Blackout (1985) Review

 

A police officer begins to suspect that a local husband and father, who recently underwent facial surgery due to injuries from a car accident, might actually be the same man responsible for a quadruple murder several years prior.

Director Douglas Hickox's made-for-TV offering deserves revisiting despite its notoriety following the tragic murder of pregnant wife Ellen Sherman on August 3, 1985, in Connecticut. Incidentally, the handful of writers possibly borrow elements from the novel 'The Plastic Nightmare' (1971) by Richard Neely, which was adapted as 'Shattered' (1991).

From the horrific setup in the opening alone, and crime scene photos, it's easy to see why it also graced video shops with its sleeve of a man in a leather gimp mask brandishing a knife.

Although made in 1985, it feels like the 70s, with Laurence Rosenthal's great old-school score and the veteran cast including the likes of Keith Carradine and Richard Widmark along with Kathleen Quinlan and Michael Beck.

Hickox's solid direction, along with a shot-on-location feel, wind and thunderstorms gives it weight and atmosphere. Despite it feeling like it only exists due to the success of the Halloween TV version (1981), the interesting investigation plot that ticks along nicely and makes for some compelling viewing.

While it doesn't live up to the poster and video sleeve's marketing creepiness, it's a watchable TV thriller with some disturbing elements.

Life (2017) Review

 

As the crew of the International Space Station begins to conduct research on recovered samples from Mars, they discover evidence of extraterrestrial life that proves more intelligent and dangerous than anyone ever expected.

Director Daniel Espinosa with a keen eye and discipline offers a solid addition to the sci-fi genre. The visual effects are impressive, from the crew's weightlessness and the space station itself to the presence of the alien organism. The CGI work integrates with practical effects (and finely crafted sets), offering a sense of realism and danger as the characters navigate their precarious situation.

The small cast ensemble play against type-cast adding some depth to their characters. Jake Gyllenhaal adds on screen emotion, with Rebecca Ferguson bringing authenticity and weight. Ryan Reynolds is memorable, and Hiroyuki Sanada is particularly notable.

Writers Rhett Reese and Paul Wernick drop surprising character deaths throughout to pique interest. As well as drawing from obvious space-themed movies like Alien (1979), it borrows story elements and surprises reminiscent from The Last Days on Mars (2013), but places the action in space rather than on a planet's surface. However, Reese and Wernick’s script also shares similarities with Prometheus (2012) in its portrayal of questionable logic and decision-making by characters. Some actions may detract from the overall believability of the story, but the film still manages to deliver thrills and suspense thanks to Espinosa’s relentless visuals and set pieces.

Despite its occasional lapses in logic, Espinosa delivers an intense sci-fi that’s worth checking out.

Mission: Impossible - Dead Reckoning Part One (2023) Review

 

Hunt and his IMF team face off against old acquaintances and "the Entity," a powerful rogue artificial intelligence system.

Director Christopher McQuarrie's vision and execution are commendable, ensuring that every moment on screen is filled with excitement. McQuarrie and co-writer Erik Jendresen offer a film that doesn't skimp on thrills, with each scene meticulously crafted for maximum impact. Notably, the foot chase, car chase, and train sequence which are some highlights.

Building on the success of its excellent predecessor, Fallout, Dead Reckoning Part One proves that Mission: Impossible still has life in the franchise. With McQuarrie's Dead Reckoning Part One delivering a heart-pounding, sweaty palm ride partly filled with AI twists and the staple disguise high jinks, the film is filled with world-threatening stakes and epic set pieces synonymous with the series.

Oozing screen presence, Tom Cruise returns as Ethan Hunt, alongside a stellar performance from Hayley Atwell. The supporting cast, including Ving Rhames, Simon Pegg, and Rebecca Ferguson, shines in their roles. Even smaller roles are executed with memorable precision. Cruise's acting prowess is on full display, embodying the relentless determination of Ethan Hunt. Solid lead Atwell shines throughout, bringing depth and intensity to the screen.

Overall, with its stellar performances, thrilling action, and tuned storytelling, the film leaves you anticipating the next instalment with its cliffhanger ending.

The Abyss (1989) Review

 

When an American submarine sinks in the Caribbean, a team of US Navy SEALs and a civilian oil platform crew is enlisted to recover the sub. With the threat of World War III looming, tensions are high with the Soviets due to the military's activities. During the perilous mission, they face danger when they encounter an alien aquatic species that has the potential to change humanity's fate.

Director James Cameron plunges viewers both topside and under the ocean into a gripping underwater adventure that stands out amidst sea of copycat films from that year.

The Abyss showcases stellar performances from its supporting cast and leads, particularly Ed Harris and Mary Elizabeth Mastrantonio, whose chemistry and emotional depth anchor the slow burning story. Notable is Michael Biehn's performance as the unpredictable and intense Navy SEAL, Coffey. Biehn's portrayal adds a layer of tension and unpredictability making him a standout antagonist.

Alan Silvestri's evocative score combined with film's groundbreaking visual effects, especially for its time, creates a sense of awe and wonder that enhances the realistic underwater world.

Cameron's superior longer special edition version of The Abyss offers additional relevant story points, scenes and character development, making it standout sci-fi drama.

Overall, it remains a timeless classic thanks to its stunning visuals, compelling performances, and immersive storytelling.

Ghostbusters: Frozen Empire (2024) Review

 

 When the discovery of an ancient artifact unleashes an evil force, Ghostbusters new and old must join forces to save the world.

Based on Ghostbusters by Dan Aykroyd and Harold Ramis, director Gil Kenan delivers high production values, solid setups, and staging. There are great special effects, fantastic cinematography from Eric Steelberg (especially the sweeping cityscapes), and a first-class fitting score by Dario Marianelli.

Kenan and Jason Reitman’s screenplay injects some on-the-money gags into a spooky enough Ghostbusters story. The change of location from Summerville, Oklahoma, to New York City, teased in the last film with more of NYC and the iconic firehouse, is more than welcomed, giving it a Ghostbusters feel.

While it lacks the punch, charm, and simplicity of the original two, like Afterlife it has enough going on, offering some emotion and top performances from the leads including Paul Rudd, Carrie Coon, Finn Wolfhard, and Mckenna Grace. Patton Oswalt is a great addition. Grace is particularly notable and holds her own against beloved Bill Murray, Dan Aykroyd, Ernie Hudson, Annie Potts, and William Atherton, who reprise their roles. Aykroyd and Hudson’s Lethal Weapon banter is a highlight, and Murray effortlessly steals the show.

Choppy editing and the abundance of mini-marshmallow men aside, in fact, there’s a little too much muddled exposition and too many characters. Kenan and Reitman shoehorn a lot of iffy subplot and unnecessary world-building shenanigans. Also, given the plot, there was a missed opportunity to bring back more ghosts from previous installments, even if briefly. Additionally, with all the appearances from past cast members, it’s a pity that Sigourney Weaver’s Danna Barrett and Louis Tully (Rick Moranis dragged from retirement) or an adult Oscar didn’t show up.

Overall, while the storytelling may be a bit wobbly, the film shines with its great special effects, atmospheric setting, spine-chilling moments, and a plethora of one-liners. These elements set the stage for another adventure with the Spengler family and gang, which would be perfectly proton-pack welcomed. Recommend.

Mimic (1997) Review ​

 

A cockroach-spread plague threatens to destroy New York's children. Trying to stop it, entomologist Susan Tyler creates a mutant breed of insect, but unwittingly unleashes a mutant type that can mimic humans.

Despite some infamous behind the scenes wrangling with the producers director Guillermo del Toro's craftsmanship in this 1997 offering is commendable with him masterfully creating an atmospheric chiller. Guillermo doesn't shy away from delivering stomach-turning scenes, showcasing his knack for blending horror and suspense.

The performances from the lead cast members including Mira Sorvino and Jeremy Northam are solid, familiar faces like Charles S. Dutton and Giancarlo Giannini add depth to the narrative. Josh Brolin, F. Murray Abraham as Dr. Gates and Norman Reedus also appear. Albeit some characters feel a tad underdeveloped. Amongst the tension and action setups, thanks to some smart writing, Sorvino is memorable here as she mostly plays against the usual lead in peril tropes.

The film's pacing does have its ups and downs, occasionally affecting the overall flow. That said, there's convincing special effects - insect monsters, and unborn things in dark places, combined with brooding shots of dank, cluttered spaces that are accompanied by a fitting creepy score by Marco Beltrami.

Overall, despite some shortcomings in pacing and character arcs, Mimic stands as a testament to del Toro's directorial prowess. It's a film that immerses you in its eerie world, leaving a lasting impression with its scary and unforgettable moments. Recommended.

Cheerleader Camp (1988) Review

 

A group of spirited cheerleaders find themselves in the crosshairs of a serial killer amidst the isolation of a remote summer camp.

Cheerleader Camp, also known as Bloody Pom Pom, is a spirited romp through the realm of slasher cinema. Director John Quinn offers a competent mishmash of horror elements, drawing inspiration from A Nightmare on Elm Street with its many dream sequences, Friday the 13th, and Sleepaway Camp. However, what sets it apart is its distinct 80s sexually suggestive charm, with hints of Porky's, Revenge of the Nerds and Screwballs embracing nakedness at every opportunity with unapologetic Slumber Party Massacre-like flair. This blend of horror, breakdancing, cheerleading routines and titillation creates a unique atmosphere throughout.

Lead by the captivating performances from Betsy Russell as troubled Alison, Teri Weigel (as Pamela Bently) and Rebecca Ferratti (as Theresa Salazar), the film is not just a showcase of their acting prowess but also their undeniable beauty, adding an extra layer of allure to the movie. Lucinda Dickey, known for her role in Ninja III: The Domination and Lorie Griffin of Teen Wolf makes a notable appearances, further enriching the cast with their presence. Cult actor George 'Buck' Flower (Back to the Future, They Live) and as sun bathing Suzy, Krista Pflanzer of Electric Blue fame also appear. Love interest Leif Garrett and funny Travis McKenna also deserve a mention.

Overall, despite its reliance on familiar tropes, Cheerleader Camp manages to entertain with its energetic pacing, kill count and playful execution. It doesn't take itself too seriously, embracing its campiness while delivering thrills and chills in equal measure. With its blend of beauty, horror, and saucy charm, Quinn offers a nostalgic trip back to the 80s, making it a delight for fans of the genre.

Dune: Part Two (2024) Review

 

Spurred on by revenge as Paul embraces Fremen ways, he must battle against all odds while wrangling with a Fremen prophecy that could change Arrakis and its people forever.

Director Denis Villeneuve's meticulous attention to detail and his ability to balance grand spectacle with intimate character moments elevate the adaptation of Frank Herbert's work to new heights. Although Dune didn't stand on its own, thankfully, the studio greenlit Dune Part Two. It's an epic continuation that masterfully explores the intricate dynamics of power, destiny, and familial bonds.

Interestingly, Timothy Chalamet's portrayal of Paul Atreides echoes at times Oscar Isaac's depiction of Duke Leto Atreides, making you buy into their father-son relationship. Chalamet gives a powerful performance, conveying the weight of his responsibilities, drawing viewers deeper into the rich tapestry of the Dune universe.

Along with the score, the visual effects make it an immersive experience, from the vast landscapes of Arrakis to the intricate designs of the sandworms. Oozing screen presence, leads Stellan Skarsgård, Dave Bautista, and Austin Butler add a genuine sense of danger. Along with Zendaya, Rebecca Ferguson, Josh Brolin, and Charlotte Rampling, Javier Bardem's compelling performance as Stilgar adds depth to the ensemble cast. As well as the supporting cast leads Léa Seydoux, Florence Pugh, and Christopher Walken are notable. Also, it was nice to see Babs Olusanmokun 'fittingly' return as Jamis even if briefly. Jason Momoa and Stephen McKinley Henderson are missed even if their absence is expected.

Overall, with its gripping storyline, stellar performances, and stunning visuals, Villeneuve's offering solidifies itself as a great piece of science fiction cinema, but like the first Dune, it leaves viewers eagerly anticipating the next chapter.

One More Saturday Night (1986) Review

 

Life on a Saturday night in St. Cloud gets wackier with hijinks and shenanigans as the evening progresses.

Written and starring Al Franken and Tom Davis (known for 'Trading Places' and 'SNL'), director Dennis Klein does his best with a script that required just a little more polish. Surprisingly, Dan Ackroyd also acted as executive producer on this coming-of-age drama comedy, which is a broken-up tale. The main relationship of Diane and her jock boyfriend plot isn't focal enough, the hilarious father date, the babysitting house party, ear-piercing thief subplot, and Diane's brother using 'The Great Escape' to help him track down a robber. Even if some outcomes are unexpected, Franken and Davis' subplots are not rounded and don't intertwine enough to make for a clever romp, but they are nonetheless entertaining.

Stunning actress Nan Woods, channeling Molly Ringwald, does her best with what she's given, knocking it out of the park when it comes to talking about her mother. Chelcie Ross as Dad Ludhal is notable as Diane's father on his first date.

On the backdrop of a great soundtrack One More Saturday Night's setups are there, with a few laugh-out-loud one-liners littered throughout. But the execution and pacing is bumpy, with the feeling that it has a lot to say, but says nothing at all. That said, the small town vibe, the uncensored, innocent lack of political correctness of the 80s that means no harm is refreshing. Reminiscent of 'Secret of My Success,' 'Career Opportunities,' 'Bachelor Party,' and 'Adventures in Babysitting,' to name a few (only on a lower budget), making Klein's offering an interesting time capsule of sorts.

Overall, while Klein's obscure, forgotten comedy is hit and miss, it oozes nostalgia and 80s vibes, and worth watching for that alone.

Alligator (1980) Review ​

 

A Chicago police officer and a reptile expert track an enormous, ravenous man-eating alligator flushed down the toilet years earlier.

Alligator, the 1980 creature feature, emerges as a delightful amalgamation of suspense and wit, borrowing elements from the iconic Jaws franchise, Grizzly (1976), Orca (1977) and Piranha (1978) while carving its own niche in the realm of creature horror. Director Lewis Teague balances the film's tone with equal parts tension and humour, that echoes the best moments from "Jaws" and "Jaws 2." John Sayles script's offers smart dialogue and a sense of realism. Indeed, the film's ability to blend the dialogue with effective effects and spirited performances elevates it above mere imitation, earning it recognition as a B-level gem. Sayles' screenplay cleverly capitalises on the primal fear of nature run amok in an urban setting.

Robert Forster stars as David Madison, a detective haunted by the loss of his partner and faced with a threat doubted by others. Beyond the typical hero, Forster's personal request to address his thinning hair through running jokes in the script adds an extra layer of humanity to the character. Forster's portrayal anchors the film with a compelling performance, injecting a sense of gravitas and charisma into the narrative supported by a large capable cast including Robin Riker as Marisa Kendall, Michael Gazzo, and Henry Silva also makes an appearance.

Despite its categorisation as a 'rip-off' film in the wake of Jaws' success, Alligator stands tall as an intelligent and stylish entry in the creature horror genre. Overall, With its balance of genuine scares and tongue-in-cheek humour, Alligator proves to be a memorable and entertaining ride, deserving of its cult status among fans of creature cinema.