Tag: THRILLER

OFFICER DOWNE (2016)

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Directed By: Shawn Crahan 
Written By: Joe Casey 
Cinematography By: Gerardo Madrazo 
Editor: Meg Ramsay 
Production Design: Jeremy Reed 
Art Direction: Anton Tremblay 
Cast: Kim Coates, Lauren Velez, Sam Witwer, Meadow Williams, Mark Neveldine, Reno Wilson, Tracy Vilar, Alison Lohman 

Based on the Man of Action/Image Comics original graphic novel created by Joe Casey and Chris Burnham, written by Joe Casey, about a police officer who can’t be stopped by death so he returns to the streets time and time again to fight crime.

An opening scene that offers sex and Nudity for no other reason than it just seems to go a long with the cliches of the material and to at least have that In the film which might help viewership. Though doesn’t offer much of later.

Only in glimpses and really has nothing to do with the story other than to have an inside joke of an orgasm counter. Which pretty much sets up the type of film you will be watching. As it’s not clever. Nor does it try to include anything as jokey as it again. So after watching the opening scene at least you know what you are in for and if you wish to proceed. At least you were warned. As it doesn’t get any better.

The film tries too hard To be offensive. It Feels like a combination of bigger budgeted Troma studios film mixed with ROBOCOP (just as nihilistic but without the satire) and the animated AXE COP series. Even though I know it is based on a graphic novel. It feels like it as the film is continuously episodic though gathers no real excitement and the world it takes place in makes no sense and seems outrageous and colorful just to be with no real reasoning behind it.

It obviously owes a debt to the CRANK movies which this film shares co-director and co- writer of Those films Mark Neveldine here as a cast member and one of the producers of the films. The film also has cast member Rob McHenley Who suffers the same fate in this film as he does in the CRANK movies and seems deemed to keep co-Starring in dark violent over the top comedies that make it to the screen. One wouldn’t expect less from one of the creators and cast members of IT’S ALWAYS SUNNY IN PHILADELPHIA.

The film is directed by Shawn Crahan of the band SLIPNOT a band that is heavy metal and he film feels like one of their songs or videos come to life. As it has a rocking soundtrack that always seems loud and has a rather nihilistic world view. That seems more exploitive and explosive, but never exactly tries to turn it down but never reaches the volume it clearly wants and seems building to.

Seems to want to be adrenaline pumping throughout. Though comes off more like a teenage boys wet dream, with Over the top violence and gratuitous sex. Three members of Slipknot make cameos in this movie. Corey Taylor as Headcase Harry, DJ Sid Wilson as a Thug and Percussionist Chris Fehn as Vulture

The film feels like it doesn’t have any reason or point to make. So it comes off more Like a fan film with It’s low budget quick cutting action sequences, quick editing and just off the wall humor. That seems like it was more intended as a highlight reel with a stitched together plot. That makes one believe this Seems like it would make an interesting short or even a series to go into more detail and explore this strange reality that the film takes place in as well as offering plenty of side stories.

I Wanted to like the film. As I enjoy the CRANK movies way more than I should, but this film leave one with a feeling of been there, done That and seen it before. that makes it feel like a copy rather then fresh even though it has it’s own original storyline. It also is barely 90 minutes and feels long. At least the CRANK movies while ridiculous knew how to keep the audience entertained and following along.

Though the CRANK movies were better maid and seemed to have a point and somewhat of a story. As this film only offers more do the same continuously while trying to seem like there is more to it.

I mean this film has killer Nuns and animalsor at least people in animal masks as gang leaders. Yet while fun it still never rises to the proper amount of lunacy. It reaks of attempts. Not out of passion. More like it was made up as it went along. Where the thinking was let’s include whatever silly thing we can think of to really mess with the audiences sanity.

I am usually always glad to see Kim Coates working. He is one of my favorite character actors. Usually playing villains of somebody of questionable morals. It is impressive here to see him Play a hero cop for once, of course one who is more extreme is not entirely surprising.

Also as a fan of Kim Coates I was more than willing to give the move a chance and actress Alison Lohman. Who I haven’t seen in anything in awhile who was once Hollywood’s new it girl. Disappointed in her small role in this film which might be a blessing as she might not have wanted to be too much in the film and be considered one of the major stars of it. As she is more in a small supporting role. It sets out to be a cult genre film and is mildly successful. Though it tries too hard and surpasses it’s aim and meaning. Especailly after starring a few years in the box office hit DRAG ME TO HELL

Though not a total failure. It’s not something I can imagine anyone wanting to see again more than once.

It’s an outsider film that seems desperate to fit in or gain an audience. As it does feel like a film made of youth and that is who it seems designed to appeal to. It’s Addicted more to cheap spectacle rather then detail.

The film is shot like a porno Film. There is always plenty of action. Only they use use the gore and violence as a kind of money shot with plenty of releases throughout.

Though this film is episodic and feels like informing the audience of an origin. The villains while a challenge, don’t seem that hard to defeat. So while predictable there is no suspense. Which is a shame as the film has all the ingredients. But the formula fails. This film makes like HARDCORE HARRY all the more impressive and fun.

Grade: D

ESCOBAR: PARADISE LOST (2014)

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Directed By: Andrea Di Stefano 
Written By: Andrea Di Stefano & Francesca Marciano 
Cinematography By: Luis David Sansans 
Editor: David Brenner & Maryline Monthieux 

Cast: Josh Hutcherson, Brady Corbet, Benicio Del Toro, Claudia Traisac, Ana Girardot, Carlos Bardem 

Nicko and his brother take off from Canada in search of an easier life on the beaches of Colombia. Nicko meets a girl in the local village and they quickly fall in love, only for Nicko to later find out that Maria’s uncle is the drug trafficker, Pablo Escobar. His life takes a dramatic turn after meeting El Patron, and Nick is forced into impossible situations to try and keep his family safe, but does Pablo have other ideas?

The film is really shocking in its brutality and cruelty. The film shows, considering when the film first begins you believe it will probably stay on the fringes. Though slowly the film brings you in deeper as the character does. Until we are all in the middle.

Benicio Del Toro is top-notch though he is in throughout the film. Kind of haunting the scenes have isn’t in. He appears only in probably less than half of the film. You want to see more of him. Though him being a phantom character worked well. Like a horror film villain, you can’t wait to appear. Just as mean-spirited. Luckily the film doesn’t turn into a biography of his crimes.

What is not too hard to believe is that the main character doesn’t hide disillusionment well so I would suspect or not totally trust him one hundred percent either.

Hard to believe he didn’t see how dangerous and deadly he is though fictional was still riveting. as at first thought, it was based on a true story then realized it was impossible. For that reason thought the film would be filled with more hope

The last act is thrilling and filled with tension. Not so much action. The beginning of the film is kind of confusing as it seems to have quick flashes of aftermath edited together, but you can tell happened in different time periods.

I believe the film works just as it does for people discovering Pablo Escobar. At first, he seems like a genial nice guy. The boy realizes how ruthless, violent and brutal he can be. Just as the violence in the film comes more in the second half of the film.

Josh Hutcherson does what is required doesn’t really become effective until the last act when everything is on the line and vital as he is trying to escape. Though you wonder why his family didn’t leave earlier?

Too bad he doesn’t match the performance he is playing off of, but then again one is an acclaimed seasoned actor playing a charismatic larger-than-life role. At least he gets to try to match him. He stands his own, but not as memorable.

Would have been interested to learn more about the history of Pablo Escobar through enough films, television, Nolan, and information. This has a nice general overview.

It’s not an undercover tale, more a should have known better and what if kind of movies. Related it for more an American audience by putting a character we can relate to in this international situation and sensation.

Part of Making film more than just a potboiler is slowly presenting the thriller and dangerous moments and making the film about Pablo Escobar. Even if he is more in the background. even though the Canadian story could have been any random Colombians story who happened to cross paths close to Pablo Escobar.

Wish the film set its roots a little more rather than seeming like it speeds up to match its thriller premise when at first seems more like a drama.

Also not believable when he has tons of family, children, siblings that he moves his niece and her boyfriend into his living quarters. Even if he is Canadian. One would think he could use him more as an asset instead of all of a sudden seeing him as a burden.

One could see if it was more a result of him testing him and failing instead of guessing he needed a job done and all who could know except for him. The vital details eliminated, whereas henchman only knows the beginning and end. They don’t know the middle

Grade: C+

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+

FUNNY GAMES (2008) (REMAKE)

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Written & Directed By: Michael Heneke 
Cinematography By: Darius Khondji 
Editor: Monika Willi 
Production Design: Kevin Thompson 
Art Direction: Hinju Kim 

Cast: Tim Roth, Naomi Watts, Michael Pitt, Brady Corbet, Devon Gearheart, Siobhan Fallon, Boyd Gaines 

In this English-language remake of a deconstruction in the way violence is portrayed in the media, a family settles into its vacation home, which happens to be the next stop for a pair of young, articulate, white-gloved serial killers on an excursion through the neighborhood.

Not as good as the original of course I think the real weakness of the film is not only going back and repeating something that was never wrong, to begin with just to expose it to a massive audience that might have not seen the film the first time just because it was in a foreign language.   

The remake doesn’t show growth but hey rockstars have to play their classic hits once in a while, Even with new band members. If they are willing to pay you to do it why not.


I think one other weakness this film has is that it is opened up more than the original, with more characters. Who are minor but it opens it up. which in the beginning was scarier and more intense because it was more intimate.


It’s not a shot-for-shot remake but is similar enough. Maybe the film doesn’t affect you because we already saw the original and know what’s going to happen. Whereas when you see the original it’s a shock and keeps you on the edge of your seat. Watching this is like watching an imitation even though it is by the same director. Maybe it is also because whereas there were no stars in the original. So anything could happen and It felt realistic. Seeing stars in this you know it’s just fake and doesn’t penetrate any of my emotions like it seems to be directed to. By bringing well-known actors into the film also gives them nothing to do but whimper in pain for two hours there are no great characters to play or great lines unless you have the villain’s role in this film.


you also notice that in the original the female star was in her underwear for a scene then gets clothed. Here Naomi Watts spends most of the movie in her underwear. Sure it’s great to look at but I guess it was meant to tap into American horror films as usually the females run around naked and in their underwear as they are stalked and killed rarely do they survive. In fact, there is no real violence shown only the aftermath. The only time there is violence it happens to one of the villains.


The main villain also doesn’t speak to the audience as much as he did in the original, maybe it was deemed annoying. The remote scene which seemed daring in the original seems like a gimmick here. Here in making it bigger, it is marketed as a thriller but shot like an art film with attention to detail and colors but with no real shown violence that the audience is waiting for.


It also plays with the conventions of films such as foreshadowing and making an excuse for the violent behavior, breaking the fourth wall, and the illusion that in the end, everything will turn out fine. The false hope that it can all turn around because that’s what happens in the film. They wouldn’t be that messed up.


It plays with the rules that you have come to expect and then just when you think it will follow narratives you have seen it switches it upon you.

The pacing also seems off that it makes the film almost seem boring. Some could look at it as satire. It is obviously a message movie because all that happens in the film makes you realize your own bloodlust and includes you as a co-conspirator in all that happens because you are sitting there watching for entertainment.

SPOILER:


Like the scene where Anna is then taken to the boat where she attempts to cut herself loose with the knife shown earlier in the film, only to have it taken from her as a way to mock the standard Hollywood foreshadowing. She is then dumped overboard and drowns as the two boys discuss school fiction and state the message of the film quite clearly by stating (in reference to a novel they read) “the family was real, the hero was in fiction”, demonstrating that violence is real and what occurs for entertainment happens in reality, however rising above the odds and becoming a hero only happens in fiction. And as a note, all of the killing is off-screen, this is a pro-reality but anti-violence film in its own brutal right

SPOILER END


Now I didn’t exactly write the last paragraph but it is summed up pretty well that I agree with it I say if you didn’t see the original this might be interesting but if you did you don’t really have to bother with this film. Trust me rent the original it’s a lot better.

GRADE: C

PROMISING YOUNG WOMAN (2020)

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Written & Directed: Emerald Fennell 
Cinematography: Benjamin Kracun 
Editor: Frederic Thoraval 

Cast: Carey Mulligan, Bo Burnham, Adam Brody, Sam Richardson, Clancy Brown, Jennifer Coolidge, Laverene Cox, Max Greenfield, Christopher Mintz-Plasse, Alison Brie, Connie Britton, Molly Shannon, Loren Paul, Christopher Lowell, Steve Monroe

A young woman, traumatized by a tragic event in her past, seeks out vengeance against those who crossed her path.

The film seeks to try to make its points over and over again that feel like overkill and preaching to a certain extent.

The film manages to surprise the audience using exploitation expectations though giving something else entirely.

This film would have worked fine enough if it was what one was expecting a revenge tale against so-called nice guys and bad guys alike.

Though the film addresses more and it tries to be a film that inspires discussion and becomes more of a think piece than necessarily Just a film. This is fine as long as it offers more arguments and evidence for what it seems to want to spark conversations. 

Some aspects are left vague as we never really See what happens once she is down with her encounters with these men and are never really told what happens after. Is it just confrontation as a kind of exposing and warning to them? Does she do anything violent to them and if the just warning does she really Get revenge and does she have a backup security measure if these guys decide to get violent?

Even with her little notebook which she seems to make markings in of another case or victim. What Is it all for?

Not to mention afterwards though it seems to happen around the same town and area. It never comes back to her until the film needs it to, which comes off as a bit too convenient.

The film offers interesting twists but while there is a certain level of guilt. We still might wonder why she takes on this mission. 

Her revenge schemes are thought out, cruel, and make their points. Even though most men are made out to be villains throughout there are some women who are just as guilty in their ambivalence.

The film seems to make a point against nice guys being as bad or worse than predators. As they see themselves above it all and defend or support women. Though deep down they hold the same attitudes as those predators and believe because of their other good deeds that they are somehow owed love or a woman. Even as these nice guys already seem kind of predatory or at least douchey beforehand. 

Especially by casting actors, we have seen as the nice guy nerdish characters in other films and television shows. Who here makes cameos or has a scene or two Then disappear. That truly only one character actually does surprise me.

This also gives the film a whiff of superiority as it comes off more about issues than character. Which for some might feel for some

Preachy and while a film about the issues it presents are welcome. The film isn’t as good to back it up, Or be a good example.

Nice to see comedian Bo Burnham Giving more of a meaty supporting role. 

This is a revenge tale that takes comfort in being in and having the rules but acts like it is better than them. When it actually might be a little smarter and more discreet in its handling And treatment of the Material.

Which helps the film not be as exploitative. As the character and scenes aren’t made erotic or sexualized. It comes off as more of a new normal get more through a feminine gaze. Though strangely in its set-up and backgrounds it feels almost like it’s taking place on a kind of dreamland as it is real but feels artificial, more pretty than anything. 

The design of the film is remarkable and quite brightly colored to offset the dark behaviors and characters.

The film’s strength is more in its surprising and unpredictable third act. 

This is also a movie that loses some points due to hype. As ever since hearing about the film before it Came out wanted to see it and heard nothing but good things to the point of it’s Multiple academy award nominations And win for best original screenplay. But not after finally seeing it. That hype hurt the film in my eyes. 

Even when trying to put that aside others might have Been lucky to Discover it to admire it for what it is. (The best way To see any film) But coming into the film with preconceived thoughts. It doesn’t live up to the prose exactly. As it isn’t horrible but not as good as expected though better than average. 

It feels like a lifetime movie due to the can be anywhere, Polished no violence but always a threat of it and actions mostly Done on theory with big histrionics and a cast more known for appearances on television. 

The film even introduces an idea that might even work as a sequel 

GRADE: B-

BLOOD GAMES (1990)

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Directed By: Tanya Rosenberg
Written By: Craig Clyde, James Hennessy & George Saunders 
Story By: Jim Makichuk 
Cinematography: Sam Gart
Editor: Rick Mitchell

Cast: Gregory Scott Cummins, Laura Albert, Shelley Abblett, Luke Shay, Ross Hagen, Don Dowe, George Buck Flower, Julie Hall, Paula Manga, Sabrina Hills

A team of softball players get lost in the woods after their bus breaks down. They get attacked, beaten, raped and murdered by some psychotic men. The women fight back with baseball bats and bows and arrows.

This film is quite the throwback. As I believe i saw this back in the day on late-night HBO as a kid.

The film is simple and stupid yet entertaining. As it was released in 1990 but feels made from pure 1980’s ideas all the way.

As essentially it pits an innocent team of female softball players versus what seems like a whole county of evil redneck men bent on revenge. Even though the females are assaulted the perpetrator is killed by accident but he is seen as innocent and the ladies as bloodthirsty. 

The film is made by a female filmmaker. So that it feels more sympathetic to the female character as heroes and survivors. Even though they have short-cut tight semi revealing outfits. They are rarely nude and the sex that the film shows is violent and involves rape. So that while it heaps on the violence. It stays not explosive when it comes to sex and nudity. Giving the female characters a sense of pride. It treats them more as human beings and less as sex objects. They are treated more respectful 

Even when it comes to the deaths of characters. When it’s a male you feel a kind of happiness. More like they deserved it. Whereas when it is a female character it is tragic and makes you in the audience want to get emotional. 

The villains come off at times as more comedic releif than at least two of the characters do. Who manages to survive despite being thought of, or left for dead in many accidents throughout. Though early on they are more comedic releif until the hunt begins. Where they are rarely scary just armed doofuses and then only own becomes a threat later in the film. Even though most of the male characters believe themselves to be badass. That only appears to be true in numbers.

Titillation was used to their advantage constantly though more accidentally and as a survival technique. 

The film stands as a kind Of statement in a genre that usually leaves female characters as the damsels in distress who can’t help themselves, wives & girlfriends meant to be by someone’s side but barely have anything to do or as sex objects. This film sets the female characters apart from that not necessarily in a better quality of filmmaking.

The one Minority character gets killed off early and quickly. 

The initial premise that sets this film up is ridiculous. Why would the females team coach/manager trust the town’s matriarch in a fair game? Also is the female team professional traveling along to take on exhibition games and pick-up games? Are they hustling unsuspecting towns and teams which should be tipped off by their team bus and matching uniforms? Are they using sexism to help them be underestimated and hoping that by showing their talent that men will see them in a different way and then be respectful? That seems like the premise for another film. As this film seems to want to set up and get to the action quickly. 

The film is barely 90 minutes. Though while it doesn’t feel longer than Its running time. It could have been easily 10 minutes shorter 

This film is ultimately meant to be a tale of survival. 

Grade: C+

SPARTAN (2004)

~ jbg ~ Leave a comment

Written & Directed By: David Mamet
Cinematography By: Juan Ruiz Anchia
Editor: Barbara Tulliver

Cast: Val Kilmer, Derek Luke, Kristen Bell, Tia Texada, Stephen Culp, Clark Gregg, Ed O’Neill, Aaron Stanford, Geoff Pierson, William H. Macy, Said Taghmaoui, Zosia Mamet

Maverick Ranger Scott, known for ruthless, unorthodox methods but good results, is called in to help the secret service after Washington big whig’s brat daughter is abducted while studying at Harvard. Scott quickly realizes the protection detail’s prime suspect, her boyfriend Michael Blake, is innocent and dumped her for being a drug-addicted slut. Next, he traces her to a bordello, only to realize the captors didn’t realize who she is but simply recruited her for the Middle Eastern white slavery market, and are likely to dispose of her rather than confront her father. But instead of the support expected in such a high-profile case, Scott gets orders to work in secret before the press catches on, and even finds his quest sabotaged.

This is a tight and taut film. Like a clock with airtight precision. It is also a strange film that has a rhythm and beat all its own.

It’s a top-notch thriller with a good story that plays small and close to the chest rather than a grand conspiracy blockbuster, but when you think you have it figured out. A twist you honestly didn’t see comes, then another one, then another one.

Truthfully I wouldn’t expect any less from playwright-writer-director David Mamet. Though I must say that while this is good. it is one of his lesser works. Which considering the excellent standing of his previous films isn’t bad.

His films specialize in sleight of hand movies. These days though he seems to take stories where you know and subvert them so you care more about the characters, their rapid-fire dialogue, and line delivery which have hidden meanings. Characters’ faces rarely betray emotion but do say so much with simple gestures and tone.

This film is noteworthy for a few reasons. It’s one of the closest Mamet will ever get to mainstream entertainment blockbuster type. Which is the direction. he has a top-notch low-key cast. Val Kilmer is the lead for one of the few times that a film he appears in makes it to the big screen. He really doesn’t get enough credit for how good an actor he is.

The film moves at a slow pace which adds to the slow burn of scenes, it is ultimately rewarding and gives the film more nuance. As it fleshes out characters. Which in other films would be strictly one-note. Mamet shows the procedures and what motivates their actions and reactions. So that you don’t get too far ahead of the lead, but doesn’t not leave you behind him in some scenes.

This film has action but is low on it. A fight scene for instance is started, but the camera stays on the face of Val Kilmer. while he watches it instead of on the actual action. So you can use your imagination to fill in the blanks while hearing it. Then you see the aftermath of the fight.

David Mamet performed rewrites during production using nothing more than a typewriter on a cardboard box between takes.

Except for a single day on a soundstage, the film was shot exclusively at practical locations.

Producer Art Linson and David Mamet were having lunch when Linson informed Mamet that he could not get anything more than a no-frills budget for the movie. Val Kilmer was literally at the next table. Linson knew Kilmer and asked him to come over, and they talked about the production. Kilmer was so impressed with the story and Mamet’s vision that he agreed to the role of giving a significant discount to facilitate Franchise Pictures giving a green-light to the production.

The film might be an acquired taste as I went to this film with one of my constant film companions my female cousin who was bored and really didn’t like the film. While I was quite captivated throughout

I don’t want to spoil too much, that would spoil the experience of seeing it with open eyes. Which I believe is where much of the film’s enjoyment lies.

One of the problems, with the film, is that one character does who is very close to the lead. When it happens he shows no emotions, but later when a character dies who the lead barely knows he tears up like a baby, delayed reaction as the person was hardly innocent. It feels out of place.

David Mamet incorporated a number of real-life experiences from various U.S. special forces members for the production, including Eric L. Haney who had served in highly classified operations during his 20-year military career. Haney’s experience included front-line combat units as a combat infantryman, as an Army Ranger, and as a founding operator within the elite Delta Force under Colonel Charlie Beckwith.

These experiences helped Haney effectively serve as a technical advisor, weapons expert, and actor’s mentor to Val Kilmer, ensuring that Kilmer reflected an accurate depiction of a special forces operative in every capacity. Haney retired as a highly decorated Sergeant Major, and his documented experience also includes security surveys, metro SWAT team arms training, oil company guard force management, executive protection, and the recovery of American children kidnapped and taken overseas.

The film never comes completely alive for all the thrills stays sedate and calm. While the size of production staying small and intimate brings a certain reality to the conspiracy it also feels like a letdown as the size of the story seems more on The scale of epic Or at least bigger proportions.

This is Mamet keeping his style for a major release that offers him a bigger palate. It actually reminds me of the minimalist style of Steven Soderbergh. I am surprised they never collaborated on a project.

 Grade: B