plays the part of the lovelorn princess with a rare grace and charisma.

Production values are fairly good. The ancient setting of mythical Greece is well developed, and the special effects are pretty convincing. There are a lot of violent action scenes, and while blood is kept to a minimum to stay under the PG-13 umbrella there is still plenty of graphic, bone-crunching mayhem. The final battle between Herclues and Amphitryon is quite thrilling, albeit undercut by the aforementioned belly flop that takes the easy way out.

To top it off, there is some attempt to explore religious themes in a meaningful way, including several Biblical analogies. The film actually comes across as a pro-faith vehicle and could even be interpreted as at least partly being a Christian allegory, though sometimes only clumsily so.

In the end, The Legend of Hercules is entertaining enough for fans of action, science fiction and fantasy, but it's hardly "legendary" in any real sense. It's basically a Scy-Fy Original with a bigger budget. That's fine as far as it goes, but while you may have fun watching this movie, you probably won't remember much about it a few hours later.

47 Ronin (2013)

Revenge of the Ronin

[7/10 · 20 January 2014]

An outcast hero. A ruthless sorceress. A land of honor and majesty, mystery and horror. A small band of brothers-in-arms united against an overwhelming force.

Sounds like a great movie, doesn't it?

It wouldn't have taken much more for 47 Ronin to be a really great film. It has all the ingredients, from the incredibly wrought Japanese feudal landscape to a proficient cast headlined by action superstar Keanu Reeves. The script is ambitious, and tries hard to tie multiple story strands--including the demands of honor, loyalty to family, prejudice, and justice--all together in a way that doesn't detract from the basic tale of good vs evil at the core. And it all almost works just right.

There are two main drawbacks to the film, and while neither is disastrous together they too keep the movie from realizing its potential. First, Keanu Reeves's character (a foreigner who despite his devotion to this clan isn't trusted because he is different) isn't really the star. This might not be a problem if the plot were structured differently, but dividing a narrative between two nearly equal protagonists rarely works, and this is no exception. Hiroyuki Sanada, however, is essentially a co-star as Reeves's reluctant ally, and his character serves to in many ways split the storyline in two. Sanada is a good actor and his character is certainly interesting enough, but films works best with one hero. 47 Ronin really has two heroes--I suspect by accident--and the plot suffers for it.

Second, despite the film's billing as a nonstop action showcase, 47 Ronin isn't quite the thrill-ride it's supposed to be. Not that there isn't any action, of course, but it's more rare than the previews lead one to believe and often over quickly. The two flaws come together at the film's climax, with disappointing results. While Reeves battles a powerful witch for the fate of the woman he loves--easily the high point of the movie--Sanada simultaneously fights with an evil warlord in a rather poorly rendered and anti-climactic duel. The film switches back and forth between the two battles with the action further diluted by cuts to a large-scale combat going on between the overlord's army and a band of rebels. The director may have imagined this would tighten suspense. Instead, it dilutes any excitement, badly.

But while Reeves--well-cast as the enigmatic half-breed--and Sanada are the twin heroes of the film, the movie's best performance goes to Rinko Kikuchi as the Witch. Kikuchi is delightfully wicked and ruthless in the role, while never allowing the character to fall into self-mockery. It will be interesting to see if Kikuchi's performance carries her over into other work here in America.

47 Ronin has a lot going for it, and in fact is probably a little better than the other fantasy-action movie that came out at the same time, that of course being The Hobbit: The Desolation of Smaug. Boasting glorious sets and brilliant cinematography and some nice touches, the film just fails to achieve the epic status to which it aspires. It's probably not a movie to buy when it hits the DVD market, but for a single matinée viewing, you could do much worse.

Dracula 3D (2012)

Argento's Dracula

[7/10 · 26 December 2013]

There's always room for a different interpretation of the Dracula story, and Dario Argento's take on the iconic vampire lord is nothing if not different. Reviewers have been almost universally unkind to this film, but I found the trailer intriguing and refused to let the naysayers dissuade me from watching it once it became available online. In fact, Argento has produced a very watchable vampire film that, while certainly not the next great horror masterpiece, isn't all bad, either. Thomas Kretschmann is outstanding in the lead role of Dracula, able to inspire real menace just by walking into a scene or even with a malevolently intoned word. The rest of the cast is somewhat uneven, with Argento's daughter Asia doing a nice turn as one of Dracula's victims though she isn't really given enough screen time. Rutger Hauer is on paper an inspired choice to play Dracula's nemesis, Van Helsing, but for whatever reason Hauer's performance is peculiarly tepid. It's almost as though he either doesn't know how to play the character or else simply isn't very interested. Marta Gastini, on the other hand, is marvelous as Mina, just as beautiful but more reserved than Asia Argento's character of Lucy and ultimately far wiser as well. Miriam Giovanelli is a delightful young beauty who steals more than one scene from her more experienced cast members, and it would be a treat to see more of her in future horror-themed films. The script takes considerable liberties with the original novel, but this should be no great obstacle to those who have seen other even less faithful adaptations of Dracula over the years. Moving the setting to Transylvania and keeping it there isn't the worst idea a Dracula director has ever had, and while the dialog is sometimes either overwritten or underwritten it generally keeps the plot moving. The music is eerie, atmospheric, and hypnotic, and the scenery is beautifully shot. Some reviewers have been very critical of the director's frequent use of day-for-night shots, but I for one was glad to actually be able to see what's happening in every scene. Special effects generally work, especially in the various transformation scenes, but the very copious blood that flows freely throughout the film is obviously fake and is a bit distracting at times. The film's biggest flaw is that, having set up what should be a moving and stirring climax, the conclusion is a major letdown that fails to deliver the big payoff such a movie demands. The final shot doesn't change the story that has gone before, but does leave room for a sequel. Argento seems to have based his film more upon the great Hammer films starring Christopher Lee than any other source, and while his Dracula film isn't as good as any of those classics, it's still worth a look by vampire fans of every stripe.

Ender's Game (2013)

At what price victory?

[8/10 · 8 November 2013]

The heading for this review could easily be the tagline for the new science fiction film based on a popular young adult novel by author Orson Scott Card. Though definitely a great action/adventure film, ENDER'S GAME is more concerned with ideas and values than flashy special effects.

Not that there aren't quite a few visual treats, of course. ENDER'S GAME is an alien invasion film—sort of—and a series of short but powerful flashbacks tell the story of a nearly-successful colonization of Earth by an insect-like species known as the Formics. Nearly wiped out, the people have Earth have lived in constant fear of a second invasion in the decades since. Human technology has advanced considerably in the interim, and our space fleet has set up a perimeter around the Formic homeworld, waiting for the inevitable second war.

As that war seems to draw ever closer, the veteran officer Colonel Graff eyes a young boy named Ender Wiggins. Ender displays a special military genius in the computerized wargames that are used to train potential new leaders, children being especially targeted as their younger brains adapt to new information more quickly. Graff is convinced that Ender is the key to defeating the Formic forces once and for all, and sets about meticulously orchestrating Ender's development so that the boy can ultimately fulfill his destiny.

But what about Ender? How does he feel about this destiny? Is he as gifted as Graff thinks he is? And even if he is, is the life of a soldier really what he wants? Does what he wants even matter? The question of freedom is a big part of ENDER'S GAME, as the characters constantly struggle with the reality of living under the shadow of possible extermination at the hands of a merciless and literally inhuman adversary while nonetheless retaining basic human needs for liberty, personal satisfaction, and family, all of which are often at odds with the martial demands of a culture consumed with battle readiness. Moreover, the script deftly addresses our human tendency to de-humanize the enemy by basing Ender's special talent for strategy upon an apparent contradiction. As Ender himself says, "In the moment when I truly understand my enemy, understand him well enough to defeat him, then in that very moment I also love him." ENDER'S GAME is well-produced, paced, acted and directed. Colonel Graff is played by the great Harrison Ford with chilling authority, while Asa Butterfield brings Ender to life with an expert performance which belies his young years. An all-round excellent science fiction that combines thrills and adventure with a rare thoughtfulness and insight, ENDER'S GAME is a must-see for any sci-fi fan.

Prisoners (2013)

Evil is everywhere...even in ourselves

[9/10 · 31 October 2013]

Some people are comparing PRISONERS, the new dramatic thriller starring Hugh Jackman and Jake Gyllenhaal, to SILENCE OF THE LAMBS. I don't really see that, not only because the two movies are quite different, but because PRISONERS is a much better film than the generally overrated SILENCE OF THE LAMBS.

PRISONERS is the story of a man obsessed with finding his missing daughter. Apparently kidnapped along with another young girl on a rainy Thanksgiving Day (and isn't Thanksgiving the most depressing of all holidays anyway?), little Ana seems to be gone without a trace. The only clue to her whereabouts is the description of a strange RV the girls were playing on shortly before their absence. But when the owner of the RV is found, there is no trace of the girls, no sign they were even in his vehicle. The police, represented by Detective Loki (Gyllenhaal), can't find any justification to charge the man, so they let him go. But Ana's distraught father, Keller (Jackman) knows better. And if the police won't do what's necessary to find his daughter, then Keller is more than willing to take matters into his own hands.

PRISONERS is an absolutely stunning film. Visually, everything is starkly understated and dreary, much like the plot. The drama is heavy and morose, which is only appropriate given the subject matter. The script delves deep into the minds of people who have lost their children and are struggling with the unbearable burden of that loss, but it also shows us what the police who are charged with solving the most heinous of all crimes have to go through. Keller is the heart and soul of the film, and we feel his pain, rage, and frustration simmering throughout the whole movie. Keller is painstakingly detailed as a good man, a fine husband and father and devout Christian, and so the questionable moral choices he makes later take on the added weight of believable pathos.

Detective Loki is likewise presented as a determined, essentially noble and sympathetic cop who is nearly as obsessed with finding Ana as her father is, though unlike Keller he understands procedure and desperately wants Keller to leave things alone so the police can do their job. Without question, each role shows Jackman and Gyllenhaal at their best, and both actors certainly deliver the finest performances of their excellent careers.

PRISONERS is full of twists and turns and unexpected plot revolutions that at times threaten to devour one another in their labyrinthine dungeons, and so it is almost amazing that in the end everything comes together so logically and satisfactorily. Though a great thriller, PRISONERS is even more than that. It's a movie about the moral choices we make and the line between right and wrong, and where those choices may lead us. In short, PRISONERS is a new classic of suspense.

Carrie (2013)

Another Remake, Another Letdown

[3/10 · 31 October 2013]

The original version of CARRIE, directed by Brian DePalma and starring Sissy Spacek, stands as a bona fide horror classic. The remake isn't so much a remake as a glossy re-packaging. It doesn't explore any new angles or re-interpret the plot in any meaningful way. It's just the same story, minus the inspiration and the sheer terror which marked the original movie. In short, it's a total waste of celluloid.

Director Kimberly Pierce seems totally disconnected from her own film, almost as though she's imagining her own movie as still directed by Mr. DePalma. She doesn't take any significant changes in tone or offer us any different perspectives. It's almost a paint-by-numbers job.

The casting is, with one notable exception, a disaster. Not that the actors in this film are bad or don't try, but they are almost all poorly cast as the characters they are required to play. Chloe Grace Moretz is a most unfortunate choice to play Carrie White, the poor misfit who develops the power to move things with her mind, with terrifying results. Moretz doesn't look much like a social misfit. Other than her outdated clothes, she comes across like a typical teenage girl, which Carrie most certainly is not, even if that's what she wants to be. Moretz never captures the insecurity, vulnerability, and desperate longing that Sissy Spacek brought to the role back in the 70s, and a Carrie White without those characteristics simply isn't Carrie White.

Gabriella Wilde isn't a much better choice to play Sue Snell, either, and should have been cast to play the villainous Chris Hargensen instead of Portia Doubleday. Doubleday shows some skills in her role as the wicked, spiteful Chris, Carrie's primary tormentor, but she lacks the overwhelming presence of malice and venom that Nancy Allen personified in the original.

The only cast member who really excels is Julianne Moore as Carrie's fanatical mother, Margaret White. Moore's performance is at least equal to that of Piper Laure in the original film, and conveys a woman tortured by an indescribable madness which masquerades as religious fervor. Moore makes Margaret White believable but nonetheless overpowering and truly scary, and her magnificent turn is the showcase of the film. It's not enough to save it.

Surprisingly, or perhaps not given our Politically Correct times, the movie is actually less violent than the original. Despite a few flashy special effects sequences, the climactic Prom Scene is a lot less malevolent and lethal than the same moment in the DePalma film. What should be mind-numbingly horrifying is instead merely spectacular, which isn't at all the same thing.

Sometimes remakes work well. Occasionally they even surpass the original. The 2013 version of CARRIE is not one of those times. Don't waste your money. The original's on NetFlix.

Divination (III) (2011)

Be Careful Who--or What--You Let Into Your House

[9/10 · 23 September 2013]

DIVINATION is a supernatural thriller about the unseen spiritual warfare that is constantly raging all around us, whether we want to admit it or not. Newlyweds Jason and Jessica certainly aren't privy to the otherworldly battle that is taking place inside their home, nor to the efforts of their guardian angel, Joshua, to keep the forces of evil at bay. All the young couple wants to do is build a happy life together and start a family. But Jason is harboring a dark secret that is eating away at his psyche like a cancer, and all the while unseen powers are unfurling evil plans for not only the man and his wife, but for their potential children as well.

DIVINATION is one of those movies that flies in under the radar and then goes off like an atomic bomb. I had never heard of it prior to its September Redbox debut, but while it may be an unheralded film the lack of fanfare makes it all the more impressive. No, the cast doesn't feature any "name" actors, it's apparently director Ben Pohl's first feature, and it's fairly obvious the movie was produced on a small budget.

None of that matters. The acting is solid from everyone involved, and the performers do a great job of living out the script. As for the screenplay, it's simply excellent. The story wrestles with common, everyday issues like familial trust, commitment, failure, and fear, but reminds us all that even our most mundane decisions can have eternal consequences not only for ourselves but for those we love. Dialog is spot-on and imminently believable. And first-time director Pohl proves himself surprisingly adept at dramatic storytelling and atmosphere. There are some really stunning set pieces and more than a few shocking moments. While DIVINATION isn't really a horror story, there are some genuinely frightening scenes, though Pohl is thankfully smart enough to pull back before the chills overwhelm the rest of the plot.

The only real weakness in the movie is evident in its action scenes. While Pohl does a great job of framing the several duels between angels and demons in a stunning ethereal ambiance, the actual action choreography is at times a little rough around the edges. One gets the impression Pohl wants his action scenes to look like similar moments from THE MATRIX, but given the low budget that's just not possible. Still, this is a minor quibble, and overall the production values—including the special effects—are quite good, especially considering the obvious financial limitations.

DIVINATION is a terrific and highly inspirational film that is frankly one of the best movies of 2013, low profile notwithstanding. Its script is insightful and full of Judeo-Christian imagery, and while Jesus Christ is never specifically mentioned there is a major plot point that clearly symbolizes the Son of God (you'll know it when you see it). The cast all play their roles with sincerity and conviction, and the direction is creative and rises above its low budget. DIVINATION is one of those films that will not only entertain you, but perhaps make you take certain aspects of your life a little more seriously. Our decisions matter, and Good and Evil are not only real, but a part of our daily lives. How we react to that is—as for Jason and Jessica—up to us.

The Initiation (1984)

Another 80s Slasher Gem

[7/10 · 13 September 2013]

Granted, THE INITATION doesn't compare favorably to the best slasher films like HALLOWEEN or the original Friday THE 13TH, but even so it's a surprisingly successful horror film buoyed to some degree by a mystery element that, if ultimately unbelievable, still adds immeasurably to the usual formula of young people being killed by a crazy murderer.

Daphne Zuniga stars as a sorority pledge whose usual college problems are magnified by a long history of recurring nightmares. Her parents assure her the dreams are nothing to be afraid of, but our heroine is determined to make peace with her inner demons and put the strange nightmare behind her once and for all. Meanwhile an unknown stalker is hunting her family and friends, and everything comes to a head in a shopping mall after hours from which the killer is determined no one will escape.

THE INITIATION is fairly well-written and directed, with a strong cast (including Clu Gulager and Vera Miles) and some highly effective murder sequences. Though not as bloody as some other slasher films, the movie still packs a visceral punch, and the suspense factor is high as well. The young people who make up most of the film's cast are for the most part quite likable, except for the sorority queen and her drones, so that when they are in danger the viewer really feels it. The lovely Daphne Zuniga does a fine job in her first big feature role, but she gets some surprisingly strong support from her co-stars, including the stunningly beautiful Hunter Tylo (here acting under the name Deborah Morehart). The thrills culminate in a feverish climax with more than one big reveal.

Again, THE INITIATION isn't a horror classic, but it is a solid slasher that hits all the right notes and benefits from a relatively ambitious script which incorporates both mystery and solid characterization. Definitely among the top tier of films in the slasher canon.