Release Date: December 31st, 1986 (limited) Directed by: Kevin Tenney Written by: Kevin Tenney Music by: Dennis Michael Tenney Cast: Todd Allen, Tawny Kitaen, Stephen Nichols, Kathleen Wilhoite, Burke Byrnes, Rose Marie
Paragon Arts International, Blue Rider Pictures, 98 Minutes
“Hang loose, stay cool, and don’t forget your psychic humor.” – Zarabeth
I had never seen Witchboard and I never had much interest in it. Ouija Board movies have never been my thing, for whatever reason. I don’t know, even as a lover of horror, I always found the concept of them to be too one-dimensional and uneventful.
Seeing this, my assessment isn’t proven wrong and in fact, this movie is also pretty boring. It has a few neat moments but not enough to salvage it or make it something I’d ever feel like I wanted to watch again. And I only really watched it this time because I know some people that are somewhat nostalgic about this film.
Also, this has Tawny Kitaen in it and I remember how much my older cousins and uncles were fawning over her back in the day after she did that Whitesnake video. Yeah, I saw it. Even as a little kid, I thought she was hot. But I was really a Phoebe Cates kinda guy.
Anyway, this is about a group of college aged kids that fuck around with a Ouija Board. One of them (Kitaen) develops an unhealthy obsession, as she starts to talk to the ghost of a child. However, we later find out that this child ghost was an evil wizard all along and he’s possessed her. Crazy supernatural shit happens and the boyfriend has to fight his demon possessed girlfriend in an effort to save her from the wizard’s spirit.
Witchboard has a few amusing characters in it, such as the bizarre psychic girl, and it shows two best friends, fighting over the same girl, have to come back together in an effort to save her. I always love bro movies where the bros gotta put aside their differences and save the day.
This is mostly slow, poorly acted and it doesn’t have anything special or unique to make it stand out in a sea of great ’80s horror. But still, it is ’80s horror and with that, it’s still a decent film to check out if ’80s horror is your cup of tea.
I didn’t hate this, by any means, but I was far from loving it, as well.
Release Date: April 15th, 1958 (London premiere) Directed by: Val Guest Written by: Jon Manchip White Music by: Gerard Schurmann Cast: André Morell, Carl Möhner, Edward Underdown, Walter Fitzgerald, Phil Brown, Barbara Shelley, Michael Goodliffe, Michael Ripper, Michael Gwynn
Hammer Films, 81 Minutes
“I’ve no use for shirkers and there’s no room for self-pity here.” – Col. Lambert
Being that André Morell is my third favorite Hammer actor after Christopher Lee and Peter Cushing, it was cool seeing him in something from the studio that wasn’t horror. Well, it’s a war film and with war there are certainly horrors.
This also features other Hammer regulars like Barbara Shelley, Michael Ripper and Michael Gwynn. Being that this came out in 1958 also makes it pretty early on in their Hammer careers.
The plot revolves around the tension between a Japanese prison camp commandant and a British colonel held captive. The colonel knows that Japan has surrendered but the commandant isn’t yet aware of it. The colonel hides this fact, as the commandant has promised to slaughter a nearby camp full of women and children if Japan loses the war.
It’s a damn good setup and the film slowly continues to build its tension to a point where things start boiling over.
Some of the acting in this is really hit or miss and even if the film is a product of its time, it’s still weird seeing a non-Asian guy playing a Japanese commander. Sometimes this works, sometimes it doesn’t. For instance, I don’t have any qualms with Christopher Lee playing Fu Manchu in the ’60s, as he did a stellar job and was believable. Also, his makeup was done by someone making a real effort. Here, the guy really doesn’t even look Asian. It’s just kind of jarring and takes my head out of the film, as I can’t suspend disbelief enough to ignore the glaring detail.
The good acting, mostly by Morell, isn’t enough to offset the strangeness of the Japanese commandant.
Also, this film moves really slow at times, which is surprising to me as it is only 81 minutes.
This is still pretty good, though. Morell absolutely steps up and brings his A-game making this movie much better than it would have been, otherwise.
I also thought that Barbara Shelley held her own and put in a believable performance, as a regular woman trapped in a very perilous situation.
All in all, this was a real departure from what Hammer is generally known for but they still put in a solid effort and this was better than I thought it would be.
Release Date: August 11th, 2008 (Westwood premiere) Directed by: Ben Stiller Written by: Justin Theroux, Ben Stiller, Etan Cohen Music by: Theodore Shapiro Cast: Ben Stiller, Jack Black, Robert Downey Jr., Steve Coogan, Jay Baruchel, Danny McBride, Brandon T. Jackson, Bill Hader, Nick Nolte, Matthew McConaughey, Tom Cruise, Brandon Soo Hoo, Reggie Lee, Trieu Tran, Tobey Maguire, Tyra Banks, Maria Menounos, Martin Lawrence, Jason Bateman, Lance Bass, Jennifer Love Hewitt, Alicia Silverstone, Christine Taylor, Yvette Nicole Brown, Sean Penn, Jon Voight, Justin Theroux
“I’m just like a little boy, playin’ with his dick when he’s nervous.” – Kirk Lazarus
Tropic Thunder is only thirteen years old yet it definitely isn’t a movie that you could make today.
Things have really changed in American culture and this picture now feels like it was Hollywood’s final attempt at a giant middle finger to the sensitive bitches that they knew would dictate the direction of cinematic art going forward.
While I haven’t seen this since it came out, I loved it pretty immensely at the time. I wasn’t sure if it would be as good as I remembered but man, I really should’ve been watching this fairly frequently over the last several years. I miss movies like this where nothing was sacred and you could make fun of anything and people still laughed.
There is a stark contrast between the world in 2008 and 2021. It’s fucking worrisome, as we live in a time where everything is fucking offensive and because of that, comedy is dead. I mean, when’s the last time a new movie made you laugh as hard as this one? These films just don’t and can’t exist anymore.
Not only is this hilarious, it’s pretty superbly acted for a comedy movie. The cast is pretty stacked with talent and all of them commit to the bit in every single scene. Frankly, there isn’t a weak link in this flick and I say that not being a big fan of Ben Stiller or Jack Black. Sure, I like some of their films but they were never guys I went to the movies for.
That being said, this might be the greatest thing that Ben Stiller has even done, as he doesn’t just star in it but he also co-wrote and directed it.
With that, the concept for the film was great and Stiller’s direction was just on another level, here. He showed that he can handle action, as well as comedy, and he got some fantastic shots in this picture.
The more I reflect on this, after my first viewing of it since the ’00s, it might very well be one of the all-time greats, as far as ensemble comedies go. While it’s not quite on the level of Ghostbusters, it’s not too far behind it, honestly.
Release Date: December 26th, 1960 (UK) Directed by: Terence Fisher Written by: Alan Hackney Music by: Alun Hoddinott Cast: Richard Greene, Sarah Branch, Peter Cushing, Niall MacGinnis, Nigel Green, Oliver Reed (uncredited), Desmond Llewellyn (uncredited)
Yeoman Films Ltd., Hammer Films, 80 Minutes
“This is not a game, Madam, I’m dealing with criminals!” – Sheriff of Nottingham
I’m kind of shocked that this site is two months shy of its five-year anniversary and this is the first Robin Hood movie that I’ve reviewed! Damn, I’ve been slacking on one of my all-time favorite legendary characters! I must rectify it with this movie and many more in the coming months!
Anyway, I guess I’m glad that I started with one that I had never seen and one that was made by one of my all-time favorite studios, Hammer Films. It also features horror icon Peter Cushing and has smaller parts for Oliver Reed, Nigel Green and James Bond‘s original Q, Desmond Llewelyn.
This film’s Robin Hood is played by Richard Greene, who actually played the character in the British television show The Adventures of Robin Hood for four seasons, totaling 143 episodes! So for fans of that show, this film must’ve felt like a theatrical finale, despite other characters being recast.
I really liked Peter Cushing as the Sheriff of Nottingham and the only real shitty thing about that iconic character in this version of the story, is that he never gets to meet his end at the hands of Robin Hood. Instead, he’s murdered like a dog by his superior, who was just tired of listening to him obsess over Hood.
I thought that Richard Greene made a solid Robin Hood and since I’ve never actually watched his show, I might try and track it down. If I do, obviously, I’ll review it.
This was a thoroughly entertaining Robin Hood picture and I liked the sets, costumes and overall look of the presentation. Granted, being that this is from the UK, it’s easy to make the world of Robin Hood look right. Plus, they still have so many castles and old structures that it’s not difficult finding the right places out in the wild.
I was glad that Hammer’s most celebrated director, Terence Fisher, was able to dabble in this style of film, as he predominantly did horror for the studio.
In the end, this was a better than decent Robin Hood flick with good actors, a nice pace and an authentic look.
Also known as: The Demon Planet (US TV title), Planet of Blood, Space Mutants, Terror In Space, The Haunted Planet, The Haunted World, The Outlawed Planet, The Planet of Terror, The Planet of the Damned (alternative titles) Release Date: September 15th, 1965 (Italy) Directed by: Mario Bava Written by: Ib Melchior Based on:One Night of 21 Hours by Renato Pestriniero Music by: Gino Marinuzzi Jr. Cast: Barry Sullivan, Norma Bengell, Angel Aranda, Evi Marandi
Italian International Film, Castilla Cooperativa Cinematográfica, American International Pictures, 88 Minutes
“I’ll tell you this, if there are any intelligent creatures on this planet… they’re our enemies.” – Capt. Mark Markary
While Mario Bava is mostly known for his horror and giallo pictures, I really liked when he did more ambitious, larger scale things like this and Danger: Diabolik.
Bava was really good at making Italian blockbusters that looked more epic in scale and production cost than a typical ghost story or murder mystery. But I guess he was just a superb director all around because even his misses are still enjoyable and have enough positives to make them worthwhile.
It’s been a long time since I’ve seen this specific Bava film. So long in fact, that when I had seen it previously, I didn’t really know who Bava was and I certainly wasn’t as acclimated to his work, as I am now.
This was a favorite late night film of mine, as a kid, though. I remember it being on late night cable quite a bit when late night cable was still really fucking cool when you weren’t going down the rabbit hole of infomercials.
I always loved the look and style of this film and I didn’t even realize it was Italian/Spanish back then. While it looked like your typical ’50s and early ’60s sci-fi epic, it was a lot more colorful and vibrant. I think it’s visual allure is what drew me to it and it’s that visual allure that would eventually become the visual style of giallo.
Beyond that, though, I loved the costumes of the crew, I loved the design of the ships, the simple but unique and stylized sets, as well as the look of the planet and all its weirdness.
The scene where we see a giant alien skeleton was so ominous and cool that it asked more questions than it answered and I’ve always kind of felt like it might have inspired the “Space Jockey” from Alien.
Planet of the Vampires is just a really cool, great, old school sci-fi/horror thriller. It’s one of my favorite Mario Bava pictures and honestly, it’s something I should revisit more often.
Also known as: Cruella de Vil (working title) Release Date: May 18th, 2021 (Hollywood premiere) Directed by: Craig Gillespie Written by: Dana Fox, Tony McNamara, Aline Brosh McKenna, Kelly Marcel, Steve Zissis Based on:The Hundred and One Dalmatians by Dodie Smith Music by: Nicholas Britell Cast: Emma Stone, Emma Thompson, Joel Fry, Paul Walter Hauser, Emily Beecham, Kirby Howell-Baptiste, Mark Strong, John McCrea
Gunn Films, Marc Platt Productions, Walt Disney Pictures, 134 Minutes
“They say there are five stages of grief. Denial, anger, bargaining, depression, and acceptance. We’ll I’d like to add one more… revenge.” – Cruella de Vil
Cruella is two movies trying to be one movie. Hell, maybe it’s even three movies.
That being said, I do like the film in spite of my better judgment but I’ll explain why while also pointing out the myriad of things wrong with it.
To start, this is just another soulless attempt at Disney trying to cash-in on an old, beloved franchise by making a live action adaptation of some part of it. In the case of this film, it’s a “prequel” of sorts to the 101 Dalmatians franchise. Like some other live action adaptations Disney has done, as of late, this tries to tell the origin story of one of the studio’s most famous villains. But really, this just shows how Disney is out of ideas and how it really keeps trying to inject identity politics into everything it touches now.
Additionally, this is basically trying to capitalize off of the success of 2019’s Joker by taking it’s general concept, switching genders, switching franchises, not going for an R rating and trying to pass it off as something fresh, cool and unique. Let’s also ignore that Warner Bros., who put out Joker, have also put out three movies with his psycho, villain, girlfriend Harley Quinn.
Also, this shows modern Disney’s problem with morality. In almost everything the studio puts out now, it gives audiences situations where it’s obvious that their writers don’t understand the basic concept of good versus evil. I’ve seen this in all the Disney+ Marvel shows and they also did it twice with Maleficent in her two live-action movies that try to justify her villainous behavior and make her the tragic victim.
Cruella is a mess and to be honest, I don’t know where to start with it and I’m not going to cover all of its problems other than to say that the biggest problem of all is that Disney very clearly wanted this to be a “girl power” movie and wanted it to work no matter what, so they forced it into existence without much thought in regards to story, character development, logic and again, morality.
So looking at the story, this movie just does things because it needs the story to work with the studio’s agenda remaining intact. It insults the intelligence of viewers with intelligence and hopes that they don’t start asking questions as the film tries to rush from point-to-point.
Like why does Estella/Cruella essentially have a dual personality? Why did the villain lady agree to see Estella’s mother during an opulent ball the poor mother had no business at? How did Estella get to the fountain in London on her own? Why is Estella as Cruella suddenly a complete bitch to her best friends? Why do the friends stick around? Why does villain lady not recognize Cruella’s posse when they’re front and center at every fucking public troll? Why did Cruella never actually hate the Dalmatians and basically adopts them? Why was her necklace a key to a box that revealed her secret identity that a stranger had and why was the adoptive mother given the secret key necklace when she knew the truth, anyway? There’s a lot more but I’ll leave it at that.
A lot of those questions tie directly to the problem with character development. But honestly, it’s like this movie completely ignores who Cruella de Vil was in the original animated films and even those Glenn Close live-action movies. Cruella is 100 percent evil. She’s a woman that wants to kidnap puppies, kill them and make clothes out of them.
In this movie, we just have a chick with a temper that discovers that the boss she idolizes is the same woman that had her dogs push her mother off of a cliff. Cruella never hates the dogs, though. She kidnaps them to upset her rival and she jokes about making a handbag out of them but by the end of the film, they’re part of her entourage like her own non-Dalmatian mutt.
Now I can suspend disbelief in Estella/Cruella having a dual personality without much explanation but Estella is a pretty kind person that loves her friends, who are essentially her adoptive family. So with that, it’s hard to believe that she would suddenly be a cold bitch to them and just treat them like low level henchmen. Additionally, why the fuck would these two guys, who grew up with her, take her shit? I’d ask if they’re that cucked but I know the answer is “yes” when this is a modern Disney movie.
Moving on to the logic problem, I’ve already kind of hit on that point with the other issues but it is a problem for this film when a viewer isn’t the type of person to just take what’s being spoon-fed to them from sequence-to-sequence. This movie moves at a pace too quick for the casual viewer to really think too deeply about the details and that’s deliberate. It’s similar to how the Disney Star Wars movies are, in that they just quickly move from one thing to the next thing without allowing you to take in the details and ask questions. Again, Disney just needs the story to work to make their point, even if it’s not logical and a bit of a mess.
As far as morality goes, this wants you to cheer this woman, who is doing bad things because the story’s villain is worse. But what you really have is two villains. Still, Disney doesn’t fully commit to the bit because in 2021, you can’t have this woman killing puppies or even implying as such, other than her throwaway joke that immediately draws the ire of her two best friends.
What we end up with is a character that shows the audience that it’s okay to be a vengeful, selfish bitch, as long as you don’t go completely bad. What completely bad is, I don’t know, but neither does Disney. And at the end of the film, you’re left with a character that still really isn’t Cruella de Vil, she’s just some stylish punk rock chick that destroyed her rival and took her empire because the story needed to end, I guess.
Now after all that, if you’re still here, you’re probably assuming that I hate this movie. Well, I don’t. I still liked it in spite of all its problems, which shows me that this could have been a great film on its own, apart from being tied to the 101 Dalmatians franchise and carrying Disney’s woke message.
Had this not been forcibly tied to the Cruella character and just been a movie about a woman who discovers her idol murdered her mother, we could’ve had a really good movie about two feuding fashion industry rivals.
Emma Stone and Emma Thompson are absolutely superb in this and without them, this movie probably would’ve been total shit. But damn are they good, especially in the scenes they’re in together. Additionally, all the other key actors are great and it kind of makes me sad that they didn’t have a script or story that could’ve maximized their talents even better.
I also loved the style of this movie. It primarily takes place in 1970s London, has a punk rock edge to it, but it also takes from 1920s-1940s fashion and architecture, mixes that in, giving the film an unique, somewhat otherworldly, but “lived in” feel. It’s a visual feast and I got lost trying to absorb the details of it all.
In the end, I wish this was just it’s own movie, not tied to a preexisting franchise. I wish it tried to make more logical sense and developed its characters better. It had all these things working for it but Disney’s soulless overproduction of everything it puts out derailed what could’ve been the best film they’ve produced in years.
At this point, though, Disney doesn’t care about quality. They only care about their agenda and the bottom line. But we’re now getting to the point where their agenda will start diminishing that bottom line, regardless of what the Disney owned media wants you to believe with their puff pieces and excuses.
Also known as: Terror of the Hatchet Men (alternative US title) Release Date: March 15th, 1961 Directed by: Anthony Bushell Written by: Jimmy Sangster Music by: James Bernard Cast: Christopher Lee, Yvonne Monlaur, Geoffrey Toone
Merlin Film Productions, Hammer Films, Columbia Pictures, 76 Minutes
“Have you ever had your bones scraped, Captain? It is painful in the extreme I can assure you.” – The Tong Leader
When I recently reviewed Hammer Films’ The Stranglers of Bombay, I discovered that this film was somewhat of a remake of that film. Watching this, I didn’t see it. I guess there are some similar narrative beats and both take place in exotic places in Asia but this is much more a proto-Fu Manchu picture than anything else.
With Christopher Lee in the lead, as the Chinese criminal kingpin, I feel like this lead to him starring in those five Fu Manchu pictures that stretched from 1965 to 1969. Hell, this probably inspired their creation.
However, this is better than those Fu Manchu movies. I think that Christopher Lee’s performance is solid in each of those, as well as this picture, but this really is the genesis of his longest run as a character other than Dracula.
I like that this takes place in Hong Kong but it still has that patented late ’50s/early ’60s Hammer style to it. I’m actually surprised that the studio didn’t recycle some of these sets into sequels for this, as Lee gives a really chilling performance and because this was different enough from Hammer’s regular output that they could’ve crafted another franchise from this, as they did with Dracula, Frankenstein and The Mummy.
I understand why this was just a one-off, though, as it’s not as good as the first installment in Hammer’s core franchises. Also, Christopher Lee was not a fan of the makeup and considered it the most uncomfortable that he had ever worn up to this point in his career. But this was his first starring credit, as his other well-known films before this had him playing the monster to Peter Cushing’s hero or mad scientist.
Once again, I thought that Jimmy Sangster wrote a pretty good script for Hammer. The sets are good, as are the costumes. The makeup passes the test for the era, even if modern HD restoration brings out its flaws more.
Overall, The Terror of the Tongs is better than I anticipated it being.
Also known as: Traumnovelle, Rhapsody (working titles), EWS (promotional abbreviation) Release Date: July 13th, 1999 (Los Angeles premiere) Directed by: Stanley Kubrick Written by: Stanley Kubrick, Frederic Raphael Based on:Traumnovelle by Arthur Schnitzler Music by: Jocelyn Pook Cast: Tom Cruise, Nicole Kidman, Sydney Pollack, Marie Richardson, Todd Field, Sky du Mont, Rade Šerbedžija, Thomas Gibson, Vinessa Shaw, Fay Masterson, Alan Cumming, Leelee Sobieski, Leon Vitali, Julienne Davis, Madison Eginton, Abigail Good, Cate Blanchett (voice, uncredited)
Hobby Films, Stanley Kubrick Productions, Warner Bros., 159 Minutes
“Bill, I don’t think you realize how much trouble you got yourself into last night just by going over there. Who do you think those people were? Those were not just some ordinary people. If I told you their names… no, I’m not going to tell you their names… but if I did, I don’t think you’d sleep so well at night.” – Victor Ziegler
Stanley Kubrick has multiple films that I consider masterpieces and this is one of them. In fact, while re-watching this, I tried to look for things to pick out as negatives and I didn’t find any.
While this motion picture has a long running time, it’s one of those special films that has a real mystique about it and it just lures you in and holds your attention from scene-to-scene.
It stars then-married Tom Cruise and Nicole Kidman and as good as both of them have proven to be at their best, this is possibly both of them at their absolute best.
The scenes between Cruise and Kidman are intense and magnetic. While they were divorced a few years after this movie’s release, their love transcends the screen, as does their pain and then their shared truths potentially strengthening their bond by the end of the film. If they were no longer in love in real life, their performances just solidified how great both of them are at their craft. I also think Kubrick saw this in them and that’s why he cast both of them as a married couple.
The bulk of the story deals with Cruise having discovered that his wife nearly had an affair and it makes him question their marriage and sets him off on a quest of sexual exploration. While he is confronted by a lot of things, he never really cheats on her either. However, along the journey, he uncovers a billionaire sex cult in a mansion outside of New York City. He is immediately discovered and then ousted from this secret meeting but it creates an obsession within him, where he needs to uncover the truth behind it. He then finds himself in a cat and mouse game as the reach of this group is much larger than he could’ve imagined. Eventually, a very rich, close friend has to give him his final warning to stop pursuing this mystery.
The end of the film, sees Cruise breaking down and confessing to his wife in a similar manner that she confessed her near affair to him.
The sex cult stuff is the highlight of the film, really. And no, not because it’s a sequence with a sex cult but because of how opulent the setting was and how mysterious and unsettling the whole thing was despite the affluent atmosphere. This sequence was one of Kubrick’s best in his long career and it’s neat that it came in his final film, as so many auteurs tend to lose “it” towards the end of their careers.
The sex cult sequence, like the rest of the film, is hypnotic and enchanting. This is not just due to the acting, the pacing of the film, the score and the mysterious, disturbing circumstances but also the tone and atmosphere, which came courtesy of Kubrick’s wonderful eye for shot-framing, as well as the stellar cinematography of Larry Smith. Shockingly, this was Smith’s first film and he also did double duty, serving as the lighting cameraman, as well. He’d eventually go on to work with Nicolas Winding Refn on Fear X,Bronson and Only God Forgives, three films that also look amazing.
Eyes Wide Shut is a picture that isn’t for everybody. It actually asks a lot of its audience, as there are a lot of deep things to ponder. While Cruise’s obsession with the cult might seem like a large distraction from the real point of the plot, it’s actually just what he latches onto to simultaneously ignore and process his feelings of sadness, anger, growing guilt over his own actions and the overbearing thoughts of marital betrayal.
Also known as: Young Sherlock Holmes and the Pyramid of Fear (original script title) Release Date: December 4th, 1985 Directed by: Barry Levinson Written by: Chris Columbus Based on: characters by Sir Arthur Conan Doyle Music by: Bruce Broughton Cast: Nicholas Rowe, Alan Cox, Anthony Higgins, Sophie Ward, Roger Ashton-Griffiths, Freddie Jones, Nigel Stock, Brian Oulton, Susan Fleetwood
“A great detective relies on perception, intelligence, and imagination.” – Sherlock Holmes
It may sound strange since I’m a kid of the ’80s and a massive Spielberg fan from that era but I’ve never seen Young Sherlock Holmes.
Now I have seen clips of it over the years, due to its very early use of emerging CGI technology, which made this a very groundbreaking film in digital effects, even if it wasn’t a massive hit like Steven Spielberg, Chris Columbus and Berry Levinson had hoped.
Honestly, it’s those effects that have cemented this motion picture as a relevant one for its time. Nothing else within it is all that memorable or significant. But that’s not to say it’s not good. It’s just be pretty forgettable without its great effects for the time in which it was produced.
I mostly liked this and I liked the kids in it and how they helped generate a sense of wonder, which is something Hollywood is completely unable to do in modern times. Still, this movie does drag in several spots and while I can buy the kids in these specific roles, they’re not that memorable except for Sophie Ward, who would go on to have an interesting career.
I liked the whole Egyptian cult that Sherlock and company were trying to expose and take down but if I’m being honest, a lot of that stuff felt like it was recycled from the Thugee cult stuff in Indiana Jones and the Temple of Doom and that film came out only a year earlier and also involved Spielberg, as he directed it.
This also has a magical element to it and because it stars some proper British kids, there’s a particular vibe that I can best describe as proto-Harry Potter.
Young Sherlock Holmes isn’t a movie that I felt like I missed out on. As a kid, I would’ve certainly liked the effects heavy scenes like the stain glass knight but I probably would’ve been bored for 75 percent of the movie.
Release Date: November 21st, 2019 (Buenos Aires Rojo Sangre Film Festival) Directed by: Karl Holt Written by: Karl Holt Cast: Karl Holt, Claire Cartwright, George Collie, James Parsons, David Wayman, Lydia Hourihan
Darkline Entertainment, 94 Minutes
“Benny loves you!” – Benny
I didn’t go into this expecting it to be a masterpiece but I did expect it to be a film full of mindless, fun escapism that might have been cool and actually funny.
While it was mindless, it was incredibly mindless and I had to constantly suspend disbelief at an unbelievable level, as the characters are all extremely stupid and vapid.
Sure, I can suspend disbelief enough to believe in a killer stuffed animal. But I can’t suspend it for that and then suspend it at an even greater level because the characters act in a way that is more unbelievable than the concept of a killer stuffed animal.
I don’t mind dumb movies but they’ve got to have something endearing about them. They need heart and a sincere effort into making the movie. The people behind it don’t have to be technically skilled but they’ve really got to put their heart in it in a way that shines through. Frankly, I didn’t get that from this movie. What I got felt like the opposite.
The film’s star is also its director and writer and maybe he stretched himself too thin. He definitely needed someone else to come in and help him rework the script in a way that was actually logical.
I don’t think this guy actually understands people and how they interact. Maybe that’s just who he is and maybe that’s why this movie didn’t have heart and thus, couldn’t be appreciated just on the effort that went into it.
By the end, I was just pulling for Benny to win out and kill all these morons. I was disappointed in that regard too.