Written By: Marcello Coscia, Rafael Romero Merchant, Bruno Di Geronimo and Marie Claire Solleville
Story By: Marcello Coscia and Rafael Romero Merchant
Cinematography: Gugliemo Mancori
Editor: Enzo Alabiso and Antonio Ramirez
Cast: Carroll Baker, Jean Sorel, Luis Davila, Alberto Dalbres, Marina Coffa, Anna Proclemer, Liz Halvorsen
A troubled race-car driver plots to kill her ex-husband at the behest of his new wife, but their scheme quickly goes awry.
Made in 1970 you can forgive it for feeling like a Tales from the Crypt episode, which it might’ve inspired. While watching, you might even see its influences as you see where it’s going.
This film is a Giallo that isn’t as sensationalistic as it feels. Typically, there isn’t anything quite special or eye-catching about it, except for maybe the third act.
This offers a twist to the tale that does feel more like a newer story or more of a p pulp novel, ask a noir in the daytime a more plot twist in a European thriller, driven by sex and lust. It could almost be a film built on the erotic. Even though the film ends up being more about seduction than sex.
While there is nudity the film never is quite as sexy as it should be
The film tries to be extravagant, (as after all the female main character is a race car driver) yet offers a few thrills along the way as it focuses more on the tenor of committing a crime, but being afraid of getting caught afterward, while in the clear so that you might, or your accomplice might be your own worst enemy, even though during this film, Nicole bricks at and look continuously guilty
One of a series of films directed by Umberto Lenzi and starring Carol Baker that seems like in story and quality. They are more basic examples of the Diallo film genre that tend to be more sensationalistic in their approach, and more stylish than this one ultimately ends up
This film isn’t bad, but not necessarily essential watching as it is just entertaining enough
Cast: Vincent Cassel, Monica Bellucci, Tcheky Karyo, Romain Duris, Antoine Basler, Dominique Bettenfeld, Francois Levental, Ivan Marat-Barboft, Pascal Demolon, Marc Duret,
The charismatic criminal Dobermann, who got his first gun when he was christened, leads a gang of brutal robbers. After a complex and brutal bank robbery, they are being hunted by the Paris police. The hunt is led by the sadistic cop Christini, who only has one goal: to catch Dobermann at any cost.
This film is definitely a byproduct of the 1990’s. It had plenty of energy and played like a hyper-Tarantino crime tale with way more action. That seems like it retains a villain more over the top than the anti-heroes.
Actually, it plays more for an audience who loves Writer-Director Quentin Tarantino’s films that take too long and are too slow to get to the action. Even though this film builds over its running time to a big climax filled with tension.
The film feels like it is on drugs at the speed it goes through and lacks certain details. It feels cruel in a sense yet tries to be fun In other ways.
Tchkey Karyo is way over the top and means just to be. Think Gary Oldman in THE PROFESSIONAL, but miles past him in strangeness and chewing scenery.
Though that is the main problem of the movie is that there seems to be a lack of motivation or explanation for most of the characters or much of the action. Half the time it seems random or as a result of an extension of a character.
As it is based on a graphic novel, maybe it is better explained in the source material. As here it seems to be a greatest hits quality. That plays exactly like a comic book in feel and texture. Even though the supporting characters are quirky and have their defects. They carry the film over more. As the leads seem there more to look cool.
While it’s nice to see Vincent Cassel and then wife Monica Belluci together and in love on screen. Even Belluci seems to do more acting than Cassel here as he seems more to be the lead and there to look cool and be a mastermind over all else.
it feels like a down-and-dirty popcorn movie. That would have gone even further in popularity if it had a better soundtrack.
It’s a film that is a nice try as it is stylish all over the place, but once you get over it. There isn’t much there except to wonder. If the director had better material would this be much better?
Mild-mannered businessman Anthony Wong’s life is shattered when his pregnant wife is run over by a busy taxi driver. This and another incident with a sleazy cab driver caused Wong to go on a mission to kill bad taxi drivers.
This is a fun movie despite the storyline of it being a revenge/vigilante movie. As it keeps changing tone throughout
One minute it is a comedy, then it seems like a satire then it goes for a more dark and violent route. But that you really take any of it too seriously.
The film starts out with begat looks to be a comedic scene then it becomes an over-the-top action sequence.
One of the supporting characters is a police detective who constantly does dumb things but rarely has a good idea and dresses like a teenager of the time. Though he is a middle-aged adult.
The other supporting character is a super cool cliche who always wants to get in on the action. No matter how dangerous it is. Our lead is more of a nerd who is polite and pushed to the edge but seems to stay that way throughout the killings that politeness.
Even as most of the taxi drivers throughout the film are mean-spirited and vicious. So it makes it easy to hate them. At least most of the ones he comes across and attacks. There is at least one nice one throughout. So it does offer some hope and not a total stereotype.
The film is a strange hybrid that makes the film more fun than it has any right to be. The action happens so fast.
The film is wacky, yet never feels too ridiculous or over the top. It manages to stay grounded even under the silliest circumstances.
Based On The Short Story “The Thing On The Doorstep” By H.P. Lovecraft
Cinematography: David Matthews
Editor: Jack N. Gracie
Cast: Heather Graham, Jonathan Schaech, Barbara Crampton, Bruce Davison, Judah Lewis
A psychiatrist becomes obsessed with one of her young patients, who she later discovers is linked to an ancient curse.
This film has that 1990s straight-to-video feel. That felt like Russian roulette between what the poster and back art promised and what you actually got. You tried to look on the back of the video for pictures from the film to hedge your bets and guide your decision before you took it home crossed your fingers and hoped for the best.
It feels like setting that error too just going by the cell phones used throughout the film.
What you get is an erotic thriller that has all the elements and the score of one that works as a horror, or thriller with a sense of humor about itself. That has loads of sex though isn’t particularly sexy even though lead Heather Graham usually is. You can also tell she is having fun in the role and fully letting loose.
As here she is sexy in offers glimpses of nudity, but never quite full, but it is in full control of her own sexuality throughout.
The film is filled with practical effects, and Gore that are impressive, even if the red when it comes to the blood is not quite right. so it feels like a Hammer or Giallo film where the blood never quite feels real, which also helps to make the film feel exactly like it is more of a fantasy rather than any kind of reality
Watching it with its fast paste, nutty and horny humor. It kept reminding me of the television show Chucky maybe as they both seem to be over the top and dark-humored and seem to pack themselves on the back for humor, which some might see as wrong. Who would be the totally wrong audience for this film? This one seems to revel in trouble.
Hate to reference another thing, but this also feels like a tale from the Crypt episode and long luckily, one of the good ones. Not as over-the-top as I was expecting. It still is quite the wild ride.
Throughout the film, there’s obviously a threat that literally will not die but as you watch the film, you’re not necessarily worried you’re kind of rooting for both sides in their own way as you just want this story to keep going into see where it’s gonna go.
Watching the film you do they have saved themselves of trouble by just cutting off the tongue of the villain which would’ve made things a lot more easier I believe but then again, there’d be no fail either and that would be a shame.
This is a film for those who, like to take risks with what they watch never quite knowing what they’re going to get but now it’s going to be something different in a bit down and dirty.
As though the film surroundings always try to look glitzy and high-end at heart is the trashy little film.
Cast: Mari Oliveira, Lara Tremouroux, Joana Medeiros, Felipe Frazao, Bruna G, Bruna Linzmeyer, Thiago Fragoso, Joao Vithor Oliveira
In order to resist temptation, Mariana and her girlfriends try their best to control everything and everyone around them. However, the day will come when the urge to scream will be stronger than it ever has been.
A futuristic film more in politics than actual science fiction. Set in a dystopian future in Brazil that seems pretty normal except for its extreme religious culture The film shows the misogynistic nature of organized religious politics, and even vigilantism trying to show that the freedoms we condemn actually can liberate us, and our more for the people than anything else
The beauty who is our lead after she gets scarred in retaliation from one of her victims in the attack it is the first time that she has been treated as less than and it’s quite eye-opening as then she learns sympathy as she becomes sympathetic, and her eyes are open to the injustices of the world.
Her beliefs unravel, as do her body and nature. Where she becomes a of rebellion. That begins to affect those around her in similar situations.
This then makes her separate from her vigilante group but also leads her to want to liberate more people, and slowly she is infecting her core group with thoughts and compassion, which seem to go against the heart of their faith and actions
As we wander throughout, is it a spiritual, awakening, or are more and more of the vigilante females getting possessed.
The film offers an original voice and cinematic universe in a genre, offering that is a critique of the patriarchy and fascism
It does offer now lustrous world, so it never quite feels futuristic just a bit off or different and more puritanical. No, the film becomes more symbolic than exactly offering a point.
It’s stylistic and sensationalistic though for all this heavy substance, the film comes off a little too heavy-handed, and there is no sense of enjoyment. The film looks great, but beyond that, it never feels as strong or wonder us in meaning as it seems to struggle to show.
No, for a film that is about feminism it shows a lot of violence against them, which I guess is all a part of their age and the rage that is against them, and trying to keep them in their place. It bites off more than it can actually chew
It also has a great soundtrack that can be mesmerizing and matches the camera work and rhythm of the scenes.
Cast: Ashley Madekwe, Bukky Bakray, Maria Almeida, Jordan Myrie, Samuel Small, Justin Salinger
Neve lives an idyllic life in the suburbs with her loving family and works a fulfilling job at a private school. But when she begins to notice a strange man and woman appear unexpectedly at odd moments, she starts to doubt her sanity. Of course, she turns to her family and friends for assistance, but she is helpless when they hesitate to believe her.
The film is about colorism and by the end you think it is going to say something heavy and important about race, but more just hints around about it.
Only one wishes the film had dug deeper as it seems like a good setup but ends up a kind of shell game.
All the performances are spot on especially the lead played by Ashley Madekwe.
The violence in the movie seems there only for the mood of the film to make sense and show possibilities. As to what the characters are capable of.
The film offers so much potential, that it’s not shocking that the writer/director Nathaniel Martello-White is a playwright. At Its heart, it feels stage theatrical. Which is why it never quite feels realistic. It feels produced manufactured or pretty much a setup to entice.
This film manages to keep you interested, even on the edge of your seat throughout. As it builds and brings things to a boil and cops out at the end like the filmmakers gave up or couldn’t think of anything good after painting themselves into a corner. Where it kind of loses the audience.
By the end, the film offers the main character a realistic reaction that is still shocking but also is just part of her nature.
The film feels inspired by Jordan Peele’s films US and GET OUT. This could have been part of the series THEM on HULU
In the end, the film is thought-provoking. That wants to be a well-thought-out thriller but also has something to say. While being a character study. Unfortunately, the end feels like a cop-out and almost comedic in its own way,
Written By: Andrew Scheinman & Adam Scheinman and Tony Gilroy
Cinematography: Tobias Schliessler
Editor: Alan Edward Ball
Cast: Jamie Foxx, Doug Hutchinson, David Morse, Kimberly Elise, David Paymer, Jamie Kennedy, Mike Epps, Nestor Serrano, Tia Texada, Robert Pastorelli, Kirk Acevedo, Jeffrey Donovan, Jason Jones, Megan Dodd
An ex-con is used by police to lure a criminal out of hiding.
Though most of the film is a comedy it is filmed slick like an action movie with tons of style, but at turns seems to be more a comedy at heart with dramatic moments.
Hard to believe such veterans of the FBI would so easily get caught up In A drama they are watching, personally. Which offers up an interesting dynamic of how involved you get in watching reality unfold in front of you. So it was even a precursor to how Audiences would react once reality television seemed to take over the airwaves. At least it humanizes the agents involved.
The film definitely looks state-of-the-art and big-budgeted. That truly showed off what director Antoine Fuqua could do. This is practically a calling card for him and Star Jamie Foxx. As the film is a visual delight, and definitely feels like a big-budgeted action extravaganza.
As it not only showed Foxx’s star quality. Even though not written to his strengths. It seems like the type of film he should be getting chances to star in. That eventually happened and worked out for him. Wish he got offered more films like this (only better written)
The film also excels thanks to a good cast of veteran actors. Who goes well with the material and Foxx’s acting.
Even though it seemed to be released with little fanfare. It’s not the best but it is interesting and entertaining.
Doug Hutchinson as the villain comes off as if he is impersonating John Malkovich.
The film has enough thrilling and laugh-out-loud moments of equal measure. That allows for some good action sequences. To live up to the promise of the presentation.
It’s the little movie that could. As it stays small scale due to its budget but feels like a bigger film that it is and where it deserves.
Cast: Kiersey Clemons, Alex Wolff, Jim Gaffigan, David Walton, Rachel Sennott, Ken Marino, Isaac Powell, Geoffrey Owens, Alex Moffat, Dolly Wells, Jared Gilman, Kat Foster
An awkward college student who seizes the opportunity to bolster her popularity and her under-the-radar true-crime podcast by solving the disappearance of a classmate.
This is a perfect starring vehicle for actress Kiersey Clemons who hasn’t gotten a role this rich and expressive since SWEETHEART. She ends up being the major reason to watch the film. She is not only the star of the film but It’s heart.
The film starts off as quirky before taking more of a dark spin that even at its darkest stays a bit light. It seems like a film that will be Smile but by the end, it becomes more of a character study.
It offers some twists though eagle-eyed viewers will be able to predict certain elements and revelations, but you can’t see the emotions attached to them.
What at first seems like a movie that could easily be made into a franchise ala MURDER SHE WROTE only younger and with a goody too shoes who is socially awkward at its center. Maybe even on a smaller scale KNIVES OUT Slowly turns into a thriller that slowly becomes thrilling and strangling. Even if for us in the audience the consequences aren’t as daring.
It does stay tight. The only weakness it has is that it never feels like we are that involved and we are held at a distance. Just as we get to know Susie’s day-to-day before she starts investigating. There could have been more scenes to flesh everyone out. Instead of just moments. Where we are not quite sure what the meaning of them exactly are.
The film stays colorful and a bit odd at times. it never breaks into feeling bigger. Even though it takes place in a small town. The film stays feeling minute throughout.
However, it should be noted that race never plays into the film. Her being one of the few minorities in the film and being one of the smartest characters. Also helps her stand out and be more of interest.
It is a perfectly quirky film to watch and be a kind of time waster. Though by the end for all that it succeeds. You just wish it had a bit more impact. You want to give the film the goodwill it seems to want and deserve. Just as the main character seems to desire and lack.
By the end it is ambiguous though it leaves you quite sad. As a kind of melancholy begins to take over.
Cast: Julia Roberts, Ethan Hawke, Marashala Ali, Myha’la, Kevin Bacon, Charlie Evans, Farrah Mackenzie
Amanda and Clay’s aspirational vacation with their teenage children is interrupted by the arrival of a middle-aged man and his daughter who own the holiday home and who have fled an unprecedented blackout in the city. When the internet, television, and radio stop working, as does the landline, they have no way of finding out what is happening. As strange sonic booms shatter the peace of the countryside, and animals start to migrate in strange ways, the physical and mental health of the families begins to disintegrate. The renters are upscale and White; the owners are upscale and Black. The issues of race clash and become distractions to the more alarming things that are happening all around them.
I don’t know what it is with Netflix and taking these big movie stars who mostly were in romantic comedies in the 90s and 2000s and then putting them in these doomsday apocalyptic movies on their streaming service. One can understand It allows them some range and shows them in a new light, but you know is starting to feel like a certain concoction or formula.
By the end, the film feels like it kind of trolling the audience, especially when it comes to the daughter’s storyline in a way it’s not a bad episode of the show BLACK MIRROR, but one that’s more disappointing because it has so much potential and ultimately, that is what this film feels like it has so much potential, but it feels stale to a certain extent.
Throughout the film, you know every scene is practically filled with tension, especially once the oil tanker hits the beach, so it always makes you feel uncertain. But throughout the film, there seems to be so much stuff that’s unresolved and we really don’t get to know too much about the stories of any of the characters.
I understand we’re being introduced to them pretty much as they introduced to each other but there still could’ve been some kind of development for the character’s past.
Even when it comes to Mahrshala, here is this good gentleman but it always seems like he is hiding something which is a payoff, but not in the way that we thought it would be. And the film only truly comes alive when Kevin Bacon makes his kind of cameo in the film.
You know, we have the characters on a different kind of plot thread or character finally development for Julia Roberts, who starts off the film with his big monologue about how she dislikes people which is supposed to be shocking I guess especially when you used to be America, sweetheart, and then, by the end we see how much she actually does care and misses humanity, after being mean spirited for no reason throughout most of the film.
At times, they hint at racism, and some prejudices, which could also be easily seen as judgment of character. No, ultimately nothing really comes of it. It just seems there to be a kind of tease or to add attention in the audience is mine to the situation.
There feels like there could’ve been more done when it comes to Race relations with the characters in the movies, especially considering it is supposed to be Mahrshala Ali‘s house and yet he’s being made to feel like a visitor in his own home.
Myha’La seems only there to be kind of the whiny daughter trying to empower her father and also a bit of eye candy just to add another character to the mix.
We’re never quite sure what is going on and even by the end we’re still not we’re a little more informed, but we still it’s a mystery as to what exactly is happening kind of ambiguous, but it also seems a weird way to want to set up a more action pack sequel.
I guess one would expect more considering the film is written, and directed by Sam Esmail you know adapted from a novel, but he is the mastermind behind the show Mr. Robot amongst other shows so while he got the thriller elements right, it seemed like the characterization might’ve been like that show where it comes in bits and pieces but again he had multiple seasons when it came to that show with this movie you’ve only got a 2 1/2 hour running time And you know we care about the characters cause they’re the protagonists. We barely know anything truly about them which works for the thriller elements, but the dramatic elements kind of feel like they drop the ball.
Like, why should we care about other human beings? The film works as an apocalyptic tale in minutiae.
Editor: Olivia Neergaard-Holm and Hayedeh Safiyari
Cast: Zar Amir Ebrahimi, Alice Rahimi, Soraya Helli, Arash Ashtiani, Mehdi Bajestani, Sohaib Quista, Forouzan Jamshisnejad, Maryam Taleb
Female journalist Rahimi travels to the Iranian holy city of Mashhad to investigate a serial killer targeting sex workers. As she draws closer to exposing his crimes, the opportunity for justice grows harder to attain when the murderer is embraced by many as a hero. Based on the true story of the ‘Spider Killer’ Saeed Hanaei, who saw himself as on a mission from God as he killed 16 women between 2000 and 2001.
This Is a film that is better to go into blind and then read this review. It discusses a lot of subjects in the film and this is the type of film. You will want to talk about it afterwards.
Drama and tension-filled, what is more disturbing is the fact that it is based on a true story.
The film begins with a typical night for one woman. As she puts her child to end after feeding them and washes for her night out. As we see her make her rounds as a prostitute. How she is treated. We are made to believe she might be our lead character. Then she is attacked and we hope after spending this time with her she will survive, but she quickly becomes a victim. (Sort of like the SCREAM films only with no celebrity and no excitement in the kill.)
This allows us to see her killer. So that the mystery is cut short and in his hands now.
The mystery is when or if he will get caught and how as it seems only two reporters are on his tail and seem to care. As the film continues we see the female reporters attempt to interview and find the Killer. We get to know more about his personal home life. Around his kids and wife which is relatively normal except for some outbursts and his fanatical extremism.
The film does show him hunting, picking up, and killing the prostitutes. As well as a scene that shows him having sex with his wife and with one of his victim’s bodies hidden in the room before he can dispose of it. How he gets turned on while watching the dead body a few feet away. Which only he can see.
The film offers many close calls. As we hope each time the next victim will escape and survive. Even when the bodies are discovered the reporters are at their front and center and he is in the background.
Even once the culprit is eventually caught. It shows that many men especially approve of his crimes and might inspire some to commit the crimes themselves in the future. That is one of the scariest parts of the film and the people involved. As most around him supper him Even after he is arrested.
As even after he is arrested it seems like all the work in hunting him down and getting him arrested after a reporter barely survives an attack by him.
Luckily the film isn’t cut and dry. It doesn’t end with his arrest. We go through the short trial and also get interviews with victims’ families. As well as his own after.
The ending offers some kind of justice turning tables to show him whimpering and fighting against his decided fate just as much as his victims fought for their lives.
The film shows the scary chauvinistic attitude and misogyny that exists in men. As even the desk clerk. Who at first didn’t want to let her have a room by herself. First son tries to hit on her and then when rejected not only threatens but finds it necessary to demean her.
In the end, it still shows a majority of the male characters inadvertently seem to hate women or at least consider them second class while holding them on a pedestal. Yet still try to exploit them for the crime in their heads of attracting them.
Cut To The Chase 