Wild Card (2015)


Never get Jason Statham's drink order wrong.

Never get Jason Statham’s drink order wrong.

(2015) Action (Lionsgate) Jason Statham, Michael Angarano, Milo Ventimiglia, Hope Davis, Dominik Garcia-Londo, Max Casella, Stanley Tucci, Jason Alexander, Sofia Vergara, Anne Heche, Francois Vincentelli, Chris Browning, Matthew Willig, Davenia McFadden, Michael Papajohn, Jean Claude Leuyer, Grace Santo, Lara Grice, Shanna Forrestall. Directed by Simon West

Life is a bit of a gamble when you think about it. We can control things to a certain extent but circumstance and luck have quite a bit to do with it as well. All of our best laid plans can be irrevocably changed in an instant.

Nick Wild (Statham) is a bit of a Las Vegas fixture. He is one of those guys that if you need a favor, he’s the one you see. Some of these favors he charges for – for example, he takes a beating from a guy so that he can impress his girlfriend (Vergara) for $500. He works out of the office of lawyer Pinky (Alexander) where he is introduced to tech billionaire Cyrus Kinnick (Angarano) who wants a bodyguard and, as it turns out, something more.

Then there are the favors he does for free. When his ex-lover Holly (Garcia-Londo) is beaten up and raped, he uses his connections with mob boss Baby (Tucci) to find out who done the deed and discovers it’s Danny DeMarco (Ventimiglia), the sadistic scumbag son of a highly placed East Coast mob boss. Using his impressive fighting skills, which were honed in a British special forces division, he subdues DeMarco’s bodyguards and allows Holly to take her revenge, after which she flees Vegas, taking with her money from DeMarco’s desk, some of which she gives to Nick for his fee.

Nick realizes that he won’t be welcome in Vegas much longer and needs to get out. DeMarco will be gunning for him and if he wants to make his dream of retiring to Corsica, he’d better get hopping. However, there is the thing that has been keeping him in Vegas so long – his gambling addiction. And on a night when so much is riding on it, he can’t afford for Lady Luck to be fickle.

Considering that this is essentially a Direct-to-VOD production, the talent before and behind the camera is pretty impressive but if you look at the budget below, you immediately understand that this was never meant for that sort of release. Why Lionsgate gave up on this project is beyond me; it’s actually surprisingly good for the genre and even though it is certainly flawed it deserved better for an unpublicized excuse me theatrical release.

For one thing, you get Oscar-winning screenwriter William Goldman supplying the script based on his own novel. Goldman excels in character development and each role here is definable and has at least some sort of personality to it. Given the stellar nature of the cast and that some of them only have a scene or two here, it’s no wonder that they were attracted to these parts which are more than stunt cameos.

West, who has such genre fare as Con-Air and The Expendables 2 on his resume, is usually pretty dependable for films in the action genre and surprisingly (yes, I’m using that word a lot here) this is pretty light on the action as action films go, but that’s a good thing in this case. Rather than going from one fight scene to the next, there’s actual dialogue, some of it pretty damn good. There’s also exposition and a genuine story. For film critics used to seeing action films which are just an excuse for people to shoot lots of big guns, chase around in cars and generally give people the opportunity to watch big men beat the hell out of one another, that’s like rolling ten sevens in a row.

I’ve always thought Statham was more than just a tight-lipped martial arts action hero. He actually can be quite soulful and when given the opportunity to act, has done so particularly well. Mostly though he seems content to accept roles in which he is given little to do beyond beating people up. Don’t get me wrong, he’s very good at it and usually his movies are entertaining but they are little more than that.

Here he gets an opportunity to do more and he takes advantage of it. Definitely this is a reminder of how good Statham can be in the right role, and given that he has a high-profile villain role in the upcoming Furious 7 gives me even more reason to look forward to that movie. He has nice chemistry with Hope Davis as a heart-of-gold blackjack dealer, as well as Angarano as a rich guy who believes himself a coward.

The oddball thing here is that the action sequences are the weakest aspect of this movie. That’s surprising (there’s that word again) given West’s action pedigree. Had a little more time and care been devoted to them I think this would have been released into theaters and maybe would have been the same kind of action hit that John Wick was last year.

Instead we end up with a movie that had enormous potential and remains an entertaining diversion but doesn’t do anything that pushes the envelope which is a shame. I think the movie’s slow start – things really don’t pick up until about 40 minutes in – also doesn’t do it any favors.

While the blackjack sequences are realistic and Davis (or her body double) gets the moves and attitude of a blackjack dealer just right, we also lose something in the fight choreography which is business as usual with the exception of the final fight in which Statham takes out a bunch of baddies with a butter knife and a spoon, not to mention slicing open a bad guy with a credit card. I also like that we get kind of a local’s point of view to Vegas. Still, with just a little more imagination when it came to the fight sequences this might have been something special.

REASONS TO GO: Entertaining but not groundbreaking. Realistic on the blackjack sequences.
REASONS TO STAY: Starts off slowly. Fight sequences are just adequate.
FAMILY VALUES: As with most Jason Statham movies, plenty of violence and cursing, some sexuality and brief nudity.
TRIVIAL PURSUIT: William Goldman wrote the script based on his novel, which was filmed once before as Heat starring Burt Reynolds back in 1987. This is Goldman’s first script in eleven years.
CRITICAL MASS: As of 3/16/15: Rotten Tomatoes: 29% positive reviews. Metacritic: 40/100.
COMPARISON SHOPPING: Safe
FINAL RATING: 6.5/10
NEXT: The Second Best Exotic Marigold Hotel

Daybreakers


Ethan Hawke tends bar.

Ethan Hawke tends bar.

(2009) Horror (Lionsgate) Ethan Hawke, Willem Dafoe, Sam Neill, Vince Colosimo, Michael Dorman, Isabel Lucas, Claudia Karvan, Paul Sonkkila, Mungo McKay, Emma Randall, Charlotte Wilson, Christopher Kirby, John Gibson, Carl Rush, Tiffany Lamb, Robyn Moore, Michelle Atkinson, Glen Martin, Damien Garvey, Jay Laga’aia, Chris Brown, Kirsten Cameron, Candice Storey. Directed by Michael and Peter Speirig

Don’t we all just love those movie trailers that begin with the immortal words “In a world…”? This should have had a trailer like that (and maybe it did) but it might begin “In a world where 95% of the population are vampires.” Now wouldn’t that grab your attention?

Edward Dalton (Hawke) is a hematologist. No big deal to thee and me but in a world (there’s that phrase again) full of vampires it’s an important position, particularly in a world (and yet again) where humans are dying off, meaning the planet’s food supply is hitting critical mass, it’s an important job. Dalton has been tasked by the vampire equivalent of Big Pharma, a company called Bromley Marks, to develop a human blood substitute that vampires can subsist on. Easier said than done since vampires by their nature have rather delicate constitution; a test sample literally causes the subject’s head to explode. Yikes!

This does not make chairman Charles Bromley (Neill) a happy man needless to say and Edward’s day only gets worse on the drive home when he gets into a car accident. Worse still, the car is full of renegade humans. Edward, more of a reluctant vampire who has an aversion to human blood, protects them when the police arrive.

More bad news when he gets home. Edward’s brother Frankie (Dorman) pays him a surprise visit. The brothers have been estranged for some time; Frankie works as a soldier in the human-hunting vampire army and the two have shall we say severe philosophical differences. The two are attacked by a subsider, a bestial vampire who haven’t fed for some time who have lost their memories and identity and exist solely as a slave to their hunger for blood, doesn’t matter whose. The entire vampire race is in danger of becoming these subsiders if a new blood source isn’t found soon. In fact, Bromley candidly admits that Bromley Marks only has about a month’s supply left.

Audrey (Karvan), the leader of the humans that Edward had encountered the previous night, sends him a note to meet her in a desolate spot. There she introduces him to Elvis (Dafoe), a former vampire who has returned to human form again. Edward is excited at the prospect of regaining his humanity and once more venturing out into the sunlight, something vampires are unable to do. He agrees to help Elvis discover how to safely administer the cure.

In the meantime desperation has led to chaos in the vampire community and Edward becomes cognizant of the fact that those who stand to benefit from a blood shortage are the ones who would also benefit from a cure never reaching the vampire community. Games of politics and power are afoot and both the human and vampire species hang in the balance. Can Edward and his human allies get the cure out to the vampires before both species go extinct?

The brothers Speirig got this gig on the strength of Undead, their clever and innovative 2003 zombie movie. This isn’t quite up to those standards, although I will admit their vision of a vampire society ruling the globe is intelligently thought out. The vampire society is believable as an extension of our own, with similar values albeit a more cavalier attitude towards morality. Although not by much.

For those of us who love B-movies, there is plenty here to love – nasty creatures, plenty of gore and violence, a bit of sexiness and some over-the-top visuals. Everything to pander to the baser instinct of the moviegoer which is not in and of itself a bad thing. Sometimes we need the schlock entertainment of a good grindhouse movie. Quentin Tarantino recognizes that and more and more filmmakers have come to understand just how informed our society is by these movies.

The sense of humor here is quirky and a bit on the sick side, so if you like your jokes punctuated by exploding body parts, this will no doubt appeal to you. Most of the action sequences with a couple of exceptions are well-staged and exciting, although not what you would call game-changing. Nothing new here, but what is here is well-executed.

I wish I could say the same about the cinematography and visual effects. Due to their aversion to UV light, the vampires live their lives essentially indoors and in bunker-like conditions. This makes for murky atmospherics made worse when there seems to be a constant out-of-focus element to the photography. Now perhaps I got a poorly processed disc for home viewing but everything looked like it was filmed with bad fluorescent lighting, making everything look dreary. The CGI are likewise slapdash and could have used a bit of refinement.

Other than that this is solidly entertaining and Hawke, while not one of his better roles, at least makes a game effort for a genre he has admitted he’s not terribly fond of. Dafoe is, well, Dafoe and that should tell you all you need to know about his performance. Most of the rest of the cast are fairly unknown here in the States (this is an Australian production; the German-born brothers Speirig have lived there since boyhood) but are pretty competent. While this is more of an action film, I did miss the sensuality that most vampire films tend to have; it could have used a little more of it.

Still in an era where vampire movies have essentially lost their luster due to the Twilight/Vampire Chronicles generation, this is one of those rarities – a vampire movie that actually appeals to more than the preteen female audience. It is appealing in an ironic sort of way that the vampire protagonist here shares a first name with the romantic focus of Twilight. I for one am happy to champion these sorts of films if it means that we can get the nastier monsters of old that we used to love to fear.

WHY RENT THIS: B-Movie goodness. A sick sense of humor while not for everybody, was good for some intentional laughs.
WHY RENT SOMETHING ELSE: Dark and murky cinematography. Cringe-worthy CGI.
FAMILY VALUES: Some fairly strong bloody violence, brief nudity and a fair amount of cursing.
TRIVIAL PURSUIT: After being filmed in 2007, the movie sat on the studio shelf for more than a year before being released overseas. It’s American release was on January 8, 2010 – nearly three years after filming had been completed.
NOTABLE DVD EXTRAS: There’s a short film the Speirig brothers directed from 2000 that gives a good sense of their visual style, as well as a gallery showing the various lobby posters and marketing for the film.
BOX OFFICE PERFORMANCE: $51.4M on a $20M production budget.
SITES TO SEE: Netflix (DVD rental only), Amazon (rent/buy), Vudu (rent/buy),  iTunes (rent/buy), Flixster (rent/buy), Target Ticket (rent/buy)
COMPARISON SHOPPING: Stake Land
FINAL RATING: 6/10
NEXT: Case 39

The Hunger Games: Mockingjay – Part 1


Liam Hemsworth and Jennifer Lawrence get serious.

Liam Hemsworth and Jennifer Lawrence get serious.

(2014) Science Fiction (Lionsgate) Jennifer Lawrence, Liam Hemsworth, Josh Hutcherson, Philip Seymour Hoffman, Donald Sutherland, Julianne Moore, Jeffrey Wright, Woody Harrelson, Jena Malone, Elizabeth Banks, Stanley Tucci, Sam Claflin, Willow Shields, Mahershala Ali, Paula Malcomson, Natalie Dormer, Evan Ross, Stef Dawson, Sarita Choudhury. Directed by Francis Lawrence

It has become something of a habit now for Hollywood to take the final book in a young adult franchise based on a book and split it in two; this has been done for the Harry Potter series, Twilight and now The Hunger Games with the same fate planned for the Divergent series. This is a blatant cash grab that cynical studios use to squeeze every last penny that they can out of a successful franchise. As for the Potter series, the first part was the weakest movie of the eight-film franchise (although the second part turned out to be one of the strongest). In the Twilight series Lionsgate both movies were poor and the final entry the worst of the entire series.

In this penultimate film, the events of Catching Fire have led to the complete carpet bombing and destruction of District 12, home of Katniss Everdeen (Lawrence) who has been taken to the previously-thought abandoned District 13. However her love Peeta Mellark (Hutcherson) had been left behind and was captured by the men of President Snow (Sutherland) and brought back to the Capital. There he is used as a pawn, with interviews conducted by the smarmy Caesar Flickerman (Tucci) which essentially are propaganda pieces.

District 13 president Alma Coin (Moore) is wary of using Katniss for the same purpose; clearly Katniss is shell-shocked and not in an emotional state where she is able to be a spokesman for the revolution that is sweeping Panem. However uber-patient ex-boyfriend Gale Hawthorne (Hemsworth) is on hand to help Katniss make it through; old friends Haymitch (Harrelson), Effie Trinket (Banks) and Finnick (Claflin) are there to support Katniss. Rescued from the rubble of District 12 are Kat’s sister Primrose (Shields) and mom (Malcomson).

Pulling the strings in District 13 is Plutarch (Hoffman) a cynical but brilliant marketing man who is selling the revolution to the people of Panem whereas President Snow is selling safety and security while providing neither. A villain of the first order, he callously orders the bombing of a hospital in order to set an example of what happens to people when they allow a visit from the Girl on Fire who is now referred to as the Mockingjay. This pisses Katniss off enough to pull out of her funk temporarily – until the callow Peeta makes another plea for peace. Who knew the face of revolution would be so emotional?

And so after that atrocity the rebels are finally moved to push into an offensive against the Capital, giving them the opportunity to rescue Peeta and the other Victors held captive by the President, including Finnick’s girlfriend Anna (Dawson). However, they don’t begin to see the depth of the game being played by President Snow – and how far he is willing to go to win it.

As any fan of the series will tell you, it’s all about Katniss and thus it’s all about Jennifer Lawrence. Normally I’d say that’s a pretty safe bet; after all, she has become one of the hottest actresses in the world, with Oscar wins as well as starring in one of the biggest franchises in Hollywood today. However, I can’t say as I like what is happening to her character here.

Now I’ll admit that it should be taken into account that I’m not a teenage girl nor have I ever been one – nor am I likely to ever be one. I may be getting this all wrong but I feel cheated a little bit by what Katniss has become in this movie. I had always viewed her as a good role model for young girls; strong, independent, able to defend herself and those around her and with a strong moral compass. I’m not sure what the author’s intentions were  but I saw the same thing happen to Bella Swan in Twilight as well. Both series were written by women but I’m not sure if they were saying it’s okay to be ruled by your emotions to the point where you become virtually immobilized by them, or if they’re saying that’s part of being female.

I don’t know about that part. How is it role model material for your strong, independent heroine to be literally whining “It’s not fair!” while pining away for her boyfriend to the point that she’s willing to let all sorts of people – including her sister and mom – be killed because she’s too emotional to act to prevent it. That kind of self-centeredness may be part of modern culture but it seems out of place for a movie heroine. Of course, my perceptions of what a role model should be may be hopelessly outdated but I do like to think that there are some things that are fairly basic and timeless.

Lawrence is a terrific actress but she seems curiously lifeless here. Even so, she still manages to dominate the screen and while this isn’t her best work, it certainly is enough to carry the movie. She gets some able support, particularly from the late Hoffman whom the film is dedicated to. Mostly though this is a lot of people going through the motions for a paycheck and Moore, also a fine actress, looks distinctly uncomfortable in an unfortunate wig.

There’s just not a lot of energy and life to this movie even though the visuals are well shot and there are some pleasant moments in idyllic forests. Most of the movie takes place in District 13’s underground bunker and is perpetually underlit. Even without 3D this movie is dark and dingy-looking most of the time. You have to admit though it does set a certain kind of bleak mood.

There is subtext here about image-making and its use in manipulating opinion, and while that is a fascinating subject, the filmmakers tend to thunk us over the head with a shillelagh rather than skewer us with a rapier which would be much more preferable. There isn’t a lot of subtlety here but then again, I get the sense that the filmmakers don’t respect their target audience a whole lot. Certainly the kind of girls that identify with Katniss are capable of understanding subtlety.

This is a big disappointment for me. Thus far I’ve actually enjoyed the series and was looking forward to seeing this one. Although it is reasonably entertaining to earn a feeble recommendation, I was hoping for so much more. With any luck,  the finale next Thanksgiving will pull out all the stops and let the series end on a high note rather than a whimper or a whine which is where it seems to be going. Prove me wrong. Please.

REASONS TO GO: Some pleasing eye-candy. Lawrence is terrific even when she’s subpar.
REASONS TO STAY: Turgid and boring. Lacks any kind of spark. Katniss, a strong and courageous soul, is reduced to a weepy teen pining for her boyfriend and feeling sorry for herself.
FAMILY VALUES: There is some intense violence and disturbing images.
TRIVIAL PURSUIT: Hoffman passed away a week before filming concluded; rather than recasting the part, the filmmakers did some rewrites so that the portions Hoffman didn’t film could be incorporated in different ways.
CRITICAL MASS: As of 12/2/14: Rotten Tomatoes: 66% positive reviews. Metacritic: 64/100.
COMPARISON SHOPPING: Divergent
FINAL RATING: 5/10
NEXT: Daybreakers

John Wick


Sometimes, Keanu Reeves wonders if he shouldn't have taken the other pill.

Sometimes, Keanu Reeves wonders if he shouldn’t have taken the other pill.

(2014) Action (Lionsgate) Keanu Reeves, Michael Nyqvist, Alfie Allen, Willem Dafoe, Dean Winters, Adrianne Palicki, Omer Barnea, Toby Leonard Moore, Daniel Bernhardt, Bridget Moynahan, John Leguizamo, Ian McShane, Bridget Regan, Lance Reddick, Keith Jardine, Tait Fletcher, Kazy Tauginas, Alexander Frekey, Thomas Sadoski, Randall Duk Kim, Kevin Nash, Clarke Peters, Gameela Wright. Directed by Chad Stahelski

If action movies teach us anything, it’s that you don’t mess with a man’s family. You DEFINITELY don’t mess with his car. But if you steal his car and kill his dog? Not a good idea, even if you’re the son of a Russian mobster.

But that’s just what Iosef Tarasov (Allen) does. But it’s not the act itself that pisses off his father Viggo (Nyqvist). It’s who he did it to. Check out this conversation the Russian mobster had with Aurelio (Leguizamo), the owner of a chop shop;
VIGGO: I understand that you struck my son.
AURELIO: He stole John Wick’s car and killed his dog.
*pause*
VIGGO: Oh.
*click*

There are some things you just do not do. You don’t walk on Superman’s cape. You don’t spit into the wind. And you do not steal the car and kill the dog of John Wick (Reeves), particularly when the dog was the last gift from his recently deceased wife (Moynahan). Who is John Wick may you ask? He’s a retired contract killer. He’s the sort who can walk into a room and kill three guys with a pencil. That’s right, a pencil. If you want someone who is untouchable dead and in the ground, you’d call John Wick. There wasn’t anyone he couldn’t kill. Even other contract killers were terrified of him; that’s why they call him The Boogey Man. And not the one that KC and the Sunshine Band sang about either.

Viggo knows that John Wick won’t stop at his son; he’ll go after his entire organization, everyone who ever knew his son and a lot of people who didn’t. John Wick is like the ice age; where he comes through nobody lives. The only people who like John Wick are funeral directors. You get the general idea.

And that’s all you need to know about the plot. Mainly the movie goes from one action sequence to another. Director Chad Stahelski comes from a stuntman background (he was in fact Reeves’ stunt double in The Matrix) and his experience shows. The fight sequences are mind-blowing, perfectly choreographed and exciting as hell. They are most definitely the highlight of the film, kinetic whirling dervishes of leaping assassins and flying bullets.

Reeves, never the most charismatic of actors under the best of circumstances, has a role that really plays to his strengths here. John Wick rarely shows any emotion, although he has one speech to Viggo late in the movie where all his rage seethes out of him like a terrible demonic presence and Reeves actually does an outstanding job with it. He is also a fairly graceful action hero, and is said to have performed about 90% of the stunts himself.

The supporting cast is very able, with Palicki showing her fangs as a gleeful assassin, Nyqvist showing his villain chops and Dafoe has a role as a kind of Zen Yoda-like assassin/mentor for John Wick. McShane, Leguizamo and Reddick are reliable and Alfie Allen, Theon Greyjoy on Game of Thrones, may be setting himself up for a career portraying men the audience would like to see die painfully.

If you go looking for something that breaks the action film mold, well, you’ll be hard-pressed to find any of that here – or anywhere else given the state of action movies in 2014. There isn’t much of a plot (the revenge thing has been done to death) but the action is so outstanding that you don’t much care. There is a place in this world for mindless entertainment and as that kind of movie goes John Wick is better than most.

REASONS TO GO: Amazing action sequences. Right in Reeves’ wheelhouse.
REASONS TO STAY: Kind of a series of action sequences in search of a plot.
FAMILY VALUES: A ton of violence, some of it bloody. Loads of foul language. Some drug use as well. Dog cruelty may be upsetting to some.
TRIVIAL PURSUIT: This is the fifth time Reeves has played a character named John in the movies.
CRITICAL MASS: As of 11/12/14: Rotten Tomatoes: 84% positive reviews. Metacritic: 67/100.
COMPARISON SHOPPING: The Mechanic (2011)
FINAL RATING: 6.5/10
NEXT: Small Town Murder Songs

My Bloody Valentine 3D (2009)


Candy is dandy.

Candy is dandy.

(2009) Horror (Lionsgate) Jensen Ackles, Jaime King, Kerr Smith, Betsey Rue, Edi Gathegi, Tom Atkins, Kevin Tighe, Megan Boone, Karen Baum, Joy de la Paz, Marc Macaulay, Todd Farmer, Jeff Hochendoner, Bingo O’Malley, Liam Rhodes, Michael Roberts McKee, Andrew Larson, Jarrod DiGiorgi, Richard John Walters, Selene Luna, Annie Kitral, Brandi Engel. Directed by Patrick Lussier

Six Days of Darkness 2014

The thing about doing remakes of other movies is that the screenwriter has to walk a very fine line. The movie has to follow the story of the original enough so that it is recognizable, yet it has to have its own character and flavor, differing enough to offer viewers familiar with the original a surprise. Otherwise, why bother?

This remake of a 1981 cult favorite during the golden age of slasher movies begins with a cave-in caused by Tom Hanniger (Ackles), the young son of the mine owner. Not on purpose mind you – just inexperience. Five miners are buried beneath the rubble but by the time they dig them out, only one has survived – Harry Warden (Walters) who owes his survival to killing off the other four so that they don’t take up his air. Even so, it takes so long to dig down that Harry is in a coma for a year. When he wakes up, he walks out of the hospital, dons his mining clothes and proceeds to kill 22 people with his pickaxe before being shot dead by then-Sheriff Burke (Atkins).

Flash forward a couple of decades. The town of Harmony is preparing for a Valentine’s Day dance, the first one since Harry Warden had his little tantrum. Tom Hanniger, who had left down not long after the murders, has returned to sell off the family mine. He isn’t greeted particularly warmly except by his high school sweetheart Sarah (King) who is now married to his friend Axel Palmer (Smith) who happens to be the current sheriff. Axel is probably the least happy guy to see Tom particularly since there’s some evidence that Sarah is still sweet on him. Of course, the fact that he’s been cheating with Megan (Boone), Sarah’s employee, for years doesn’t seem to bother him any.

What does bother him is that the murders have started up again by a guy in an old fashioned miners suit complete with gas mask, a fact that doesn’t seem to dissuade the horny teenagers in town to head over to the closed mine post-dance for a little nookie. Some things never change.

There are plenty of red herrings here as to who the identity of the killer is although the filmmakers are certainly pushing a supernatural angle. What’s worrisome is that the filmmakers cheat a little bit – major bits of business take place offscreen and things that are shown onscreen turn out to be lies. I get it that the filmmakers want to make the identity of the killer a surprise when the reveal comes but for one thing any halfway experienced horror film fan will be able to figure it out pretty quickly and for another thing when you do find out who it is you’re going to feel a little cheated, something you don’t want your audience to feel.

Another thing you don’t want your audience to feel is bored. During the first 15 minutes, the carnage moves at a breakneck pace but afterwards slows into a hodgepodge of flashback and exposition with the terror scenes spaced out in ten to fifteen minute intervals. Once you establish a pace, it’s a bad idea to slow it down. Better to build towards it gradually than gradually come down from a peak. You don’t want your audience feeling that they’ve seen the best of the movie less than half an hour in.

There are some great 3D effects here (the for-purchase DVD comes with glasses, although of course you need a 3D television set to play them), some of the best in fact of the modern 3D era. Eyeballs and jawbones fly at the audience and pickaxes come through the screen so jarringly that you will jump out of your seat.

There is a great sequence at the local no-tell motel in which town skank Irene (Rue) fresh from a rendezvous with her trucker boyfriend is chased out of her motel room stark naked after said boyfriend is skewered. She tries to get help which only succeeds in getting another trucker punctured but let’s just say that the sequence moves into overdrive from that point.

Lussier, who has a long history as both an editor (for the Scream series) as well as a director (for such films as Dracula 2000 and Drive Angry), has some punch in terms of technique but he is betrayed by clunk dialogue and some incongruous situations, not to mention the aforementioned cheats. It definitely is a throwback to the slasher films of yore given the amount of gore and nudity, so there is that bit of nostalgia involved. Unfortunately, too many flaws sabotage what could have been a truly excellent remake that might well have exceeded the original otherwise.

WHY RENT THIS: The first portion of the movie is a great roller coaster ride. Great use of 3D.
WHY RENT SOMETHING ELSE: Bogs down in flashback and exposition during the second half.  Cheats when it comes to keeping the identity of the killer a surprise.
FAMILY VALUES: Brutal violence and gore, graphic nudity and explicit sexuality, foul language, gruesome images…this is horror movies the way they used to make ‘em.
TRIVIAL PURSUIT: The first two characters to die in the movie are named Jason and Michael in direct reference to the Halloween and Friday the 13th characters. Like the characters, they don’t have any lines and both men die in ways that recall the trademarks of the characters they are referencing.
NOTABLE DVD EXTRAS: There’s a gag reel and a featurette on the practical make-up effects.
BOX OFFICE PERFORMANCE: $100.7M on a $15M production budget.
SITES TO SEE: Netflix (DVD only), Amazon (purchase only), Vudu (rent/buy),  iTunes (rent/buy), Flixster (purchase only), Target Ticket (not available)
COMPARISON SHOPPING: I Know What You Did Last Summer
FINAL RATING: 5.5/10
NEXT: Six Days of Darkness continues!

The Expendables 3


Jason Statham and Wesley Snipes decide to settle who has the bigger blade.

Jason Statham and Wesley Snipes decide to settle who has the bigger blade.

(2014) Action (Lionsgate) Sylvester Stallone, Mel Gibson, Jason Statham, Harrison Ford, Kellan Lutz, Arnold Schwarzenegger, Antonio Banderas, Dolph Lundgren, Wesley Snipes, Jet Li, Terry Crews, Randy Couture, Ronda Rousey, Kelsey Grammer, Glen Powell, Victor Ortiz, Robert Davi, Ivan Kostadinov, Slavi Slavov, Natalie Burn, Sarai Givaty. Directed by Patrick Hughes

Back in 2010, action fans eagerly awaited the debut of The Expendables which united action heroes from days gone by Stallone, Schwarzenegger, Lundgren, Bruce Willis and of more recent vintage Li and Statham. The novelty factor alone made the movie a big hit but a single soliloquy by Mickey Rourke made the movie more memorable than the average action film.

Then came The Expendables 2 which added Jean-Claude van Damme and Chuck Norris (as well as more recent action star Liam Hemsworth) which was still entertaining in its own way but the novelty was beginning to wear off. Would the pattern continue?

Yeah, it does. While this is the most star-studded of the series, it is also the least fulfilling. I use that term advisedly – The Expendables 3 has a massive dose of testosterone that will grow hair on the chest of a Disney princess, and is surprisingly entertaining but not necessarily in a good way. You can sit back and watch this and take it for what it is, but if what it is doesn’t thrill you so much, you’re in for a long evening.

The team – leader Barney Ross (Stallone), right hand man Lee Christmas (Statham), surly Gunnar Jensen (Lundgren), just as surly Toll Road (Couture) and abs-tastic Hale Caesar (Crews) board a prison train carrying a single prisoner – former Expendable Dr. Death (Snipes). As usual, lots of people get shot and stuff blows up but Team Ex wins out in the end.

But it turns out that the prison break was kind of a side trip on the way to something else. They’ve to head out and intercept a shipment of bombs from an arms dealer, who turns out to be Conrad Stonebanks (Gibson) who just happened to co-found the Expendables before turning rogue and going out on his own. That job turns out to be something of a cluster frump and gets one of the team shot and in critical condition. Shaken up, Barney decides to retire the team and find a new one.

He needs one because their CIA contact Drummer (Ford) wants Stonebanks picked up alive and taken to the Hague to answer for his crimes. That’s easier said than done however and while Barney’s new team – including tech wizard Thorn (Powell), chatterbox Spanish killing machine Galgo (Banderas), team muscle Mars (Ortiz), beautiful but deadly Luna (Rousey) and anti-authoritarian potential team leader Smilee (Lutz) has more of a modern edge to them, they don’t do any better than the first team and things go sideways in a hurry. It will take the old team to rescue the new team and a final mano a mano brawl between Stonebanks and Barney to settle this once and for all.

Da Queen, being a pragmatic sort (and a bit of a masochist) decided to count up the ludicrous scenes in the movie when something that simply was too much of a stretch of the imagination to ignore; the end figure was in double digits. I can take a certain suspension of disbelief; after all, I used to love those ’80s action epics as much as the next guy. However, there comes a point where you’re inner brain starts to say “come on, you can’t be serious” to your testicles (or the female approximation of same) and the action fix begins to clash with your inner need for some sort of logic. How much you like the movie will depend on how bad you need an action fix.

Stallone, clean-shaven for the first time in the trilogy, looks every bit an AARP member at this point. There are several close-ups on his trademark sneer and as his righteous anger leeks out from his upper lip and into his eyeballs, you can tell he’s going to go all Rambo on somebody’s ass. Statham, not so nearly long in the tooth, merely looks uncomfortable most of the way through – perhaps that’s because he was involved in a near-fatal truck crash when the brakes on the truck he was driving in the movie failed and he was forced to abandon truck before it crashed into the sea.

I will say that the much-maligned Gibson fares the best here, channeling his Martin Riggs from back in the day and if Riggs were a villain in the Lethal Weapon series this is how he’d have turned out. He’s actually pretty fun to watch although I imagine that those who still haven’t gotten over his anti-Semitic drunken rant to the cops will be less sanguine about his performance. Snipes, recently released from prison, reminds us why he was such a great action star in the first place. I thought at one time he had the potential to be as big as Will Smith, although a series of bad roles and poor life choices derailed that. It still might happen though – he could use his performance here as an audition tape for any action movie in the offing and get serious consideration. He also has the best line in the movie; when asked by Toll Road what he was in prison for. I won’t tell you what he responds because the surprise is half the fun.

There is some CGI here and they must have done it on somebody’s Commodore VIC-20 because it is absolutely miserable, some of the worst I’ve ever seen. For example, for the scene near the movie’s end where he is hanging from a winch cable on a helicopter as the chopper pulls away from the camera, I’d much rather have stopped the scene with him dangling underneath it asking his snarky teammates to winch him up now right at that point instead of seeing a clearly CGI silhouette of the copter with the distant semi-humanoid figure and cable being sucked into the helicopter like a strand of spaghetti. I don’t like my action reality messed with.

This is a series whose novelty has run its course and needs to survive simply on the success of its action sequences and the quirkiness of its characters. For one thing, too many characters get virtually no screen time (Li shows up near the end and gets three or four lines and no fighting sequences which is a complete waste of his talents) and while the cast members are pretty able individually, the whole isn’t equal to the sum of its parts.

REASONS TO GO: Definite testosterone overload.

REASONS TO STAY: Super predictable and super brainless. Some of the worst CGI ever. Novelty has worn off.

FAMILY VALUES:  Oh yes, all sorts of violence with guns, blades, you name it – mayhem deluxe. There’s also a fair amount of language.

TRIVIAL PURSUIT: This is the first Expendables film not to be rated R.

CRITICAL MASS: As of 8/21/14: Rotten Tomatoes: 35% positive reviews. Metacritic: 35/100.

COMPARISON SHOPPING: Commando

FINAL RATING: 4/10

NEXT: Code Name: The Cleaner

The Quiet Ones (2014)


Sam Claflin perfects his "What's that noise?" look.

Sam Claflin perfects his “What’s that noise?” look.

(2014) Supernatural Horror (Lionsgate) Sam Claflin, Jared Harris, Olivia Cooke, Erin Richards, Rory Fleck-Byrne, Laurie Calvert, Aldo Maland, Max Pirkis, Tracy Ray, Richard Cunningham, Eileen Nicholas, Rebecca Scott, Ben Holden (voice), Aretha Ayeh, Max Mackintosh, Harman Singh, Dean Mitchell, Nick Owenford. Directed by John Pogue

There are things that we can’t explain yet. Phenomena that occur that seem without rational, scientific explanation. Many of these eventually will be explained once you dig deep enough. Sometimes though, our ignorance can be dangerous.

Professor Joseph Coupland (Harris) specializes in abnormal psychology. He has a theory that people who have been labeled “possessed” – people around whom paranormal events seem to occur – have traditionally been institutionalized, or harm themselves or others before that happens actually manufacture these occurrences through the powers of their own minds. Coupland believes that these occurrences are due to strong negative feelings inside and that if you can get the patients to transfer these feelings into a doll or some other inanimate object that they can be cured. “Cure one and you cure the world,” he tells his class at Oxford.

To that end he has a patient – one Jane Harper (Cooke) who has been in and out of foster homes and institutions all her life. She is said to be clairvoyant and haunted by poltergeists. Coupland believes that she can be cured of these issues by manifesting her negative feelings and pushing them into a doll. He is assisted by students Harry Abrams (Fleck-Byrne) and Krissi Dalton (Richards). Documenting it is a graduate, Brian McNeil (Claflin).

This being 1974, the dons at Oxford are none too pleased about the noise (the students keep Jane awake by playing loud rock music at all hours in order to get her into a state where she can manifest) and less pleased still about the subject of Professor Coupland’s thesis. Predictably, they pull their funding.

Enraged but still determined, Prof. Coupland rents a spooky looking house in the English countryside some distance from Oxford. There, isolated and essentially free to do as he wants, he starts working on Jane, keeping her exhausted and locked up to keep her from running away – or harming anyone.

At first, the manifestations are more startling than terrifying – things moving, doors opening, distinct rapping noises. In the meantime, Harry and the oversexed Krissi have become a kind of thing (although Krissi has also shown some affection for the chain-smoking Professor) and the shy Brian and the fragile Jane have also shown signs of attraction.

But things don’t remain this way for long. Tension is beginning to build among all five people, isolated in the middle of nowhere – Krissi likens it to being in a prison. Prof. Coupland has become more obsessive, refusing to admit that he may be wrong about his hypothesis. The manifestations have begun to get more sinister as Jane’s spirit guide Evie, a little girl who apparently died in a fire, has grown more agitated and almost cruel. Brian begins to suspect that there may be something going on beyond what Prof. Coupland can explain. Can he get Jane out of this environment before the experiment goes tragically wrong?

This is the most recent movie by Hammer, the venerable British horror production company that back in the day made the Christopher Lee Dracula movies and more recently, the excellent The Woman in Black. This one was actually completed back in 2012 but hasn’t been released until now. Considering the tepid reviews it’s gotten, that’s not surprising although it must be said that the studio has released movies far worse than this one in the interim.

Claflin has been slowly building up a leading man resume and while he hasn’t broken through with a star-making role just yet, I wouldn’t be surprised if he does sooner rather than later. He has the looks and the charisma although in this particular part he doesn’t really have a whole lot to work with. Cooke and Harris come off as the best of a nondescript bunch. Harris, the son of the late Richard Harris, has settled into a character actor’s lot in life and this is the kind of role that he excels at – officious, smart but corrupt in ways that aren’t always apparent. He is the glue that holds this movie together. Cooke gives us a classic possessed girl performance but adds a touch of melancholy to the role which is the perfect grace note. She’s an English rose, even as unkempt and unglamorous as she is much of this film.

The era of the 70s is captured very nicely, not just with the period audio-visual and scientific equipment but also with the cars, hair styles, clothes and more importantly, attitude. Modern audiences might be horrified at the amount of smoking that goes on in this film, but that was pretty much standard for its time (I lived through it, remember?) and especially place.

A horror film’s job is to scare its audience and the movie is successful at that more often than not, although there is a tendency to rely on cliches of the genre a bit too much. That makes the movie a little bit more pedestrian than it needs to be. I think partly too the filmmakers were waffling between making an atmospheric ghost story with gothic overtones, and making a slam-bang scarefest and wound up with neither. There’s even a “found footage” kind of sequence during the movie that reminded me how overused that particular genre has become. However, the climax while not breaking any new ground delivers one of the best scares of the film which goes a long way to redeeming some of the films more glaring faults.

This isn’t a bad movie; it’s well-acted for the most part, delivers some nice scares, shows off some young female breasts and is spooky and atmospheric at times. It just isn’t particularly innovative nor is it going to kick you in the seat of your pants with its scares nor is it going to creep you out with its atmosphere. At the end of the day the movie ends up being blander than most horror audiences – including me – tend to like.

REASONS TO GO: Some decent scares. Captures time and place adequately.

REASONS TO STAY: Relies on horror film cliches overly much.

FAMILY VALUES: Plenty of terrifying moments, some violence, bad language throughout, some sexuality and brief nudity.

TRIVIAL PURSUIT: Loosely based on the Philip Experiment which took place in Toronto with eight participants.

CRITICAL MASS: As of 5/7/14: Rotten Tomatoes: 34% positive reviews. Metacritic: 41/100.

COMPARISON SHOPPING: The Legend of Hell House

FINAL RATING: 5/10

NEXT: Jodorowsky’s Dune