THE STRAWBERRY BLONDE (1941)

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Directed By: Raoul Walsh 

Written By: Julius J. Epstein & Philip G. Epstein

Based on the play by: James Hagan 

Cinematography: James Wong Howe

Editor: William Holmes 

Cast: James Cagney, Olivia De Havilland, Rita Hayworth, Alan Hale, Jack Larson, George Tobias, Una O’Connor, George Reeves, Lucile Fairbanks, Edward McNamara, Helen Lynd 

Biff Grimes is crazy about Virginia Brush, but his “pal” Hugo Barnstead marries her himself and makes Biff the fall guy for his shady dealings. Though Hugo seems to have everything Biff wants, Biff learns that having what one wants and wanting what one has can be two very different things.

One of the reasons why I love this film so much is I have never heard about this film before. Now while I am a film fan I can admit to having blind spots especially when it come to older black and white movies which to me are considered classics at times because of the time period in which they were made. A peek into a bygone era . Where certain roles were set up and portrayed but even back then knew that everyone was more than what they were told to play and more savvy than they let on. 

This is truly the first James Cagney starring movie I have ever seen so while I have seen him in other films in smaller roles and heard about him. This is my first experience with him where I can see the talent and charms all on display. Even in playing someone not necessarily all that smart but watching him start to get the point and realize what and who is best for him. 

It’s also fun discovering a film that was out there and many never mention that is practically an undiscovered gem. As it’s a film that while you can beleive the dramatic and romantic moments. It feels like everyone is having fun in and with their roles and one another. It’s heartfelt and entertaining. It’s a show but you take it with you once it’s done. Even though you know It’s not necessarily close to reality. 

Part of this film’s charms is that it’s not a big story with high steaks, but more a character comedy that is charming and it’s own right Word not only the star shines, but the supporting characters help.

As the film is about romance and love, and what truly matters in it, so it is full, and we see its nurturing grace, with a note of the next stage, and never or rarely being disguised.

This was one of my first James Cagney films, and definitely my first James Cagney comedy, though not one of his more famous titles or not considered a classic amongst his other films. So far, it is one of my favorites of his, and truly shows he was a star who seemed to be able to do it all saying, dance act, he could be a hero or he could be a villain and quite scary.

This is only the third film of James Cagney that I have seen. I think I appreciate it because it’s not as talked about as his other films.

His performance, here is more as a romantic, and a man, with a quick temper, who threw out, seems to be taken advantage of by those around him yet never let his anger out on them but directed at Phantom threats and challenges whose ultimate goal is to become a dentist.

The way he plays it is genuinely his own as in most of his comedic performances it’s fast and he seems to get so worked up over nothing that the performance is grand, and half of it is watching his history as he gets himself more and more worked up, but gracefully, he also comes down or how much trouble his anger and fast-talking gets him into.

As he is such a force of nature that it seems like the film and characters, more or less revolve around him, and react only in this film, they all get their time to shine, even while he is huffing and puffing. 

As the one person who truly does care for him, and looks out for him, he is oblivious to Eventually he wakes up and opens his eyes as he realizes what he has, or what he could lose.

The best thing for him was not getting what he wanted, as it also showed him what was important, which seemed to be the moral of the story.

The film has an earnest story and it’s quite simple but gets so much mileage out of it that it’s no shock that it’s the James Cagney of his films and the Director of the film Raoul Walsh also says it’s his favorite that he made.

The intentional comedy of his character being a hothead, yet always losing fights until it truly matters is a quality the film seems to try to introduce subtly. This also showcases that his character is not that smart, but is good with quips. Is that the character who ultimately is the villain of the story? Did his actions seem intentional, but always seem to take advantage of Cagney’s character or lead his character to ruin.

This also leads to one of the few problems of the film is that his other friend played by Jack Larson, is not that good-looking nor charismatic, So it’s hard to believe him as his rival as the only thing that he seems to have over Cagney is maybe a certain smoothness, which I guess is what works as it is obvious and is really the defining point of his character.

Later, it seems like he envies his friend’s life but eventually can see why it’s best. He didn’t get the girl and had the fate of his friend. 

Rita Hayworth’s character is a gold digger but has a soft spot for James Cagney which is romantic, but troublesome as she is the one who has her husband get him a job that proves to be his undoing.

There is even a chance that the romance between him and Hayworth could have worked, but and wouldn’t have been ideal or true. She ultimately buries herself and her chances later in the film. She shows all the things in her character that his character doesn’t like in a woman, yet is more ravishing in her lead scenes physically, though always shows why her character and Cagneys could work especially early in the film when they go on a forced date.

James Cagney and Olivia de Havilland’s chemistry is not the flashes they have so much chemistry and Rita Hayworth is truly his even in comedic scenes with her talking about her ideals and her strange flirtation with some Lothario (Played by Herbert Anderson, who played the father on the show DENNIS THE MENACE) who keeps winking and she can’t help winking at them with Chelsea her character is looking for love and excitement and is just as open to making the wrong decisions.

Though it’s hard to believe that she’s so passive when finding out we’re figuring out that her married friend Rita, Hayworth kissed James Cagney and the lights-out spaghetti scene.

It’s one of those stories where one finds the perfect partner with someone they weren’t really looking at or for and that other person falls for them anyway. Despite knowing they are a runner up. Though making their way to truly being number 1 

Cagney’s character played by Alan Hale, is hilarious steals all of his scenes, and proves to have great chemistry with the star. As well as George Tobias, who plays his Greek friend, and who ends up being his only true friend, they are both hilarious. 

The film’s more comedic scenes aren’t as physical but more verbal and witty.  It is even lensed by legendary (not at the time) cinematographer James Wong Howe (THE THIN MAN, SWEET SMELL OF SUCCESS)

It’s a comedy with dramatic moments, but a heart for romance.

Grade: A 

ONE, TWO, THREE (1961)

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Directed By: Billy Wilder

Written By: Billy Wilder & I.A.L. Diamond 

Based on the play “Egy, Ketto, Harom” By: Ferenc Molnar 

Cinematography: Daniel L. Fapp

Editor: Daniel Mendell 

Cast: James Cagney, Horst Buchholz, Pamela Tiffin, Arlene Francis, Lilo Pulver, Howard St. John, Hanns Lothar, Leon Askin, Ralf Wolter, Karl Lieffen 

C.R. “Mac” MacNamara is a high-ranking executive in the Coca-Cola company, assigned to the corporate office located in West Berlin. Mac’s dream are to climb the corporate ladder in the company to eventually become the head of Western European Coca-Cola Operations. One day, Mac receives a call from his boss, W.P. Hazeltine, to look after his 17-year-old socialite daughter, who is coming to West Berlin, while he is on a trip. Soon enough, Mac finds himself in the undesirable circumstances of trying to take care of this young whirlwind and manage all of the problems she causes.

The movie escaped me for many years as I missed seeing it and a recent Billy Wilder perspective at my local repertory theater. So finally getting to see this late Wilder movie was bittersweet even though I still have yet to see it on the big screen.

It’s a little more political than I expected. This film is still a joy only for the chaos that seems to be happening from the beginning to a comedic blizzard throughout. James Cagney’s character is the ringmaster. Who tries to keep it together and contained and usually bleeds into something else that causes another set of problems. 

As there are contained scenes that are filled with farce and all kinds of comedy from slapstick to physical to wordplay. That involves ridiculous characters who seem over the top but become endearing.

As James Cagney’s character is trying to get a promotion wishes as well seem to be a crumbling marriage, a dysfunctional family, a mistress who is his secretary, and other foreign dignitaries. All at once and once he has to babysit your boss’s daughter, and she sneaks out because of all sorts of problems he has to clean them up, especially when his boss decides to make a surprise visit. 

What are the interesting aspects that in all the people he tries to help even if it’s for selfish reasons. They always seem to battle against him even when it is for their own best interest. 

It truly is a film of its time. Wilder has never shied away from more of the controversial subjects and is maybe a bit bawdy. As well, it seems quaint. Now I can only imagine at the time this film, caused a mini uproar over the decision and the behavior of some of its characters.

At certain points, it does get a little bit too silly for its own good especially when it comes to the character of Otto. Cool comes off as more annoying and might’ve inspired Archie Bunker and Meathead a bit over a decade later on the sitcom ALL IN THE FAMILY. 

For me, the film is a laugh right as you’re just amazed that how much can go wrong and still work out not to mention how much how many plates can be spinning all at once in a scene and they may fall nothing ever seems to break and that is a perfect way to describe this film. There is so much going on, but you can easily follow it and it never truly lets you down.

It’s a shame that Cagney did not enjoy making this film, so much that he retired from acting after being in this movie and didn’t make another acting appearance until RAGTIME. which was his last role. It feels like we lost more performances From the man. Who is in top form here.

The film is fast-paced, and while there are all kinds of lunacy going on, if it were not for James Cagney‘s character being the ringmaster and handling all these disasters and trying to find an answer while putting out all these fires, the film truly would be lost.

Grade: B 

THE MAN WHO CAME TO DINNER (1941)

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Directed By: William Keighley 

Written By: Julius J. Epstein & Philip G. Epstein

Based On The Stage Play By: George S. Kaufman and Moss Hart

Cinematography: Tony Gaudio

Editor: Jack Killifer 

Cast: Monty Woolley, Ann Sheridan, Bette Davis, Jimmy Durante, Richard Travis, Billie Burke, Reginald Gardiner, Elisabeth Fraser, Grant Mitchell, Mary Wickes 

Sheridan Whiteside, an eccentric and acid-tongued radio lecturer, is disabled on the doorstep of a prominent Ohio family and must remain confined to the unwilling family’s home for a few days. Discovering what he believes to be problems within the household, hatches a plot to fix all of the household’s problems. 

Sherry then proceeds to find out that his leg is fine so he bribes the doctor to declare him unfit to leave for a few weeks so he can meddle with the lives of the members of the household. But has he made a mistake?

While you definitely notice the film’s theater origins as a play by George S. Kaufman and Moss Hart. 

The highlights of the movie are the main character of the movie played by Monty Woolley. Even in a film with two female superstars of the time Anne Sheridan and Bettie Davis. He is the one who is given the most screen time and the best laughs.

Ann Sheridan at least gets chances for her character to join in on the comedy. Bettie Davis plays an important character but barely gets anything to really do. As she is more of a straight woman throughout. 

Woolley’s character is acid-tongued and insults almost everyone around him. He is an intellectual snob who believes he is better than everyone. While it is never particularly said he seems to also be homosexual. The film makes it seem that he is different in taste and class than his wealthy benefactors whose house he slips in front of and is forced to put up with him. While they put him up.

Throughout he causes all sorts of trouble for the family particularly the matriarch and in true selfish fashion. When his assistant played by David falls in love. He tries to sabotage it not because he is in love with his assistant but for her companionship. One could see it as he has been made to feel like an outsider all of his life because of his style, intelligence, and decor. 

So now he is taking it out on everyone who is considered normal and hetero to a degree. As no one is safe from his tongue lashings. Most accept them as they aren’t aware they are being insulted, others who do can only bluster as they know they can’t do anything about it. Those Who try to verbally spar often lose. Even his accomplices tend to switch sides or he turns on them at least once or twice.

He is technically the villain but also the centerpiece and most interesting character that you end up loving to hate him or hate to love him.

It might as well be a one-man show. As Monty Woolley shines in every scene and takes over. Most characters in this movie talk a mile a minute and so does the action and jokes at times. As it is a kind of screwball comedy. He is the main focus even telegenic the film tries to throw some sight gags and physical comedy in the mix it feels like leftover from the fresh and sharp dialogue. So that anytime it leaves him or focuses on another character. It slows down and becomes a bit dull.

The only other person in the film who truly steals scenes is Jimmy Durante and his antics who come into the film in the third act as another accomplice of Woolley’s He gives the film much-needed energy. As Durante on screen is so energetic it’s like he drank 12 lattes before each take. His appearance is a late great surprise. 

Ultimately the film is entertaining and can see why It’s Considered a classic. Though It’s not as strong as one would hope if it wasn’t for the main role. This film would feel rather basic. It might be the direction or presentation overall. 

Grade: B 

BUDDIES (1985)

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Written, Directed & Edited By: Arthur J. Bressan Jr.

Cinematography: Carl Tietelman

Cast: Geoff Edholm, David Schacter, Billy Lux, David Rose, Libby Saines, Damon Hairston 

The film follows a New York City gay man, in a monogamous relationship, becoming a “buddy” or volunteer bedside companion to another gay man dying of AIDS, and the friendship that develops. 

This is not only a monumental film, but a film of necessity to humanize gay characters, but also people who have and were dying of aids at the time. Providing them with representation and a voice in general and especially in media.

This was one of the first films that dealt with and talked about aids openly as a major release. that seems to have been forgotten. Overtime might be seen as outdated, but still is needed as it provides a look at the landscape of the time and the progression of the disease.

That it’s more minuscule observation and story. It still manages to pack a punch and put a face onto victims and on the characters and those suffering in general.

The film feels more theatrical due to the confines of what is being seen. As it was filmed in 9 days and rehearsed for 5 weeks prior,  that works as a time capsule of the times it’s unsettling and disturbing but human and truly shows humanity in kind.

No, the lack of other characters being seen only adds to the loneliness of the situation, especially after being diagnosed.

The performances are natural and have a ring of truth, despite minor missteps or two. 

As we learn more and more about each character, we discover that they are not just a statistic or a cause an actual person. This is a character theory that is now seeing the human side of the person and the torture of the disease. As it ravages its victims.

They debate one another on subjects and identities that are arguments and theories of the time. That offers no easy answers but declares the fact that we are all human beings and should be treated fairly no matter what our lifestyle or culture.

This is truly a film to experience more than just watch as it is hard to write about this film while it takes you on a journey even in its only limited space.

It’s a snapshot of the time it’s a small independent film that packs so much punch. Remind us of how far we have come, but also those who are out there and suffering.

The writer, Director Arthur J Bressan Jr., and lead actor Geoff Edholm both, unfortunately, from aids a few years after the film was released

Grade: A-

MUSICA (2024)

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Directed By: Rudy Mancuso

Written By: Rudy Mancuso and Dan Lagana 

Cinematography: Shane Hurlbut 

Editor: Melissa Kant 

Cast: Rudy Mancuso, Camila Mendes, J.B. Smoove, Francesca Reale, Maria Mancuso, Camila Senna 

A coming-of-age love story that follows an aspiring creator with synesthesia, who must come to terms with an uncertain future, while navigating the pressures of love, family, and his Brazilian culture in Newark, New Jersey.

This is an unorthodox yet familiar romantic tale. As it stays fun though it has very few or little stakes.

The film separates itself with its style of warmth, Goodwill, and positivity. its clear love of its culture.

The film is very surreal and an original inspiring musical. That is cultural yet universal, with him being the Co-writer, Director, and star as well as scoring the film, he is a one-man band that makes the film all the more personal allowing it to be imaginative and playful.

Special mention must be made for Camila Mendes is noteworthy here and a dynamic working actress seeing her in so many different projects recently. She is good and in each of them, she grabs her attention immediately, especially impressed with her range comes through despite the emphasis on her in certain roles. It’s all the glory for him but she is the one he chases and is inspired by. Who accepts him for who he is?

At times, the film looks like a dynamic avant-garde stage play especially in the middle, With many memorable and hilarious scenes that are heartfelt as well as identifiable.

The film plays with the tricky dimensions of the mind and obviously subtle comfortable ways that emphasize the lead character and imagination in the many ways to not only tell a story but illustrate one that might feel common sets itself as an individual.

The film’s strength is strong in the comedic, scenes. the romantic ones feel truly heartfelt and honest classic way made to be modern.

One Could complain about such extravagant use of such a small and simple story but one could also argue while pretty it’s what makes it so real that in life our stories might be small to others, but feel monumental to us in the moment and not only can be surreal, but what we see in our own minds, even if others don’t.

That you might wish would happen and you know you have found a connection when you are with someone who understands or speaks that same language and adds to it making memorable melodies yourselves

Grade: B

THE PERSIAN VERSION (2023)

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Written & Directed By: Maryam Keshavarz

Cinematography: Andre Jager

Editor: Abolfazi Talooni and JoAnne Yarrow

Cast: Layla Mohammadi, Niousha Noor, Kamand Shefieisabet, Bijan Daneshmand, Bella Warda, Tom Byrne, Shevrin Alenabi, Sachli Gholamalizad, Jerry Habibi

When a large Iranian-American family gathers, a family secret is uncovered that catapults the estranged mother and daughter into an exploration of the past, and to discover they are more alike than they know.

This film is a heartwarming tale of family relationships. While overall being a film about relationships.

It’s ultimately a tale of immigrants building themselves up, As well as their families. While seeking independence being able to find a connection.

So, based on a true story, the film has quite an imagination. As it feels like a storybook at times. It’s full of reality, though has a touch of fantasy. When there is even an early scene that breaks down to a musical sequence of introducing family and friends to the Cyndi Lauper song girls just wanna have fun 

The film is so rich you want to hear some more of her many brothers ‘ tales or more stories about the family overall, as it seems, there is some magical realism that is anchored by reality. so much so that this film almost feels like a mystical pilot for a television series.

The film is familiar, and some might feel this film has too much heart or gets lost a bit in sentimentality overshadowing other parts of the story lessons, the tone.

It actually works, it might leave others in the audience, wanting more grit in the dramatic part of the story. That feels overstuffed with tragedy and hardships that are wrapped up a little too nearly. Though this film is all about the heart. after all, it is a story about family and time. 

Not to mention, it already provides tragedy with peaks of drama yet plenty of humor.

Just like the main character, it might define itself one way, but it finds itself in many different ways that go against definitions.

Grade: B 

FALLING FOR FIGARO (2020)

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Directed By: Ben Lewin

Written By: Ben Lewin and Allen Palmer 

Cinematography: Nic Lawson

Editor: Peter Carrodus

Cast: Danielle Macdonald, Hugh Skinner, Joanna Lumley, Gary Lewis, Shazad Latif, Ian Hanmore, Christina Bennington, Vicki Pepperdine

 A brilliant young fund manager leaves her unfulfilling job and long-term boyfriend to chase her lifelong dream of becoming an opera singer in the Scottish Highlands.

There is nothing truly wrong with this film that it’s more of a romance than a comedy with musical flare. As it revolves around the world of amateur opera singing.

This leaves the film or at least the audience a little confused as you’re expecting it to be or at least have a few more quirky characters, and maybe a little more interactive, and confused throughout when it comes to the story.

The way it plays is pretty much cut and dry, and I admire that the film doesn’t make the female leads, original, romantic entrance, and fiancé into any kind of villain, or give him any truly negative traits. As it is, they are growing apart when it comes to interests and thoughts of the future.

The film is simple and cut and dry, but the problem is it just seems to lack a certain charm. Maybe it’s because it’s not as cliche to the audience as other romance films are not trying to convince you to like the characters presenting the characters as they are them or not.

Immediately gets into its story and plot and you already recognize where it’s going and what’s going on so you just sit and watch and see which way it will be delivered it’s cute but it doesn’t send the pulse racing. It doesn’t make you excited it just kind of gives it to you and hopes you like it. It’s like going to a diner versus a restaurant now sometimes a diner can surprise you and give you one of the best meals of your life but sometimes it’s just par for the course giving you exactly what you wanted but no effort to make it special or one of a kind. That is how this film feels.

The one thing you will remember is the lead Danielle McDonald, who has been in quite a few films up until now, and as usual, gives a great and memorable performance in the lead. 

Grade: C 

THE SACRAFICE GAME (2023)

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Directed By: Jenn Wexler

Written By: Jenn Wexler and Sean Redlitz

Cinematography: Alexandre Bussiere

Editor: Mathieu Berube and Arthur Tarnowski

Cast: Mena Massoud, Chloe Levine, Olivia Scott Welch, Georgia Acken, Madison Barnes, Gus Kentworthy, Derek Johns, Laurent Pittre 

It’s bad enough that boarding school students Samantha and Clara can’t go home for the holidays, but things take a deadly turn when a murderous gang arrives on their doorstep – just in time for Christmas.

The film starts out as an interesting thriller, and then it gets a bit more harder as it goes along.

Like the main characters as an audience member, you were not quite prepared for what you get you might see certain things, but there are plenty of surprises.

What keeps the sound fun is that it keeps you guessing like a game even though after a while it becomes a little bit predictable, but still offers a few surprises.

As we watch the tables, turn on the villains that we want to see punished, who then become the victims, who are used to a certain extent, though we feel a little for them, even as they were careless before that seems to be their only bad vice. Not necessarily likable, but good for some comic..

Like most things, those who you think are the most evil or nothing compared, as there is usually someone worse.

The film keeps a wicked sense of humor as it becomes a cat-and-mouse game towards the middle. 

Not going to like you are most likely going to suspect some of the choices, but luckily it stays entertaining throughout.

The production design works as it does feel the production, or like it is taking place at that certain time, which also helps with the film’s mentality and mood.

This is a good starter, a horror film that can teach those new twists and the tricky nature of them, and a film such as as this film seems perfect for a younger female audience.

Mena Massoud who played Aladdin in the live-action, Disney movie is a villain here, which is subversive casting. As he goes from playing, you know one of the most innocent and beloved Disney characters, who is kind of a heartthrob to a cold-blooded, killer and leader of a gang looking to sacrifice for a single goal

The cast is female, driven than male who are mostly victims. 

the film is not excessive or exploited and its protagonist ends up being two teenage girls. Luckily, the film is never boring and stays entertaining being a period piece of the 1970s it adds to the texture somewhat the wonder if it’s more to explain or do away with cell phones and more tap into disillusionment and the satanic panic of the times

Georgia Acken is memorable playing Clara, one of the more mysterious underage hostages who might remind the audience of a young Elliot page as she appears to have the same strength in her performance. 

Grace: B- 

THE PASSENGER (LA PASAJERA) (2021)

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Directed By: Raul Cerezo & Fernando Gonzalez Gomez 

Written By: Luis Sanchez-Polack

Story By: Raul Cerezo

Developed By: Asier Guerricaechebarria and Javier Echainiz 

Cinematography: Ignacio Aguilar 

Cast: Ramiro Blas, Cecila Suarez, Paula Gallego, Cristina Alcazar, Yao Yao, Niko Verona, Carmen Ibeas, Vasilejos Papatheocharis 

multiple passengers are in a travel transport van that hits an excursionist who was walking at a secondary road at night. After getting her into the vehicle to take her to the closest hospital, the occupants soon realize that they just have to follow a very simple rule: don’t sit next to her.

This reminds me of the little engine that could as that is how the film plays out where it feels like I think I can. I think I can. I think I can. 

It does garner some scares, and it has very impressive practical effects that are more of the showcase, especially with such a small cast 

The film tries to stay intimate and very few locations and offers up a claustrophobic atmosphere.

While dealing with very few characters, the film ends up being driven by the main two, who develop a relationship of trust in the middle of all this chaos. 

The film doesn’t offer anything you haven’t seen before, but it does offer thrills it does offer quite a few laughs and inventiveness. The characters are not action hero warriors, but more regular characters with laws and all.

It does lead to some hair-raising sequences, and thrilling moments, as well as some not over the top, but well-used gore.

There is only a lingering uncomfortability when it has an underage girl in tight clothes around what seems to be an old lecherous talkative man old man with one eye. Who keeps eyeballing the girl.

As it showcases, what could be a worldwide dilemma more in minutia and overseas. also packing a strong sucker punch of an ending after we have gotten to know the character so deeply.

Anyone looking for a nice comfortable science-fiction, tinged, horror film. Shitting joy in this humble yet ambitious flick.

Grade: C+

FATAL GAMES (1984)

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Directed By: Michael Elliot 

Written By: Michael Elliott, Rafael Bunuel, and Chris Mankiewicz

Cinematography: Alfred Taylor

Editor: Jonathan Braun

Cast: Sally Kirkland, Lynn Banashek, Sean Masterson, Michael O’Leary, Teal Roberts, Marcelyn Ann Williams, Melissa Prophet, Angela Bennett, Nicholas Love, Lauretta Murphy 

A mad javelin thrower kills teenagers in the school. All promising athletes are executed most brutally. Especially naked girls in dressing rooms or saunas.

This movie is very ridiculous with a killer who only uses one weapon and it’s a javelin, which I guess goes with the theme as all of the victims want to be Olympic college athletes. It stays on theme throughout. 

There is actually a scene where they all are in favor of doping up all of the athletes with steroids and they’re being no Controversy

The film now has controversy when it comes to the third act as it shows a kind of outdated attitude that might insult some groups. Especially when it seems a bit borrowed from another classic horror film. So that The killer might be easy to guess the motive won’t be 

This film suffers from the usual problem with some horror films, where you don’t really get to know the characters enough to really care so realistically, they’re just like cows to the slaughter, though with this one you never grow close to any particular character, so they are beyond disposable because you truly don’t know who is going to be next and who is ultimately going to be or even amongst the survivors. Which usually leads to the film having creative kills to entertain the audience or what the audience demands. Here not so creative when the murder weapon is the same and goes about using it mostly in the same manner. 

Watching this film it made me wonder now that there are a lot of older horror movies that are considered classics for various reasons and have been called Classics by different critics as they help to serve up the eventual formula or cliché of the genre or certain genres like slasher no, I wonder as I watch some of these and at least for me, they come across as Bad films. When can we admit that maybe some of these so-called sacred or hidden jam movies that some people like to even talk about or actually if you really look at them for all their words or just acting some might say that’s part of its charm, but is it really I mean I guess it feels a need of entertainment and gives the audience the requirements but what if it’s not in the best fashion or even like creative as always it’s really up to the audience member, and what they thinking or how they interpreted and then once we finally get to the end, the film just literally ends and you know no follow-through. 

Even the soundtrack and theme music are more hilarious than I believe that it was trying to go with now. The film is definitely exploited as there is plenty of nudity and a little sex and what I mean is that there is a whole scene of a couple, taking a shower together, and literally only having a conversation no sexual overtures, or anything like that, and obviously the female is meant to be more the Candy, but it’s a conversation they could’ve also easily had closed or semi doing some more constructive

There is another scene where a character literally runs through the hallways, naked scary movie spoof this with Anna Farris only Ana in that movie, but the same ridiculous run, wailing, screaming, arms, waving, calling more attention to herself understandable to maybe get the attention of how but all it really does is the killer track her down a lot easier 

Some might like it for its ending that they don’t see coming in for willing to as they might say go there. Also, the sole black cast member doesn’t die first but comes a close second.

It’s a film you might find yourself laughing at actually having a fear or really any care for what you’re watching. The film at times tries to be humorous. Unfortunately, it is not campy though may feel that way unintentionally. 

This might be one of those films that Some will think it so bad that it’s good, or at least entertaining, as there seems to be an attempt to make a genuine, horror film.

Grace: D