Category: Film Review

Director George Gallo hasn’t been delivering decent work, with recent years devoted to ineffective thrillers and chillers (“The Poison Rose,” “Vanquish”), and he returns to genre duty with “The Ritual Killer,” which is credited to six screenwriters and 18 producers, gathering a full house when it comes to making creative decisions. The feature reflects such a populated production team, as various ideas and tones compete for screentime, only to face a painfully vanilla approach from Gallo, who doesn’t do anything to get the endeavor going. “The Ritual Killer” is cookie cutter filmmaking all around, providing a dull ride with dangerous and broken characters who all move so slowly and offer little emotion, they may as well be mannequins presented for limited posing. For a movie about a murderer, black magic, and traumatic pasts, nobody here is working up the energy to care much about it. Read the rest at Blu-ray.com

Director Guy Ritchie has enjoyed a recent creative winning streak, pulling himself out of the punishing excesses of the “Aladdin” live-action remake and “King Arthur: Legend of the Sword,” focusing on tight capers and revenge stories starring collections of meaty, loquacious characters, found in “The Gentlemen” and “Wrath of Man.” “Operation Fortune: Ruse de Guerre” keeps the good times going for Ritchie, who co-scripts (with Ivan Atkinson and Marn Davies) an amusing superspy adventure that does well with his usual interests in casting and threat. Ritchie’s cinematic muse, Jason Statham, returns to power in the feature, positioning him as a man of action, joined by a team tasked with taking control of an enigmatic doomsday device. There’s a James Bond-ian influence over “Operation Fortune,” crushed up with Ritchie’s impishness and love of tough guys posturing. The helmer doesn’t provide the tightest storytelling with the effort, but offers an entertaining sit with this globetrotting adventure into danger. Read the rest at Blu-ray.com

I’m sure Stephen King had no idea that when he created a short story in 1977 about murderous kids in rural Nebraska, he would still be seeing movies inspired by it made to this day. “Children of the Corn” is back, but, in reality, it’s never really left, with producers determined to keep making adaptations, sequels, spin-offs, and whatevers for nearly four decades, with the last offering, the little-seen “Children of the Corn: Runaway,” released in 2018. There’s certainly big money in forgettable horror, and the brand name returns with “Children of the Corn,” which lands firmly in the whatevers category, with writer/director Kurt Wimmer (“Ultraviolet,” “Equilibrium”) conjuring his own take on King’s idea, and he has something worth developing involving poisoned land and abused kids. Unfortunately, Wimmer is lost with the feature, delivering an amateurish nightmare that becomes an unintentional comedy, adding another dud installment to the pile. Read the rest at Blu-ray.com

Writers Salvatore Cardoni and Brian Rawlins bring some technological complications to the survival movie with “Unseen,” which follows the panic of a gas station employee asked to help a nearly blind woman manage an escape attempt from her abusive ex-boyfriend over the phone. Director Yoko Okumura crafts a somewhat frenetic viewing experience, which offers a few hits of comic book-style escalation while trying to take the central crisis seriously. It’s a tonal challenge the helmer mostly lands, doing especially well with leads Midori Francis and Jolene Purdy, who supply excellent performances as frightened strangers, helping to secure a full sense of anxiety and humanity while the screenplay works to complicate a bizarre partnership. “Unseen” is a wild ride at times, finding its way with a unique take on video call assistance, reaching a few heights of fear and friendship during the mad dash to safety. Read the rest at Blu-ray.com

“A Little White Lie” is an adaptation of the 2013 novel, “Shriver,” with author Chris Belden tracking the unique education of a mild man who finds himself in an incredible situation of mistaken identity. It’s a comedy from writer/director Michael Maren (“A Short History of Decay”), who portions out bits of humor carefully, playing with tone and timing as the story explores collegiate atmosphere and introspection. “A Little White Lie” struggles with some editorial limitations and unavoidable production challenges, but it emerges with plenty of laughs and an enjoyable handle on awkwardness. It also benefits from a solid cast, with most happy to follow where Maren leads, enjoying the idiosyncrasies they’re handed to play on this strange ride of personality and social and intellectual pressures. Read the rest at Blu-ray.com

“The Donor Party” is listed as a comedy, but it’s difficult to find any actual laughs in it. Writer/director Thom Harp has a COVID-19-friendly production premise, putting a small collection of characters into a single home for various adventures involving drugs, sex, and strained relationships. The screenplay isn’t too concern with delivering witty banter and punchlines, with Harp putting his faith in the cast to feel their way around the movie through improvisation, which, if put into the wrong hands, can be torturous to sit through. “The Donor Party” isn’t vicious, with the cast trying to do something with the weak premise, but their efforts aren’t enough to give this feature any noticeable entertainment value, with Harp basically filming rehearsals with this limp endeavor. Read the rest at Blu-ray.com

“Transfusion” features one of the finest performances from Sam Worthington, who hasn’t exactly delivered riveting work over the course of his career. However, writer/director Matt Nable seems to understand how to work with Worthington’s practiced reserved, leaning into the insular ways of the actor, bringing out the best in him with this tale of an ex-military man fighting to deal with all the loss and destruction of his life. “Transfusion” has some difficulty deciding what kind of movie it wants to be, but there’s power here, especially in the first half, with Nable getting into the gut-rot pain of guilt and the frustration of communication, showcasing a particular escalation of danger for a character fighting to process all that’s happened to him. Nable handles the dark stuff very well, only slipping when trying to turn the tale into something more conventional, which isn’t as compelling as the human moments. Read the rest at Blu-ray.com

The delicate ways of the ocean are explored in “Blueback,” which is an adaptation of a novel by Tim Winton. It’s a softer examination of parental influence and adolescent awakening, with director Robert Connolly (“The Dry”) trying to take it easy on the senses while also dealing with a story that examines the gradual destruction of Earth. While it observes sadness in many forms, the feature isn’t downbeat, with the production striving to keep matters as human as possible, detailing the power of conviction and the fragility of life and memories. Performances support the journey, with the ensemble delivering deeply felt turns as time and perspective change, and cinematographers Andrew Commis and Rick Rifici have a critical role in the production, selling the beauty of the open water and beachside life in Australia, doing an incredible job highlighting the majesty of the depths and the serenity of the skies. Read the rest at Blu-ray.com

“The Park” is immediately striking due to its location, with the production gaining access to a real abandoned amusement park, permitted to create a post-apocalyptic atmosphere with help from authentic disrepair. The setting gives the endeavor something extra in the visual department, setting a forbidding mood for this tale, which is a slight riff on “Lord of the Flies,” only with more aggressive kids and a bleaker worldview. Writer/director Shal Ngo has the foundation for something quite interesting concerning the workings of a Kid Nation, highlighting humanity in the face of savagery, but there’s not much more to the effort, which passes on an epic understanding of survival to maintain a poetic examination of children communicating and expressing themselves during their darkest days. Ngo certainly has an idea with potential, but it gradually becomes clear that “The Park” would be better off as a short story. Read the rest at Blu-ray.com

Director Mercedes Bryce Morgan is primarily known for her work in music videos and short films, with “Spoonful of Sugar” her feature-length helming debut, tasked with putting together a psychological scramble of domestic issues and drug experimentation. Her limited experience with the demands of drama is noticeable in the picture, challenged to make sense of a screenplay by Leah Saint Marie, which visits the outer rings of reality via the unreal rules of LSD. Marie digs up something of a remake of “The Hand that Rocks the Cradle” with “Spoonful of Sugar,” only here there’s very little participatory room for the audience, who are basically asked to watch Morgan assemble glossy images while Marie arranges a vague sense of concern for the characters. It doesn’t add up to much in the end, often registering as nothing more than bits of ugliness in search of a story. Read the rest at Blu-ray.com

2015’s “Creed” was created as a way to extend the life of the “Rocky” franchise while finding a new direction for the series with a younger lead character, refreshing box office potential. To help secure interest from the faithful, the original Italian Stallion, Sylvester Stallone, was coaxed back into action as Rocky, giving one of his best performances, boosting the emotional core of a fantastic story concerning boxing and family. Stallone returned for 2018’s “Creed II,” which looked to revisit the events of “Rocky IV,” keeping things familiar while star Michael B. Jordan continued to find his place in the ongoing saga. For “Creed III,” Stallone is out, basically erased from the “Creed” universe for the second sequel, with Jordan determined to be the main attraction for the production, making his directorial debut with the endeavor. He’s created an enjoyable semi-revenge story with a defined Creed POV, aiming to redirect mentor energy into a new direction, going the “Rocky III” route with an effort that’s strictly out to entertain, hoping to do so without the special charisma Stallone brought to the features. Read the rest at Blu-ray.com

Writer/director Christopher Landon has built a career on making genre entertainment that’s not afraid to get silly and violent, playing to young audiences with basically the same blend of tones for a decade now, repeating moves in “Happy Death Day” (and its sequel), “Freaky,” and “Scouts Guide to the Apocalypse.” “We Have a Ghost” is essentially more of the same, this time highlighting the plight of a mute ghost and his viral fame, with Landon working to bring Geoff Manaugh’s short story to the screen. Some sizable inflating of the tale has occurred, with “We Have a Ghost” clocking in at two hours in length, and there’s no reason for it, with Landon offering an unsteady helming job that hopes to create a spirited romp in the same vein as “Beetlejuice” and “Ghostbusters,” but also wants to touch on YA elements of parental frustration and teen attraction. It’s not a mess, just bloated, unfunny, and prone to fits of frenzied action, with Landon attempting to make a feel-good endeavor about a kindly spirit that’s also a murder mystery and a domestic drama. What he really needs is an editor. Read the rest at Blu-ray.com

There’s the meme-worthy side of “Cocaine Bear,” with certain filmgoers drawn to the feature due to its eye-catching title and outrageous premise, following the destructive path of a bear zonked out on drugs found at a state park. And there’s the reality of “Cocaine Bear,” with screenwriter Jimmy Warden and director Elizabeth Banks struggling to come up with a movie that’s as wonderfully ludicrous as its title. The pair have created a black comedy, and one that does indeed follow the wrath of a coked-up animal, but there’s little faith in the main event, with the production trying to fit in as many characters and side quests as possible, with the eponymous threat more of a supporting player, with long breaks between appearances. What should be a fun romp with wild ideas remains quite pedestrian instead, as funny business doesn’t have much snap, forcing Banks to figure out more aggressive ways to get a reaction from viewers. Read the rest at Blu-ray.com

War is hell, and “Ambush” hopes to provide a reminder of such horrors with its study of the Vietnam War as it was fought underground. It’s a mission movie from co-writer/director Mark Burman, who doesn’t have a large budget to work with, trying to understand the scope of such misery via the pressures of small spaces and psychological tests, looking to achieve a special cinematic squeeze as all kinds of dangers come for the characters. “Ambush” gets off to a strong start, with a refreshingly direct approach to storytelling, establishing the target and military players in a matter of minutes, but Burman isn’t out to craft a taut thriller. Instead, he takes his time with the endeavor, which doesn’t benefit from a leisurely pace, with its level of suspense decreasing the longer the film runs. There are a few pointed moments of fear, but Burman allows the effort to get slack, and it doesn’t recover. Read the rest at Blu-ray.com

“Linoleum” begins as a somewhat peaceful understanding of a man dealing with the inadequacies of his life, and ends as a semi-cosmic understanding of time and mind. Somewhere along the way, writer/director Colin West (“Double Walker”) makes a specific change to the tone of the feature, exposing its intent to become more of a puzzle than a story of a unique awakening. Perhaps it’s best to come to the picture cold, allowing West the benefit of a surprise when it comes to the ultimate dramatic path of the endeavor. However, that’s still not enough to really capture viewer attention, with the enigmatic aspects of “Linoleum” becoming more taxing than gripping as the film unfolds, but there are wonderful elements in the movie to hold attention, including lead performances from Jim Gaffigan and Rhea Seehorn, who bring a genuinely human quality to a tale that often needs their special spirit. Read the rest at Blu-ray.com

“Jesus Revolution” is something of a bio-pic for Greg Laurie, an Evangelical Baptist pastor with a megachurch reach, who’s spent most of his life preaching to the masses, writing books, and selling the power of God to his followers. He’s a somewhat controversial figure, but the movie doesn’t deal with that, exploring his formative years as a lost soul looking to find focus in his life, making his way to the healing powers of organized religion. Directors Jon Erwin (“October Baby,” “I Can Only Imagine”) and Brent McCorkle (“Unconditional”) have a lot of experience when it comes to creating message-minded entertainment, and they work to amplify Laurie’s life story with all the usual presentations of confusion and forgiveness. “Jesus Revolution” definitely has a story to share about the birth of the “Jesus Movement” in the late 1960s, but missing from the endeavor is pace and grit, with the helmers sanding down rough edges of behavior to preserve the accessibility of the feature and its message of faith. Read the rest at Blu-ray.com

In 2022, the world of A.A. Milne’s “Winnie-the-Pooh” entered the public domain, allowing anyone to use the iconic literary characters, opening the floodgates for imitators and opportunists. Writer/director Rhys Frake-Waterfield is the first to try something with this new Pooh order, electing to avoid the family film circuit and plunge right into horror, concocting “Winnie-the-Pooh: Blood and Honey,” which reimagines the silly old bear as a Leatherface/Jason type, determined to consume and kill as many helpless victims as possible, joined by his pal, Piglet. If you’re thinking, “that sounds horrible,” you’re right, with Frake-Waterfield going the ultra-cheap, quickie route with the production, hoping to cash-in on a beloved brand name with the least amount of moviemaking effort possible. “Blood and Honey” isn’t silly or fun, it’s a dreary viewing experience with slapdash technical credits and no discernable story, turning time in the Hundred Acre Wood into a punishing viewing experience. Read the rest at Blu-ray.com

2015’s “Ant-Man” was meant to bring a lighter side to the Marvel Cinematic Universe, which largely deals with serious superhero business. The character was odd and the creative approach was humorous, supporting the weird science vibe of the film and its 2018’s sequel (“Ant-Man and the Wasp”). There was big action and plenty of riffing from the excited cast, and the usefulness of such silliness remains debatable, especially in director Peyton Reed’s hands, with the helmer never quite nailing jocular moments, often stopping the movies to keep trying. With “Ant-Man and the Wasp: Quantumania,” things are a little more serious for the characters, who have to deal with a powerful enemy meant to kick off Phase 5 of the MCU, pouring the foundation for another Avengers showdown. A bit of severity does an Ant-Man good, with “Quantumania” the best of the trilogy, at least when it focuses on the multiverse doomsday scenario and not wackiness, which, unfortunately, returns at times, disrupting the flow of the phantasmagorical adventure. Read the rest at Blu-ray.com

“The Other Fellow” explores the power of James Bond as a name, with Bauer going around the world to detail these unique individuals, using press coverage of Bond movie openings (dating back to 2012’s “Skyfall”) to capture the surging visibility of the franchise. In Sweden, James Bond is a man who takes the moniker seriously, laboring to keep up with the playboy lifestyle, which has brought him many pleasures over the decades. Sweden James also has a 007 museum, entertaining visitors with his tours and use of vehicles he’s collected from numerous productions. Of course, all is not well with the man, who’s dealing with father issues, with his parent leading a sketchy WWII life before abandoning his family when Sweden James was a child. In New York City, James Bond is a theater director who’s not thrilled at all with the 007 connection, discussing his torment as strangers try to be clever with his name. However, NYC James isn’t exactly downplaying the brand, with Bauer underlining a bit of hypocrisy as the disgusted man accepts money to appear in a New Jersey casino commercial. Read the rest at Blu-ray.com

Two years ago, writer/director Robert Machoian made a wonderful impression with “The Killing of Two Lovers.” A haunting study of jealousy and fears, the movie established the helmer’s interests in spare filmmaking, holding on to moments for lengthy periods of screen time, introducing unusual tension to scenes. There was also an unnerving understanding of human behavior, giving the picture an involving sense of psychological erosion. Machoian returns to the screen with “The Integrity of Joseph Chambers,” which reunites him with actor Clayne Crawford, reteaming for another study of emotional frailty. For “The Integrity of Joseph Chambers,” Machoian keeps things simple on the outside, detailing an afternoon hunting excursion for a man trying to get a firmer grasp on his masculinity. The experience doesn’t go as planned, and the feature observes such misfortune with a sharp understanding of reaction and thought, giving Crawford room to act in a slow-burn but riveting study of panic. Read the rest at Blu-ray.com