FOXFIRE (1996)

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Directed By: Annette Haywood-Carter
Written By: Elizabeth White
Based on the book By: Joyce Carol Oates
Cinematography By: Newton Thomas Sigel
Editor: Louise Innes

Cast: Angelina Jolie, Jenny Lewis, Hedy Burress, Jenny Shimizu, Sarah Rosenberg, John Diehl, Dash Mihok, Peter Facinelli, Chris Mulkey, Cathy Moriarty, Michelle Brookhurst, Elden Henson, Joel David Moore, Shiloh Strong

The story of five teenage girls who form an unlikely bond after beating up a teacher who has sexually harassed them. They build a solid friendship but their wild ways begin to get out of control

What really saves this film from being a clichéd teen girl film about finding your own inner strength and character, Is Angelina Jolie’s performance. If it had been seen by more people. It would have been a star-making role. She has a charismatic swagger in the film. Like a female James Dean that makes you desire her, Want to be like her, or just have her as a friend. She exudes coolness dripping it all over the screen.

I wish I could say such nice things about the rest of the film. The camera could just lay there except for some curious angles from time to time. The lighting of the film is annoying as there must be a certain brightness. No matter the time or location.

The acting by the rest of the cast is ok. The actresses all look too old to be playing teenagers. I was glad to see Jenny Lewis in the cast. One of my favorite Ex child actresses making a return to acting if only for a short while. (She would soon front the band RILO KILEY) She is one of the few actors I ever wrote a fan letter to as a kid (Alyssa Milano, Candace Cameron, and Soliel Moon Frye being the others) The only bad actor in the film is model Jenny Shimizu. There were rumors of her and Angelina hooking up. Which would play well into the homo-erotic subtext at the heart of this tale. It has that and a theme of independence. Defining yourself and not being afraid to stand up for yourself and of course feminism. This was a film that was rented many times by young female college students when I worked at tower video. It was considered a hot title.

I remember wanting to see it in theaters when I was in High School as I was already a fan of Angelina Jolie from CYBORG 2 and HACKERS. She enchanted me early in her career so that by the time she became popular and famous to mainstream audiences. My infatuation had already passed. I am partly still a fan. She is a good actress and irresistibly beautiful. In the ways at first, Hollywood seemed to shun her for her voluptuous body type and big lips that eventually became a Hollywood standard. She broke the mark and then set it. 

One misses the old Angelina Jolie. It was fun to see her pick various roles that showed a certain bravery and range but like most stars. Now she plays it more safely with projects and roles you would expect from her. She Is more poised now, Not the crazy more candid woman I remember. Know she is still capable of good films. Though after she won her Oscar she looked like she would be another victim of the Best Supporting Actress curse. That usually sees the winners without defined careers get high-profile roles that bomb commercially and critically and see their careers dry up. Since she picked mostly horrible films to be in, but then she found her groove not to mention her image in action films more or less.

The film is a fine rental to see Angelina’s Early work and a good feminist movie. Though it plays more like a small-town stage version of a much better work. Which might be due to the light budget and not-so-strong direction. Nor a necessarily strong script. Which feels more like an episode or short, rather than a full film

GRADE: C

ROALD DAHL’S MATILDA THE MUSICAL (2022)

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Directed By: Matthew Warchus 
Screenplay By: Dennis Kelly
Based On The Stage Musical By: Dennis Kelly and Tim Minchin 
Based On The Book By: Roald Dahl 
Cinematography: Tat Ratcliffe 
Editor: Melanie Ann Oliver 

Cast: Alisha Weir, Emma Thompson, Lashana Lynch, Stephen Graham, Andrea Risenborough, Sindhu Vee 

An adaptation of the Tony and Olivier award-winning musical. Matilda tells the story of an extraordinary girl who, armed with a sharp mind and a vivid imagination, dares to take a stand to change her story with miraculous results.

I will admit to having a bias when it comes to this film. As I saw it on Broadway during its run before it became a movie.

I will also admit that I have only watched the Danny Devito-directed non-musical version in bits and pieces. Ever from beginning to end. 

Watching this film it sticks to the same beats as the Broadway musical. Which is only a bit more impressive because of what they managed to do with only a certain amount of space. 

The film itself is wonderful, dramatic, and fun and encourages children and adults with it’s

Positivity, focus on storytelling and literacy, and the power of imagination. 

The film stays colorful, entirely surreal, and a little grotesque, but amazing in its Songs that are uplifting and positive messages to never forget. The choreography is amazing and tight.

Truly a famous movie that has something for everyone. Though most of the cast are children who are more full-fledged characters. As the adults seem usually over the top and caricatured. At least the bad ones are. It is also heartwarming even in the end. Her parents who have treated her horribly actually show emotions for her.

I will admit towards the end it starts to falter and isn’t as strong as before. Where you wonder where it is going and wish for maybe a little stronger direction in the form of the surreal and fantasy, as Danny Devito’s Direction and less conventional direction in this version. 

The theme of the film Will leave you with a smile on your face and Emma Thompson shows she is having fun playing the main villain in the film, as the headmaster who is a former curling champion. Here at least she gets to play the villain and not necessarily the hero as in her NANNY MCPHEE films. It is a delight to see her in this film.

Grade: B

BIRDS OF PARADISE (2021)

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Written & Directed By: Sarah Adina Smith
Based on the Book by: A. K. Small
Cinematography: Shaheen Seth 
Editor: David Barker

Cast: Diana Silvers, Jacqueline Bisset, Kristine Froseth, Eva Lomby, Caroline Goodall, Daniel Camargo, Osiel Gouneo, Nassim Lyes, Stav Strashko 

Two girls at an elite Parisian ballet academy have their bond and bodies tested as they compete for a contract to join the company of the Opéra National de Paris.

This film is an adaptation of a novel. So that it’s not quite the Junior League BLACK SWAN rip off. that many have dubbed it.

Black Swan, for instance, seems to delve more into a kind of psychological breakdown, mixed with what might be supernatural. Here though it does deal with mental strength and breakdowns everything seems to stay in reality.

The film lends itself more to surreal imagery and scenes, though it keeps its feet and head on the ground. As the characters are dealing with many different issues from weight loss to the pressure of competition, deaths, and family, trying to prove themselves, and so on.

While we focus on the two main female characters who bond and our enemies at the same time. Where they are trying to each bond, yet have the upper hand while keeping secrets from one another that it becomes downright shocking who actually betrays who.

As they truly share everything even a bed, as there is only one in their room soon it is lovers’ feelings, emotions, truths, revealing themselves to each other, physically, and mentally sexually

Sure we have seen this before but somehow the film the state captivating Wild, never really reveals too much except about its two subjects.

As they seem to be the only warmth in the cold atmosphere of their situation, and the film. One character, who is warm, learns how to be cold, and the other who starts out cold, learns to become themselves, and thus thaw out.

Soon the film also becomes about identity and knowing oneself. As they both are on their own similar journeys in opposite directions, one ends up in a more purely sexual relationship, and the other ends up in route one that is not as sexual as usual for her, and involves more emotion.

It has beautiful dance sequences throughout and does not shy away from showing the physical cost of that and somewhat financial costs. It also helps that most of the cast is very eye-catching. Luckily, they are also all believable.

The film keeps her interested as it seems too deep. Every time you think you’ve gotten it figured out, even though there is still a ticking time clock on the ending. 

The ending doesn’t quite stick to the Landing, even though this is an anti-buddy drama.

That while it stays captivating, it just doesn’t have that cutthroat feeling enough to keep you enraptured.

Grade: C+

ORPHAN: FIRST KILL (2022)

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Directed By: William Brent Bell
Written By: David Coggeshall
Story By: David Leslie Johnson-McColdrick 
Based on characters created By: Alex Mace
Cinematography: Karim Hussain
Editor: Josh Ethier 

Cast: Isabelle Fuhrman, Julia Stiles, Rossif Sutherland, Hiro Kanagawa, Matthew Finlan, Samantha Walles 

After orchestrating a brilliant escape from an Estonian psychiatric facility, Esther travels to America by impersonating the missing daughter of a wealthy family.

A movie where It’s surprising success got a sequel or prequel trying to open it up into a franchise that is not needed or truly asked for.

So while it could easily be written off there is an attempt here that makes it not necessarily feel cheapened but an attempt to Make Something worthwhile.

While not great at least it tries not to be as surprising as the original but still manages to keep up the suspense and thrills. Now we are more in on the surprise to see how she works to stay ahead of those who suspect her and keep manipulating those around her. 

The second half of the film or truly the last third offer up a twist that is unexpected like the original, but enlivens the movie so that it doesn’t feel like more of the same. It makes the film worthwhile, adding a dimension you’re not expecting.

It has Villains underestimating each other until a confrontation is needed to show dominance. Where the film tries to make us have sympathy for a sociopath to a degree. Which began with showing how vicious she can be.

While the movie is certainly brutal to show the viciousness and evil it never feels unnecessary. 

Julia Stiles in yet another horror extension, but at least she is very good in this one and can understand why she choose this role. Reminds you of how good she can still be when given the right role 

As always in these movies the black character already suspects something is up And can see through the facade. 

The film makes every scene look hazy most of the time. Almost wish that this was a Brian DePalma movie.

How do you do that by having a psychopath go against people who are much worse?

A Little cheesy but worthwhile as it stays entertaining for the most part even if at times it feels trashy with a delectable shiny sheen and gloss Also shows how she knows she will never be accepted.

Maybe this sequel feels so good and refreshing as most likely going in you aren’t actually expecting as much especially when it comes to quality.

A prequel origin story where we learn the details of the fate of the characters we vaguely hear about in the first film. 

It gets very campy 

Grade: B-

INFLUENCER (2023)

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Directed By: Kurtis David Harder
Written By: Kurtis David Harder & Tesh Guttikonda 
Cinematography: David Schuurman 
Editor: Rob Grant & Kurtis David Harder 

Cast: Cassandra Naud, Emily Tennant, Sara Canning, Rory J. Saper, Justin Sams, Paul Spurrier 

While struggling on a solo backpacking trip in Thailand, social media influencer Madison meets CW, who travels with ease and shows her a more uninhibited way of living, but CW’s interest in her takes a darker turn.

The film l lives up to its title as everything in this film is pretty yet shallow. 

The film follows a familiar trend when it comes to a lot of thrillers recently involving the internet and revolving around it. Characters who are Influential on Social Media. 

The film is fairly predictable throughout. Despite trying to throw some twists that never amount to Much. Here at least the film tries to humanize the victims.

The film has a glossy Veneer which keeps it visually interesting. As it tries to say something about the shallowness of Social media before branding itself as kind of the same. 

As you only feel sympathy for the first victim and at times her boyfriend but he always seems To remain on the fence about how you should feel about him.

The only trace of originality is that it takes place overseas and that the main actress has a noticeable birthmark on her face.

Though the villains’ motives are never truly explained or revealed. Is she jealous of them?

Does she just want to live in their identities for a bit to see how the other half lives? Is it done for survival? Or is she just a psychopath? 

The film makes everything look good. Even the lead is much sexier than her victims and shows the most skin throughout. Though ever completely and set up a kind of sex scene. That is the most revealing she or the film Gets.

Cassandra Naud gives a believable performance and stays captivating throughout. Hopefully, she gets better material in her future films. 

This is a nice film for those beginning into thrillers or wanting one with not too much violence. So that it feels like a Lifetime Movie but maybe a little bit harder-edged.

Back in my day, we would’ve considered this a CW movie as that channel used to have television shows with very young casts that were model-looking or would have adults playing teenagers and adult situations. Everything in this film is picturesque at times too pretty to be believed. This film seems to want to showcase the darkness that runs underneath all that shines.

Grade: C –

KILL BOKSOON (2023)

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Written & Directed By: Sung-Hyun Byun 
Cinematography: Hyung Rae Cho
Editor: Kim Sang- Beom

Cast: Jeon Do-Yeon, Esom, Koo Kyo-Hwan, Hwang Jung-Min, Lee Yeon, Si-ah Kim, Sol Kyung-Gu, Fahim Fazli, George Tsai, Elyse Dinh 

Single mother Kill Bok Soon is one of the world’s deadliest assassins thanks to her 100% success rate on contract killings. Bok Soon works for M.K Ent, which is run by the man that taught her, Cha Min Kyo. The pair hold mutual respect for each other, but Kill Bok Soon understands that a moment’s notice could take everything away from her. Just before Kill Bok Soon is due to renew her contract, loyalties are put to the test when Bok Soon is involved in a kill-or-be-killed incident.

This has a bit of JOHN WICK in it. Only when it comes to the action. Which is more hand-to-hand than guns, though guns are used frequently. It more leans into the facts of that film’s world-building or an organization of assassins of which there seem to be many. Which has its own set of rules.

The action sequences here are noteworthy for not only the choreography and staging but for some of their humor. One, In Particular, takes place in a bar/restaurant where various killers are after only one person and end up sometimes sabotaging themselves. While other males testimonies as they perish.

The film definitely has a sheen and polish. That puts it a little above the rest. As it isn’t gritty but just as dirty as some others of Its genre 

The film does end up feeling too long at over two hours. You, unfortunately, feel it, so it’s not a smooth journey. As the film plays like a contained epic with many levels. It starts to feel endless. Especially when it plays up more the melodrama of the relationships.

Which is expected though strangely a bit strong for an action film about assassins. It is also that element at the heart of the film and pushes the running time. It might be a case of trying to be more than what is expected.

As the film makes the case of showing why maybe as a paid killer it doesn’t always help to have Friends to get to close to your colleagues

Though not a Netflix original. It feels like their brand of recent action films. Similar to GUNPOWDER MILKSHAKE only without the all-star cast. 

Grade: C+

FURIES (2022)

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Directed By: Veronica Ngo 
Written By: Veronica Ngo, Nha Uyen Ly Nguyen, Nguyen Truong Nhan, Ngu Yen Ngoc Thach and Aaron Toronto Cinematography: Phunam
Editor: Nguyen Cong Dang

Cast: Dong Anh Quynh, Toc Tien, Thuan Nguyen, Rima Thanh, Song Luan, Gi A Nguyen, Thanh Nhien Phan 

A mysterious woman trains a trio of girls to take revenge on a criminal gang that abuses females. The three lady warriors risk everything to challenge this corrupt empire.

This film could have almost been nicknamed GET ‘EM GIRLS. 

Now this film doesn’t reinvent the wheel. As it pretty much is predictable and you have seen it before. It does offer excitement as you watch it and tries to provide some twists and turns of its own.

This is the first female action-oriented film that I have truly been impressed by since CHOCOLATE. This film offers female action heroes and feels like a mixture of a revenge tale with parts of  CHARLIE’S ANGELS & GUNPOWDER MILKSHAKE. Though luckily without as much humor as those films and less gunplay. As there are guns involved but this is more hand-to-hand combat with machetes and steel pipes. Think DAREDEVIL, the series’ action scenes.

So the film is a bit more vicious than expected. 

The third act of the film feels like a video game with a henchman who looks like he came out of one. This goes along with the cartoonish main villain whose real danger is the threat from those who follow him in force.

Other than actually being a dangerous fighter on his own. Where the audience questions why they follow him in the first place then.

It even offers some drama just to up the stakes and meaning In These fight scenes.

The film is well-directed and has a danger to it. Like the other films I compared it to, it has a little gloss and lots of filtered and neon lighting. That leaves the film with plenty of styles. 

Grade: B-

ASHES OF TIME… REDUX (1994)

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Written & Directed By: Wong Kar Wai 
Based On The Book “The Eagle Shooting Heores” By: Louis Cha 
Cinematography By: Christopher Doyle & Pung-Leung Kwan 
Editor: Patrick Tam & Kit-Wai Kai 
 Cast: Brigitte Lin, Leslie Cheung, Maggie Cheung, Tony Leung,

Ou-yang Feng lives in the middle of a desert, where he acts as a middleman to various swordsmen in ancient China. One of those swordsmen is Huang Yao-shi, who has found some magic wine that causes one to forget the past. At another time, Huang met Mu-rong Yin and under the influence of drink, promised to marry Mu-rong’s sister Mu-rong Yang. Huang jilts her, and Mu-rong Yin hires Ou-yang to kill Huang. But then Mu-rong Yang hires Ou-yang to protect Huang. This is awkward, because Mu-rong Yang and Mu-rong Yin are in reality the same person. Other unrelated plot lines careen about. Among them is Ou-yang’s continuing efforts to destroy a band of horse thieves. Oy-yang recruits another swordsman, a man who is going blind and wants to get home to see his wife before his sight goes completely. The swordsman is killed. Ou-yang then meets another swordsman who doesn’t like wearing shoes. Oy-yang sends this man after the horse thieves, with better results. We then find out what a man must give…

The original cut was released in 1994 I am reviewing the re-edited version of 2008

I will admit that I haven’t watched the original cut yet. This is the same film only re-edited to put emphasis on different things and look at the film in a different way. Sort of like what was attempted when the Mel Gibson film PAYBACK was put out on DVD and re-edited more to the director’s original vision before the production was taken outbid his hands and re-shot and re-edited it’s also similar to the APOCALYPSE NOW REDUX putting back in cut scenes to supposedly make the film richer in content and context.

This is a great movie… To have on in the background of a party continuously playing, but sitting through it is a challenge. I love Wong Kar Wai’s work but I couldn’t wait for it to end. It was like sitting through a music video with its camera work and rapid editing. Though a music video with a thin plot seems a simple reason to link scenes of action together.

This film feels moody as you have to be in a certain type of mood to watch, more open and accepting of the story it presents. I believe the reason I didn’t enjoy it as much as Wai’s other films are that one saw the masterpieces first and came back to watch this film which doesn’t match the greatness of his other films though you can see the seeds. It almost feels unfocused half of the time as to where it is going or what it wishes to convey.

While the film is visually arresting. The story begins to get confusing and boring. When the film is on the verge of getting too boring it redeems itself with an action scene.

Director, Wong Kar wai shows that he is capable of stunning action sequences, which are rather rare in his films, but then he messes them up in this film by making the. In slow motion. Almost like a delayed slow-motion capture. This messes up the fluidity of the choreographed action, but when the scenes run at regular speed they are a sight to behold. This film had an exhausting effect on Wong Kar Wai. While on hiatus during the editing process, he wrote CHUNGKING EXPRESS to “clear his head”.

This is a visually beautiful movie, low budget with a few too many close-ups for no reason it seems. I will prefer and enjoy the first cut just like APOCALYPSE NOW REDUX.

What is interesting about Wong kar wai when it comes to most of his films is that he is a visual stylist as a director, but not, in the same way, directors like Tim Burton works most of the time in his movies. The camera stays still and he lets the sort be about the characters as they reveal relationships and the big story. Now when this is happening the lighting and colors are usually immaculate and use the landscapes to their fullest. And when the camera moves the angles he uses in the scenes are strange, but breathtaking that you feel the movie so much more because at the heart of most of his films are relationships.

It’s like Woody Allen films with less dialogue, no comedy, and no archetypes yet more open and visual. More seems to be at stake and the characters are usually young with more modest incomes plus more sensual than sexual.

It hurts to give this film such a low grade. He has made strides since this film it is an early work that hints at his future vision and genius. Still one of the better and More Interesting filmmakers still working today

 Grade: C-

THE FULL MONTY (1997)

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Directed By: Peter Cattaneo
Written By: Simon Beaufoy
Cinematography By: John De borman
Editor: David Freeman & Nick Moore

Cast: Robert Carlyle, Mark Addy, Tom Wilkinson, Emily Woof, Tom Speer, William Snape, Steve Huison, Paul Barber, Hugo Speer, Lesley Sharp, Paul Buttersworth, Dave Hill

Six unemployed steel workers form a male striptease act. The women cheer them on to go for “the full monty” – total nudity.

This film was part of a wave of British films (Usually Romantic Comedies) that became Surprise hits in the united states. I remember this one being so popular when it first came out it made me resent it and not want to see it at all. I avoided it on purpose in theaters. I waited for the home video and then only rented it because my mother wanted to see it badly. Needless to say, she loved it and can say one was entertained by it. At its heart is really a man’s movie that was made for a female audience. The film touches on the need to take care of a family and how powerful you can become if you can’t

The premise is so simple and full of sentiment While it is built around depressing subject matter. That it remembers to touch on now and then, But not too much of a downer. Luckily not over-the-top sugary sweet either. it finds a nice balance. it never feels false, sour, or like it is pandering to the audience like a film such as THE BUCKET LIST, yet it is so crowd-pleasing, That one is surprised that no American studio thought it up.

It is the rare crowd-pleaser one can stand and recommend because it’s easy to watch. Though it offers some eye candy for the ladies. While none truly have additional on-screen bodies. They do come in all sizes, shapes, and colors

One of the original aspects of the film is that not all men are hunky they come in all shapes, colors, sizes, and ages. Some are even in the closet gay. The film does represent each demographic to appeal to the audience without them realizing it. The film moves along quickly, but the events happen at a natural pace that makes the film feel smooth.

You can feel the film pull you in certain directions and try to dictate how you should feel and react, it does manage to do in subtle ways instead of blunt.

The film has a great cast. Each character has their own reason and a dramatic situation that they are dealing with. It was especially shocking that one of the main stars was Robert Carlyle who one can remember playing the sadistic Begbie in TRAINSPOTTING. He made one hell of a transformation as one totally forgot his previous role and believed him in this one.

The film Has a strong retro soundtrack to bring the audience into the good times when the songs were originally released, Adding to their memories. That works almost like a Jukebox Musical only not devoted to one particular singer or time period. ironically the film would have a Broadway version. Which truly showed how beloved the movie, story, and characters were.  

The characters are all working class from different aspects of life. So they are steadily identifiable to the audience. As we learn enough about each character to care about their plight and discover their particular quirks. Almost like members of a Heist crew. Where there is the recruitment for their gifts and what they bring to the table under the leadership of the leader who planned the heist in the first place.  

Each has its romantic history and mojo that needs kindling or rekindling. There is even an LGBTQ blossoming romance 

While there are clearly leading performers who we follow. The whole team is needed to complete the tasks and overcome the roadblocks. 

GRADE: B

BOSTON STRANGLER (2023)

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Written & Directed By: Matt Ruskin 
Cinematography: Ben Kutchins 
Editor: Anne McCabe

Cast: Keira Knightley, Carrie Coon, Chris Cooper, Alessandro Nivola, Rory Cochrane, David Dastmalchain, Peter Gerety, Robert John Burke, Ryan Winkles, Morgan Spector 

Loretta McLaughlin was the reporter who first connected the murders and broke the story of the Boston Strangler. She and Jean Cole challenged the sexism of the early 1960s to report on the city’s most notorious serial killer.

The film is well shot almost like an episode of the show MINDHUNTER. This might be why it feels like an R-rated tv-movie, but it lacks the drama, tension, and strength of that television show. 

In fact, it ends up representing those made for cable movies of the 1990s and 2000s. That was meant to be an event. where they got an all-star or established cast of recognizable names.

The movie plays like it’s own version of SHE SAID, though instead of tackling the Harvey Weinstein case. There is two female reporters who are looked down upon. One established and one rookie, cracking a case wide open that established reporters didn’t. As they are even the first to notice a pattern. 

Similar to that film we get to see their domestic lives while also tackling this story. Only here Kiera Knightley gets more screen time. As the rookie and how this case is also disrupting her domestic situation. 

The film short changes Carrie Coon a bit. As she is the mentor to Knightley’s character. We learn a bit less about her. She also doesn’t have as much screen time or moments. 

I can admit so far I have never been a fan of the movies based on this true crime case. Including the film THE BOSTON STRANGLER from 1968 

Directed by Richard Fleischer and starred Henry Fonda, Tony Curtis, and George Kennedy. Though that movie focused more on the killer and the police detectives. 

As a true crime movie, you could easily look up the case to discover the ending as well as the ins and outs. What the film does actually do successfully is offered up the surprise of the suspects and the realization of how many men got away with murder using the M.O. of the strangler, but when not being able to be linked with the other crime of the strangler were let go.

As towards the end, a character pretty much defines what the movie is about and sums up the point of this dramatization. Which is the changing times and realizations of things either kept hidden, quiet or never acknowledged. That was unfortunately showing that society could never go back to being so innocent. 

Though the film at least offers some hope for two female reporters challenging the status quo and finding courageousness and leading a way for females in the future. Even as they are pretty much the prey out there at that time. 

Grade: C+