Category: Uncategorized

JUSTICE LEAGUE: DOOM (2012)

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Directed By: Lauren Montgomery
Written By: Dwayne McDuffie
Story By: Mark Waid
Editor: Christopher D. Loszinski

Featuring the voices of: Kevin Conroy, Tim Daly, Nathan Fillion, Carl Lumbly, Alexis Denisof, Michael Rosenbaum, Bumper Robinson, Phil Morris, Olivia D’abo, Juliet Landau

Vandal Savage steals confidential files Batman has compiled on the members of the Justice League, and learns all their weaknesses.

The Justice League is a team of great power, but also of personal secrets they thought safe. That changes when the immortal supervillain, Vandal Savage, has Batman’s Batcave secretly raided to learn them all and more. Soon, the Leaguers are individually beset by their enemies who attack them with inescapable death traps specifically designed with that information. With that, all seems lost until an indomitable Knight and a young Titan combine to deliver salvation even as Savage uses the opportunity to implement a far grander scheme.

The film actually has a good storyline. This is understandable as you are able to get away with grand scenes in animation that would cost hundreds of millions in live-action films. This might be the reason that live-action films with a bunch of CGI in them look practically animated.

The film has a few great emotional individual scenes that actually manage to greatly affect the audience. Not in an artificial or manipulative way. You have already gained knowledge of these characters hopefully before the film if not they fill you in with information now and then. So you don’t have to go through everyone’s origin story.

The villain’s introduction as the Legion of doom is much different than the one I grew up with most in the Justice League cartoons of the ’70s and 80’s Lex Luthor is noticeably missing as well as Sinestro. Lex Luthor who was the leader has now been replaced entirely. At least this leader seems to actually have superpowers though. It seems this league is more like some second-string villains. Who comes off as rather vague I will admit I am not the comic fanatic that I once was but I only actually knew quite a few when it comes to this film.    

Batman once again proves to be the brains and most vital member of the team. His character also shows that brainpower is superior and more powerful than any at times.

Though it can be harshly violent at times the film is a bit lighthearted.

Watching the film just makes me wonder why they haven’t made a Wonder Woman or Flash Film yet, They both got Tv Series and The Flash seems perfect for a film. He always has a one-liner and smart-ass remark. He can be serious when needed to be but rather silly and playful too so that he doesn’t seem like he is brooding all the time like most, It would have been more spot-on casting for Ryan Reynolds to play the Flash instead of the green Lantern. He is also popular among the Dc Universe heroes.

I can’t say I know much about Wonder Woman. I realize they are trying to avoid a Catwoman type fiasco but she is needed would be a good role model for young girls. Who finally would see themselves represented in films as more than just a girlfriend they can be heroes too not always the victim or damsel in distress. There was an attempt to reboot the series but it failed miserably plus had a lot of fan backlash. It just seems they can’t get the formula correct.

This is a pretty good animated film as long as you’re a fan of the characters. If not it will not be as interesting.

The thing I found really shocking that this film. While being a fantasy story has real graphic violent characters/Superheroes bleed and are actually murdered violently that is actually shown not as usual in these DC Comics animated movies, Where it is implied or cut away from the fight before it happens.

Sorry, no bizarro in this film. One of the problems is that the film feels a little inspired by the watchmen especially Batman’s other world double who reminds me a lot of the nite owl.

One of the film’s major problems I had with the movie overall is that usually in these films. The characters are voiced by the same actions here quite a few are voiced by different actors particularly batman and not only did that throw me off, but the actor they got to voice him makes him seem like an old man. The film is never boring. It’s filled with action, but it never feels like there is any real danger. It doesn’t feel pulse rounding nor do you get a feel of urgency.

If you collect or are a fan of the comics. This film feels like a monthly issue that you feed but nothing important really happens. No real threat or any seeds laid for future developments.

For the Justice League members that appeared in both the original comic storyline and the film, the contingency plans that Batman developed differ between each version. A few examples from the comics are that Superman was exposed to special red kryptonite that caused his skin to turn red as a result of absorbing too much yellow solar radiation or that Green Lantern’s ring caused him to go blind due to a post-hypnotic suggestion that made him believe he was blind which was placed while he was sleeping. In the film, Superman was shot with a Kryptonite bullet, and Green Lantern was made to doubt the powers of his ring by giving into fear. in the comics, it was Batman’s enemy Ra’s al Ghul that got ahold of Batman’s secret files regarding his Justice League teammates and their weaknesses instead of Vandal Savage.

In the original comic book story-line, it was Kyle Rayner and not Hal Jordan who was serving in the Justice League as Green Lantern since this took place after Hal Jordan had become Parallax and then Spectre prior to this storyline’s release and he wouldn’t serve as Green Lantern again until the Green Lantern: Rebirth story-line that was released five years later.

While most of the film material is completely original, the plotline of Batman developing countermeasures against his Justice League teammates as a deterrent, only to have the plans stolen and used against the Justice League is based on the 2000 JLA storyline “Tower of Babel”. The other animated films created so far had that even though they still had predictable endings.

 GRADE: B

120 BPM (BEATS PER MINUTE) (2017)

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Directed By: Robin Campillo

Written By: Robin Canpillo & Philippe Mangeot Cinematography: Jeanne Lapoirie

Editor: Robin Campillo, Stephanie Lager & Anita Roth

Cast: Nahuel Perez Biscayart, Arnaud Valois, Felix Maritaud, Adele Haenel, Ariel Borebstein, Antoine Reinartz, Aloise Sauvage 

The early 1990s. With AIDS having already claimed countless lives for nearly ten years, Act up-Paris activists multiply actions to fight general indifference. Nathan, a newcomer to the group, has his world shaken up by Sean, a radical militant, who throws his last bits of strength into the struggle.

This film presents a Strong subject and story based on historical facts. As we learn about the early efforts of ACT-UP and what they were facing off against. At least the french chapter. That was similar to the US chapters efforts 

This film feels like a miniseries done in two hours. It is a very trying and powerful movie. That is as much a drama, as a history lesson in itself told more from the radicals Point of view. Rather than a white-washed film where they make the owners that be the heroes.

The film shows that if not for the efforts of the LGBTQ community at the time. The progress for national attention and treatment would have been slower if ever even developed.

This is more than just a movie about the subject or a disease Movie. The narrative here is more of an ensemble but it is also strong.

The film is designed more as a docudrama without so much handheld camera work, but still, you feel like a Participant and witness. As we see the movement from the inside out. As well as slowly get to know abs see the personal lives of the characters. Which allows the film to be more intimate.

The film focuses on a relationship more or less and its development. That is connected to the modern era of the group in various ways. While also showing us the evolution of the group. That helps us in the audience connect to the characters. Through this process, the film reveals events and situations dramatically and still manages to be shocking at times with its revelations.

So much material and information to cover here that it feels like a dramatized documentary that gets more personal. As some of the characters, we get to know each other deeper and stand out. Even as each character is important in their own way as part of the coalition.

This is just one of those films you can lose yourself in and by the end or realize how much time has passed but definitely feel like you have been through a journey. As this is a film mroe of experience where you feel like a fly in the wall. As the film takes over.

You just watch as it tells it’s take abd unfolds a large story like a book.

As all around the filmmmaking and cast are great not a weak link . No one drops the ball. As the film and tale are emotionally penetrating and the characters are portrayed as callable and not saints.

It’s one of these perfect movies into a culture and history one was not formed upon. Like the French film THE CLASS by Laurent Cantet only that was like this film a look into a social issue and the characters involved that offers no answers. Only this tale is based more on fact and events that actually happens

This is a film that has to be seen. As it dreams you in and offers you education and an experience. 

Grade: A

TOTALLY FUCKED UP (1993)

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 Written, Directed, Edited & Cinematography by: Greg Araki

Cast: James Duval, Roko Belil, Susan Behshid, Jenee Gill, Gilbert Luna, Lance May, Alan Boyce, Craig Gilmore, Johanna West

Life really sucks for a group of gay and lesbian teenagers living in Los Angeles. Their parents kicked them out, they’re broke and bored, their lovers cheat on them, they’re harassed by gay-bashers. If things are going to be this way, maybe suicide isn’t a bad idea; at least not in the mind of Andy, our major protagonist, who gives the film its title by describing himself as “totally fucked up.

This film plays out more experimental than his last film. This film more examines days in the life of a group of friends. We get to see their videotaped confessions and each seeks to show their own little stories that overlap. So they end up all having their adventures. 

That watching the film feels ahead of its time as it comes off a little like the reality show, THE REAL WORLD but also what social media would become eventually. 

As from the first frame of a new clipping about teenage suicide in the gay community. We know what the film will be tackling not that it will eventually be prophetic 

If the audience does as we watch we try to figure out who will either try or allow themselves to do that. 

The film at the time was one of the most penetrating looks at LGBTQ youth that includes sex reckless and romantic and facing consequences for being themselves such as parents throwing them out, infidelity, random violence, looking for love in all the wrong places and people. 

It sets a blueprint for later teenage dramas that were diverse and more hard-hitting in the new Millenium 

This film was actually not as bleak as his previous film. At least not until the ending where we get a dark ending but also feelings. Which the film Seems to lack. As like the teen’s characters. They play up a certain persona but each is vulnerable that they hide from each other. 

The film stays upbeat and energetic throughout and then comes a heaven ending. Whereas THE LIVING END seems so hell-bent on nihilism until the end where it offers actually hope.

This film still has an avant-garde presentation and punk rock attitude and Sensibility. As well as the soundtrack, but surpassingly by the end it also feels like a hardcore after-school special.

The more artistic expression throughout the film. Can be hard to take, even as it breaks up and focuses on characters. Some in the audience might want more story or action throughout. If that is what you seek you came to the wrong movie.

Watching this now through a modern lens. This film is ahead of its time but could have only been made when it was. As it is penetrating and a nice time capsule of the times. Style and politics and just day-to-day life.

This would also be the first of many collaborations between director Greg Araki and actor/star James Duval 

Grade: B-

THE LIVING END (1992)

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 Written, Directed, Edited & Cinematography by: Greg Araki

Cast: Craig Gilmore, Mike Dytri, Darcy Marta, Johanna Went, Mary Woronov, Paul Bartel 

Luke is a gay hustler. Jon is a movie critic. Both are HIV positive. They go on a hedonistic, dangerous journey, their motto “Fuck the world”.

Even though this is writer/director Greg Araki’s first film. This is one of the latest of his films I have actually watched. I have seen all of his work from the film THE DOOM GENERATION (His first self-proclaimed openly heterosexual film. His third actual film and the second in his teenage apocalypse trilogy) on.

I didn’t like that film. The film did fascinate me with its style, anger, and punk sensibility. This is why no matter what I always give Araki’s film a try.

This is his debut film. Where he pretty much made the film on his own. but also this was the start of the New Queer Cinema movement. 

Here the film doesn’t pull any punches. It is punk all the way. Angry, in your face, violent, no rules, and funny. The film has it’s messages and stylish selections throughout.

This wasn’t a film where its main characters were gay and sexless. Nor supporting characters in some straight love story. Or comic relief. They were the protagonists and very sexual which we see and good looking. Though also both are dying.

The film offers commentary on the world through side characters and their matter-of-fact dialogue. That works on a commentary of the social scene at the time.

It also offers a violent story with two lovers on the run. That actually seems like it is headed for tragedy and violence. It shockingly becomes something that is personal, emotional, and actually about the characters makeing a connection In all the chaos that is supposedly normal life. 

The characters and film both have a nihilistic outlook but end with finding connections and hope on the edge. Leaving a message of living life to the fullest While young. As the characters are the ultimate attractive outsiders who manage to find one another amongst the chaos.

The film wears its influences in it’s background with various new wave and Avant-garde film posters pampering the walls. Not to mention a cameo from cult actress Mary Woronov.

The film has a certain energy and excitement that it never keeps up with at first and that you think will keep up, but it slowly starts to pump its breaks and go slower and takes its turns with the characters. Losing its urgency but allowing for more depth. Still driven by music or the soundtrack. That comes off as inner monologues at times. 

Though there are straight supporting characters the film stays mainly with the main couple.

The film is less violent and more talkative than one would expect. 

As the film goes along they are lovers on the run whose relationship starts off more sexy and exciting. Though as the film goes along they get to know each other and form a bond and relationship. Driven by sex and end up finding love in their own nihilistic lives.

Random strangers in the background carrying messages that end up being the film’s sly commentary. As well as comic relief.

I can’t say I love this film, but it kept my interests mostly throughout and was refreshing to see a love story that was sexual and not fluffy necessarily that just happened to be a homosexual love story. It’s down and dirty and penetrating In many ways 

An interesting take on modern love at the time. 

Grade: B

RAMPART (2011)

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Directed By: Oren Moverman 
Written By: Oren Moverman & James Ellroy 
Cinematography By: Bobby Butowski 
Editor: Jay Rabinowitz 

 CAST: Woody Harrelson, Robin Wright-Penn, Sigourney Weaver, Steve Buscemi, Ice Cube, Brie Larson, Anne Heche, Ben Foster, Cynthia Nixon, Ned Beatty, Jon Foster, Jon Bernthal 


Set in 1999 Los Angeles, veteran police officer Dave Brown, the last of the renegade cops, works to take care of his family, and struggles for his own survival. 

Woody Harrelson does what is called for, he seems natural in the role. The film just fails him as it gives us plenty of his background but doesn’t give us a compelling story to follow him through.

I will admit though I was more impressed by his performance in the film THE MESSENGER.

While there is a riveting story and a character study buried in here. It is never utilized to allow a greater more elaborate performance. The film seems misdirected while trying to go natural.

Then all of a sudden artsy camera movements and angles. It’s like the director didn’t know how exactly to set up shots for the best quality of the scene. So he cut together various bad ones. Considering the film is co-written by James Ellroy.

It gets the grittiness correct. As well as the political and inner workings of the L.A.P.D. But half of the bigger name actors seem only to be here in glorified cameos. They seem to only be in the film because they were attracted by the prestige. There is one scene of true originality.

When the chips are down and Woody’s character goes on a bender to an underground Club. Where sex and debauchery are going on all around him. Drunk and on any numerous narcotics. He walks through the club when the screen goes blank and over the next few minutes there are flashes of action bathed in the red light of what is going on in the club. It sneaks up on us and plays like his character going in and out of consciousness. So we are with him throughout the experience. The rest of the film is so unfulfilling that it pushes Mr. Harrelson’s performance to seem great otherwise compared to the rest of the film. Like a consolation prize.

The film shows that he seems to be living the role and reacting to what is thrown at him. Most of the other roles are underwritten and just woven into the tapestry to shape and show unspoken subtle things on the fringes. There are the makings of a great film here.


It’s a shame the film has good actors who seem stuck and misused in film.


GRADE: D+

TRIPLE 9 (2017)

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Directed By: John Hillcoat 
Written By: Matt Cook 
Cinematography By: Nicolas Karakatsanis 
Editor: Dylan Tichenor 

Cast: Chiwetel Ejofer, Casey Affleck, Norman Reedus, Anthony Mackie, Aaron Paul, Woody Harrelson, Clifton Collins Jr., Kate Winslet, Gal Gadot, Teresa Palmer, Michael K. Williams, Michelle Ang, E. Roger Mitchell 

A crew of dirty cops are blackmailed by the Russian mob to execute a virtually impossible heist. The only way to pull it off is to manufacture a 999, police code for “officer down”. Their plan is turned upside down when the unsuspecting rookie they set up to die foils the attack, triggering a breakneck, action-packed finale filled with double-crosses, greed and revenge.

The film feels like the story should have added up to something bigger and more meaningful. Like how each character was a puzzle piece as we wait to see how eventually they will all fit together. This is clearly a manly man film that drips of machismo though for all of it’s toughness it does take time to actually show the complexities of the situations they have found themselves in. As this is a heist film beautifully filmed but feels like a typical caper film only done more slowly and supposedly intricately. As the crew seems more forced and involves working for the Russian mob.

The film Doesn’t really highlight or fetishize the heists as much as other films. Here it is more done matter of fact. This film seems to care more about the characters involved.

The film doesn’t even seem too involved in what was the initial hook of the film. Where the cops in order to pull off a robbery plan on killing a fellow cop to distract all other police from them Pulling off a heist. Though with so many things going on in the film that all Lead to one another eventually and come to a head. Seems more realistic but also makes everything on the same level and never really that high up.

Even though most of the time it seems Chiwetel Ejofer as well as a few other characters seem to constantly be stuck between a rock and a hard place. Where it also seems the people who put them up for these robberies want them To fail as their actions seem to more sabotage them.

While the film comes off as more of an ensemble film. It also leaves a bunch of premonitions in certain characters words and actions and also while taking place in Atlanta’s it is unfortunate that while the film gives the most of characters a certain humanity. It also has most of the minority characters be criminals not necessarily evil but they seem more subordinate and characterized as the bad guys. Where as the more heroic characters of which there are only really 2 are both Caucasian though Woody Harrelson’s character isn’t the most moral he is seen as one of the good guys.

The film never truly explains the relationship between Chiwetel Ejofer and Gal Gadot’s Characters since they have a child but are they still together. Is she being dangled in front of him by her sister. Are they seperated?

Kate Winslet seems to let her outfits and make up do most of the work as she is given less to do and more exists as a presence, but clearly is having fun vamping it up more or less. She seems to be slumming here or more like a case of stunt casting. Replacing Cate Blanchett

The film stays within the films of director John Hillcoat’s usual films with pitch black stories and violent ends with characters who lore or less feel loved in. As next to LAWLESS, this is probably his most commercial film. He tends to make films that are more filled with agressions and machismo real manly men type films.

This film feels longer than it should and could easily have been shortened. As it feels like a film full of character and characters who get short changed more due to plot mechanics that while introduced in a different way feel way too familiar. The double crosses are expected but the triple crosses feel unexpected.

Woody Harrelson has fun with his role as a detective who while is no stranger to bending the rules he still manages to be a strong moral character. As he seems to have let the job get to him. Though as a veteran he also treats it more trivially. Replacing Jeff Bridges.

Casey Affleck as the new guy comes off on bit is handed a kind of bland good cop character. He was actually cast after both Shia Lebouf, Chris Pine and Charlie Hunnam dropped out of the film.

The film tries to be more about mood and atmosphere but never comes off that strong nor does it ever seem to find that right tone. As it almost tries to come off as a modern-day western but not one where you are expecting the gunfights. One that is more about bravery and strength of moral and character not to mention loyalty

Grade: C

WHITE OF THE EYE (1987)

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Directed By: Donald Cammell

Written By: Donald Cammell & China Cammell Based on the novel “MRS. WHITE” By: Andrew Klavan & Laurence Klavan

Cinematography: Larry McConkey

Editor: Terry Rawlings

Cast: David Keith, Cathy Moriarty, Alan Rosenberg, Art Evans, Alberta Watson, William G. Schilling, Mimi Lieber, Michael Greene, Danielle Smith 

In a wealthy and isolated desert community, a sound expert is targeted as the prime suspect of a series of brutal murders of local suburban housewives who were attacked and mutilated in their homes. As he desperately tries to prove his innocence, his young wife starts to uncover mysteries of her own…

This film is like a jazz album. One can’t quite get into or find the correct beat to connect with to groove with it. 

This film was recommended by quite a few people. Especially as it is one of the few films directed by Donald Cammell a popular writer and director of cult films such as PERFORMANCE.

As his films are usually out there it’s expected that his films will be a bit crazy. This one Certainly is it commits the sin of being boring for most of the film Until a totally bonkers ending. Which still doesn’t save the film as a whole. 

The film shows its Giallo influences only when it uses them in the daylight. These scenes are the only time the film comes alive and its artistic touches work to its advantage. Other times it seems like a film that is pretty Mainstream and more a studio product but presented in a style that feels peculiar and not for the better. That comes off pretty bland the first 2 thirds of the Film.

The camera work is unpredictable which is a thrill. It keeps you alert. Even the casting is inspired but in the end, the ingredients are there, but the dish served comes up short.

What saves the film somewhat or at least keeps you watching is David Keith’s performance that goes from mundane to romantic to off the wall. 

Alan Rosenberg doesn’t fare as well as he comes off like a New York stereotype at first who is dim-witted and then later comes across as a new age burnout. 

Cathy morality gets a chance to not play her usually big-haired villain or tough New York City girl. Here she gets a chance to just play normally as the lead who might be a little too trusting, but other than Be the audience’s introduction to the events and revelations she is given little to work with or do with her character to make an impression.

It also doesn’t help that this film is supposed to be sexy and have a lot of sex and half the time it is usually the opposite and the seduction doesn’t seem to raise the temperature. Even the sex scenes take a while for the audience to realize what they are doing.

The film’s theme seems to be nature vs commercialism. Which represents more of an Avant-garde film abs approach that eases into trappings of the more ridiculous commercialism. 

By the end the film made me come up with some thoughts when it comes to films such as these.  Where it seems we will make excuses for ourselves to explain why we just sat through all of this, but rationalize what we have seen by giving it artistic credentials because it tries to be artistic and different. When it did take a gamble that was misguided. Ultimately it might actually be bad but if the filmmaker had success before there must be some kind of deeper point 

Usually viewed by an audience who expected it. Usually mostly caucasian looking at it analytically abs since it speaks to them or is identifiable it must be good abs preached upon. 

GRADE: F

BUTCHER BAKER, NIGHTMARE MAKER (1981)

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Directed By: William Asher 
Written By: Stephen Breimer, Alan Jay Glueckman & Boon Collins 
Cinematography: Robbie Greenberg 
Editor: Ted Nicolaou 

Cast: Jimmy McNichol, Susan Tyrell, Bo Svenson, Julia Duffy, Bill Paxton, Britt Leach, Steve Eastin

Since the death of his parents fourteen years ago, Billy Lynch has been raised by his overprotective aunt Cheryl. But once he turns seventeen, he is soon set on planning his life…without her. He’s planning on going on to college and is dating local girl Julie. None of which sits well for his aunt, who’s lost everyone else in her life and now with her nephew ready to leave, ensures she starts on a campaign to keep him with her…forever. But as her plans misfire she becomes swept up in a cycle of psychosis and frenzied violence all being blamed on Billy by everyone else…including a homophobic detective, whose anti-gay prejudice is steadily reaching its zenith…leading to an unforeseeable outcome.

This film feels silly even for the time when it was released. Watching the film is a fun experience in its awfulness.

It’s entertainment is marred by its characters’ homophobia. This is disappointing as it easily could have been an unintentional camp classic. Surprised it hasn’t been embraced by a cult audience of not for anything at least the performance and gusto from Susan Tyrell.

The lead performance by Susan Tyrell gives it her all and goes way over the top. So unhinged In one of her rare leading roles.

So unhinged that as the movie moves along even her look begins to deteriorate. She is obviously wearing a wig and once her character cuts it she goes further off the deep end. It ends up being her real hair.

Revealing the killer wept on makes the movie more suspenseful. Especially as the film goes along, there ends up being few choices as to who it could be and where the film can go. 

The film has Bill Paxton in an early role as a jealous bully. Not to mention Julia Duffy as the teenage nephew’s love interest.

The film ultimately revolves around a serious obsession between the aunt for her nephew. Which also makes the film feel more suited for a drive in a movie theater. 

The movie’s special effects, the few that there Are, are so bad they become laughable especially when it cowls to stabbings and dismemberment. 

Memorably bad but the film Means well and tries hard. So that it is more entertaining and fun than scary. If this is a genre you particularly like.

It can be understood that homophobia was the Mood at the time. The film tries to justify that mood as evil by having one fo the good characters be gay. But also at the end, most of the characters with that discrimination end up dead. 

This is a film you look for more for fun than necessary thrills or any kind of horror 

GRADE: C

THE NAME OF THE GAME IS… KILL (1968)

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Directed By: Gunnar Hellstron 
Written By: Gary Crutcher 
Cinematography: Vilmos Zsigmond
Editor: Lou Lombardo

Cast: Jack Lord, Susan Strasberg, Collin Wilcox Paxton, Tisha Sterling, T.C. Jones, Mort Mills, Marc Desmond 

A desert family offers a traveling stranger its hospitality, but the stranger doesn’t realize exactly what they have in store for him.

This film is certainly an oddity the time had never heard of before.

The film is pretty basic in plot and relies heavily on its ending, which is meant to be shocking. So much so the film Mostly depends on it. Though offers two for one. Then leaves you with a Few questions it will never answer.

If you notice early in the film you can’t predict the end. Tone. even if you miss eventually the film will become predictable but then try to still get you 

So obviously this is a film to best go in blind or knowing as little as possible to get the best bang for your buck.

This is certainly the first time I have seen star Jack Lord in anything other than the show that made him Famous HAWAII FIVE-O and here he plays a Hungarian drifter with an accent. He does a serviceable job. Though you wonder about the intelligence of his character. As many times he is attacked and almost does from these attacks. Yet he keeps coming back to this family. Yet tries to rationalize it when it appears mostly to be lust.

Even as they are all obviously off in many ways. Though the one he seems to fall for in only one day. Where they talk about their love for each other already. Seems to be the sane one and the one who just needs love in her life.  

Whereas her sister’s one already has an instant distaste for him and lets it be known and the teen sister just seems disturbed as when we meet her the family mother is bringing her home after setting a cat on fire to punish someone who was picking on her. Who has she then Tripped down a set of stairs and broke their leg after killing the cat. All of this is scenes as teenage hijinks.

They all come onto him at some point in the film except the mother. As they are fetching in their own ways. Though most would have hightailed it.

The film also can’t seem to settle at times it says that no tourists stop and stay in the town. Yet later the sheriff talks about how the town is torn. They hate tourists but depend on them for income. Just as this family of females run a service station that no one tourists or townsfolk ever seem to come by or use.

Not to mention it’s hard to see how or why they would stay or live in this town as it comes off almost as desolate as a ghost town.

This is definitely a movie of its time. Making it today would be too obvious. As we have become used to these kinds of twists. Though for what it’s worth even if at times it seems ridiculous. It definitely keeps your interest. 

Grade: C+

DEATH RACE (2008)

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Written & Directed By: Paul W.S. Anderson 
Based on an original story by: lb Melchior & Original Screenplay By Charles Griffith & Robert Thom Cinematography By: Scott Kevan 
Editor: Niven Howie 

 Cast: Jason Statham, Joan Allen, Tyrese Gibson, Jacob Vargas, Natalie Martinez, Ian McShane, Frederick Koehler 

Each year we are given Jason Statham in at least 2 new action films sometimes he makes up for the lackluster ones with a good movie like THE BANK JOB, but then to make the money and please the action fans we get him starring in movies like this. 

I like to think of Jason Statham as the British Bruce Willis and about every three films that he appears in he makes a good one (Crank, The Transporter) the others run from decent (This) to downright horrible (Dungeon Siege)  This film while really being loosely based on the original film DEATH RACE 2000 doesn’t embarrass itself completely. It has a good cast and good action sequences. It reminds me more of THE RUNNING MAN with the falsely imprisoned man the satire of future audiences being entertained by prisoners killing each other in competitions and it being mostly about money and interestingly enough a sexy Spanish female sidekick. Both films starring foreigners. 

From this film and Paul W.S. Anderson’s career pretty much after his original films SOLDIER and EVENT HORIZON didn’t exactly light up the box office. It seems now that he prefers to either make his mark in the ongoing film series Aliens Vs. Predator or film movies that have been well established as video games or remaking movies that he uses heavy influences from another. Now having said that, He isn’t a hack but a decent commercial director. 

This film is good popcorn entertainment never boring but you can tell where it is going every minute. It is loud and action-filled. It’s rude and crude with nothing really original to say. It has its decadent indulgences like in the middle of the race a big bulldozer of a truck that takes out half the competition that has been presented as such a huge obstacle is taken out so fast you wonder if it was really needed in the first place. 

If you’re just looking for something entertaining without thinking too much this is the film. It’s very violent but with enough eye candy to smooth that over. Even with its dank surroundings. 

The film takes place in the future where corporations run the penal colonies since the unemployment rate is at an all-time high. Which causes crime to soar and prison overcrowding. The prisons are now run death races on pay-per-view to raise revenue and take out the prison population. 

So when reigning champion Frankenstein is killed there is a replacement needed and it just so happens a new prisoner is recruited to replace him as a former race driver on the outside. He is thereafter being falsely accused of killing his wife and promised freedom if he wins the death race. He just has to survive especially against Frankenstein’s rival Machine Gun Joe and a sadistic warden. 

Interesting how it almost ties into the current situation the world is finding itself in. Joan Allen is obviously slumming but unfortunately in Hollywood, as an actress gets older the harder it is to find worthwhile roles so at least if your name isn’t Meryl Streep, Glenn Close or Susan Sarandon. 

Ms. Allen relishes her role and sinks her teeth in as the main villain. This at least brings the movie up another level towards respectability. 

One must give mention to Natalie Martinez who is just so fine and who I look forward to seeing in better roles that at least really give her a part to play but at least here she is a nice part of the eye candy. 

 GRADE: C+