A hastily-assembled remake of the Spanish horror gem Rec, 2008's Quarantine failed to make much of an impact or justify its existence, as it merely recreated memorable moments from the original film without sufficient intensity or panache. Rec spawned three sequels, making it relatively unsurprising that Screen Gems endeavoured to capitalise on Quarantine's modest box office success with a follow-up in the form of 2011's Quarantine 2: Terminal. Wisely jettisoning the found footage conceit, writer-director John Pogue (making his directorial debut here) finds fertile creative ground in a new setting and a new group of characters, resulting in a vicious, engaging horror picture that makes the most of its limited budget. Quarantine 2 is a far better picture than its predecessor, delivering competent thrills and edge-of-your-seat set pieces instead of lifelessly recreating scares from a superior film, making it worth your attention even for those who did not like Quarantine. Even though Quarantine 2 is a direct-to-video production, it could have scared up a fair bit of business at the box office.


In Los Angeles, flight attendants Jenny (Mercedes Masohn) and Paula (Bre Blair) prepare for a late-night flight to Kansas City, facilitating the arrival of the passengers and pilots. Before departure, Jenny helps a 12-year-old boy (Mattie Liptak) who is flying alone, and she gets friendly with Henry (Josh Cooke), an intelligent kindergarten teacher transporting his class pets. Once in the air, an obese passenger (George Back) shows signs of illness, and his condition deteriorates as he vomits and foams at the mouth. With the passenger beginning a rampage as he tries to access the cockpit, the pilots coordinate an emergency landing with reluctant directions from the closest air control tower, pulling up at a jetway manned by a baggage handler named Ed (Ignacio Serricchio). As the passengers frantically disembark, they realise that the government has no intention of allowing them to leave the building, with scientists and armed soldiers surrounding the de facto quarantine area as the passengers fight to survive.

Whereas Rec 2 directly followed on from the events of its predecessor and returned viewers to the apartment building, Quarantine 2 takes a different approach; it's a standalone sequel with tenuous ties to the first movie. (It would be unsurprising if Quarantine 2's screenplay started as another movie entirely before a rewrite to turn it into a sequel.) Pogue's sequel efficiently explores the virus's origins, even including discussions about the value of the human race that become relevant as the script reveals more details. Pogue also smartly connects to the original Quarantine, with characters watching news reports and hearing rumours about the apartment building outbreak while government agencies respond to the mid-air situation with awareness of the virus that turns people into bite-crazy, frenzied zombies. Pogue maintains a furious sense of momentum as the first attack happens on the aircraft, and the sense of peril is all the more immediate due to the confined space. Unfortunately, the movie hits a demonstratable lull once the action shifts to the baggage handling area, particularly with the characters bickering and squabbling too much, leading to uneven pacing.


With a lower budget, Quarantine 2 lacks scope and does not feel overly cinematic - there are no external shots of the aeroplane in mid-air, nor are there any exterior shots of the airport or the plane disembarking once the characters reach the ground. Additionally, the movie lacks visual gravitas, as the cinematography and general appearance give away the picture's straight-to-video origins - in fact, it looks more like a found footage movie from an aesthetic perspective, making it ironic that Pogue decided against a found footage approach. However, Pogue's handling of the set pieces is frequently top-notch, with an astonishingly unnerving initial attack sequence on the plane and several intense interludes within the airport, including effective use of shadows and dark hallways. Pogue favours sturdy handheld cinematography (he cited Paul Greengrass as an inspiration) that augments the immediacy without affecting the coherency of the set pieces, as director of photography Matthew Irving does not devolve into a routine of headache-inducing shaky cam.

Quarantine 2: Terminal lacks star power as the cast consists of unknowns to keep the budget under control, but the performances are surprisingly robust across the board, even if the actors essentially play stock characters. Although the movie achieves nothing groundbreaking, Pogue's approach to this sequel deserves major plaudits, arranging an organic and satisfying continuation with limited sets and a small ensemble cast while paying attention to the visceral ingredients that generate effective horror. Catching sight of an infected individual is unsettling, while the exceptional sound design ensures the zombies remain scary even when not on-screen. Although it lacks strong characters and emotional resonance, it is a recommended late-night watch for genre fans. Considering the low bar for direct-to-video sequels (and direct-to-video horror movies in general, for that matter), it is pleasing to see something as competent and thrilling as Quarantine 2. Despite feeling zero excitement for this sequel considering the lacklustre first movie, it is now a shame that no further instalments have materialised as of 2024, especially since this follow-up is better than all of Rec's hit-and-miss sequels.

6.7/10

Horror luminary Stephen King's first (and, to date, only) directorial undertaking, 1986's Maximum Overdrive finds the author-cum-filmmaker adapting one of his own short stories for the big screen. A critical and commercial failure, Maximum Overdrive has a lousy reputation in serious cinephile circles, as the picture garnered two Golden Raspberry nominations (including Worst Director), and King himself disowned the finished product, calling it a "moron movie" and resolving never to direct again. Nevertheless, for fans of campy '80s horror, the film undeniably delivers, and it remains an enormously enjoyable sit that deserves more love than it appears to receive. With a generous though not overwhelming budget, King executes the high-concept science-fiction premise with corny dialogue, an underlying sense of dark humour, oodles of campy '80s horror goodness, and hard rock music courtesy of Australian band AC/DC.


In 1987, as Earth passes through the tail of the mysterious Rhea-M comet, inanimate machines suddenly come to life to terrorise and attack their human creators. With the homicidal machines making quick work of anybody in their path, a group of survivors band together at the Dixie Boy Truck Stop in North Carolina while big rig trucks and other killer vehicles circle outside. Among the group of humans is a cook named Bill Robinson (Emilio Estevez), who takes it upon himself to maintain order and sanity while developing romantic feelings for a hitchhiker, Brett (Laura Harrington).

The characters are pure clichés, and King paints them with broad strokes of black and white, never adding an ounce of nuance. The film features a rugged, resourceful male protagonist who's an ex-convict but is nevertheless heroic, while there is also a vulnerable female love interest and a newlywed couple to raise dramatic stakes. Additionally, the story introduces an antagonistic truck stop owner (with a secret arsenal of high-powered weapons) and other idiotic characters who only exist as cannon fodder for the machines. Indeed, one character even walks outside into the line of fire to berate the machines before meeting their demise. The performances do not do much to elevate the corny, on-the-nose dialogue, with the Razzie-nominated Emilio Estevez (who was hired at the insistence of Dino De Laurentiis; King wanted Bruce Springsteen) coming across as stiff and self-serious, while none of the other actors (including future Bart Simpson, Yeardley Smith) make much of an impression. However, Pat Hingle's over-the-top performance as the Dixie Boy's owner, Bubba Hendershot, is a highlight.


Reports from the set of Maximum Overdrive are almost as crazy as the film itself, with King professing that he was high on cocaine during the shoot and did not know what he was doing, while cinematographer Armando Nannuzzi lost an eye following a special effects shot gone wrong. Nevertheless, the flick does not come across as the slapdash work of an inexperienced filmmaker - instead, everything from the stuntwork and special effects to the editing and story progression is surprisingly assured, exhibiting no signs of a troubled production. Despite King's disillusionment with the production, the set pieces are proficient and exciting, and the picture highlights the risk big rig trucks pose to comparatively small humans. King's screenplay takes full advantage of the premise's gleefully crazy and inherently humorous possibilities - the first machine to malfunction is a bank sign that displays profanity before an ATM calls a customer an asshole, while everything from bascule bridges and lawnmowers to vending machines and electric knives try to kill everybody in sight. Vehicles even start honking in Morse code to communicate with humans. How the machines gained the ability to know Morse code remains a mystery.

Instead of a soundtrack comprising subtlety, intensity and nuance by a well-known composer, Maximum Overdrive only features rock 'n' roll music by King's favourite band, AC/DC, who released the soundtrack as an album entitled Who Made Who. The use of hard rock makes the set pieces all the more memorable - the song Who Made Who accompanies the opening montage of machines going haywire, and the humans refuel as many trucks as possible to the tune of Hells Bells. This curious creative decision further solidifies this movie as utterly unique in the annals of cinema, as it is difficult to imagine any studio investing a significant amount of money into a film as bizarre as this. Indeed, if a movie like Maximum Overdrive was made in the 21st Century, it would look cheap, digital and artificial. But there is an inherent charm to old-school practical effects, authentic location shooting, and the visual gravitas of 35mm film - it feels like a proper motion picture instead of a low-rent joke.


With Maximum Overdrive boiling down to a movie about a space comet causing machines to attack humans, it is nearly impossible to take the material seriously, even though King ostensibly tried. Instead of a white-knuckle suspense thriller, the film is a tongue-in-cheek delight with enough memorable kills and gore to satisfy genre fans. The pacing does grind to a halt when King concentrates too much on the human characters since the drama is not exactly riveting, and there is a fair bit of inexcusably silly behaviour, but there is still enough of worth to justify a watch, particularly for those with a taste for campy '80s horror. Just do not expect a chilling masterpiece like The Shining, an adaptation of King's work that, let's not forget, the author despises.

6.8/10

A theatrical expansion of Batman: The Animated Series, 1993's Batman: Mask of the Phantasm is often regarded as one of the best motion picture incarnations of the iconic Caped Crusader, and for good reason. Breaking free of the restraints of television, Mask of the Phantasm is not a movie for children because it is dark in tone and content, taking its cues from Tim Burton's Batman films and the Batman graphic novels from the 1980s written by the likes of Alan Moore, Grant Morrison and Frank Miller. Accordingly, Mask of the Phantasm plays best for adults due to its noir storyline, menacing tone, violence and emphasis on characters over action, which resulted in the film failing at the box office but later developing a cult following. Directed by Eric Radomski (co-creator of Batman: The Animated Series) and Bruce Timm (the producer behind numerous notable animated superhero projects), it is an essential watch for Bat-Fans and casual viewers alike.


In Gotham City, a mysterious vigilante assassin known as the Phantasm begins stalking and killing notorious criminals while donning an outfit that resembles the Grim Reaper. Mistakenly believing that Batman (Kevin Conroy) is responsible for the murders, the public turns against the Caped Crusader while City Councilman Arthur Reeves (Hart Bochner) orders Batman's arrest, though Commissioner James Gordon (Bob Hastings) refuses to believe the allegations or participate in the crusade. Meanwhile, Bruce Wayne's former flame, Andrea Beaumont (Dana Delany), returns to Gotham after a decade, compelling Bruce to reflect on his past. Before Bruce donned the cape and cowl, he met Andrea and pursued a romantic relationship with her while developing an interest in vigilante crime fighting. Bruce considers the prospect of permanently halting his vigilante activities to marry Andrea, but she suddenly leaves the city and calls off the engagement, prompting the heartbroken Bruce to assume the mantle of Batman.

With a screenplay credited to four writers, including Batman: The Animated Series mainstays Paul Dini and Alan Burnett, Batman: Mask of the Phantasm borrows from Frank Miller's Batman: Year One comic book miniseries, as the feature reveals Batman's origins that are intrinsically connected to the Phantasm narrative. It is a fascinating storytelling device that deepens Batman's character, making the film feel more personal and emotional as it explores Bruce's vulnerable side. The film gets into Bruce's head as the billionaire pines over lost love and questions his vow to his deceased parents, giving the story more dramatic impact. However, it is sometimes difficult to distinguish the flashbacks from the present-day narrative (perhaps different colour grading for these sections could have remedied this), and the flashbacks occasionally drag on for too long, but this is a minor misstep that is less problematic during repeat viewings. Running at an economical 78 minutes, Mask of the Phantasm is lean and fast-paced, benefitting from superb storytelling efficiency. Burnett sought to devise a story without relying on the show's rogues gallery, as the script only incorporates one familiar villain in the Joker (Mark Hamill), who plays a crucial and logical role in the narrative.


Warner Bros. initially intended Batman: Mask of the Phantasm to be a straight-to-video feature but decided to release the movie in cinemas to capitalise on the character's popularity after Batman Returns hit cinemas a year prior. Due to the accelerated production schedule and meagre $6 million budget, Mask of the Phantasm lacks the precise motion and visual authority of a big-budget animation feature, but the animators compensate for this with a gorgeous, compelling sense of style. Retaining the acclaimed aesthetic approach of Batman: The Animated Series, the feature takes its cues from cartoons and film noirs from the '30s and '40s with a striking Art Deco presentation and intriguing use of shadows, giving the film more visual gravitas than a simplistic children's cartoon. With a higher budget than the television show, Mask of the Phantasm does deliver impressive set pieces, including a computer-generated tour of Gotham City during the opening credits and several engaging action sequences. Although it lacks the scope of big-budget Batman adventures, the action scenes are hard-hitting and enjoyable, with genuine stakes supplementing the spectacle. Meanwhile, composer Shirley Walker (the main composer for Batman: The Animated Series) provides an atmospheric, evocative score that sounds distinct while borrowing motifs from Danny Elfman's compositions for Tim Burton's Batman films.

The key voice actors from Batman: The Animated Series reprise their roles here, including Efrem Zimbalist Jr. as Alfred Pennyworth, Bob Hastings as Commissioner Gordon, and Robert Costanzo as Detective Harvey Bullock, while Arleen Sorkin (the voice of Harley Quinn) also contributes in an uncredited bit part. For many, these actors represent the definitive version of their respective characters, and it is hard to disagree. As Batman/Bruce Wayne, the late Kevin Conroy is in a league of his own, providing a charismatic Bruce and deep-voiced Batman. Conroy sounds like the Caped Crusader and is a terrific actor, with his line deliveries never sounding robotic or detached. Equally excellent is fan favourite Mark Hamill as the Joker. Hamill is the Joker, committing to the role with such abandon that Star Wars fans will not recognise him, and he threatens to steal the show. Dana Delaney is another fantastic addition as Andrea Beaumont, and the actress later took on the role of Lois Lane in Superman: The Animated Series. Supporting roles in the ensemble appreciably elevate the material, with the filmmakers selecting notable veteran performers to portray small but crucial roles. For example, Stacy Keach (The Long Riders, American History X) plays Andrea's father, while Abe Vigoda (The Godfather) and Dick Miller (Gremlins, The Terminator) appear as mob bosses.


Exploring Bruce Wayne's humanity in a dramatically effective way, Batman: Mask of the Phantasm tells a personal story about the Caped Crusader while remaining wholly respectful of the character and source material, and without devolving into a cheesy melodrama. Instead of a simple action adventure, it is an atmospheric noir mystery featuring the world's greatest detective. As a result, it is one of the best animated superhero movies in history, and it exceeds most live-action Batman flicks, making it must-see viewing for genre enthusiasts. Fortunately, Batman: Mask of the Phantasm also succeeds as a standalone story and does not require intimate familiarity with Batman: The Animated Series, but it is an ideal entry point into the iconic television show. With its compelling storytelling, striking visuals, and terrific voice acting, Mask of the Phantasm is worth 78 minutes of your time.

8.2/10

The Banshees of Inisherin is the long-awaited reunion of In Bruges writer-director Martin McDonagh with actors Colin Farrell and Brendan Gleeson, but this is a vastly different movie than their earlier collaboration. Both films are morality tales with solemn philosophical themes, but whereas In Bruges was a fast-paced black comedy with a touch of action, The Banshees of Inisherin is downbeat and dialogue-driven, supplementing the pitch-black hilarity with strong melancholy and despondency. After the momentous critical and commercial success of 2017's Three Billboards Outside Ebbing, Missouri, which also earned Academy Award recognition, it is encouraging to see McDonagh avoid the temptation of pursuing big-budget blockbusters or superhero movies, instead sticking with a modest budget and his established filmmaking modus operandi. Arguably the playwright-turned-filmmaker's finest movie, The Banshees of Inisherin is a small-scale comedic fable about loneliness, loss and broken friendships, elevated by razor-sharp scripting and exceptional performances.


In 1923, as the Irish Civil War continues on the mainland, simple Irishman Pádraic Súilleabháin (Colin Farrell) resides on the isle of Inisherin with his sister, Siobhán (Kerry Condon). Without any grand ambitions, Pádraic happily spends his days at the pub with his lifelong friend, Colm Doherty (Brendan Gleeson). However, Colm abruptly begins ignoring Pádraic, telling the bewildered and devastated man that their friendship is over because Pádraic is too dull and he would rather spend the rest of his life pursuing fulfilling things like composing music instead of engaging in pointless chatter. Unsure what to do, Pádraic refuses to leave his former friend alone, continually pestering him and hoping that Colm will eventually see the error of his ways and reinstate their friendship. However, the effort only infuriates Colm, who threatens to cut off his fingers if Pádraic ever tries to speak to him again. Pádraic also connects with troubled local boy Dominic (Barry Keoghan), whose policeman father (Gary Lydon) frequently engages in physical abuse. Meanwhile, the more sensible Siobhán grows fed up with the male behaviour around her, trying to diffuse the feud between Colm and Pádraic to no avail.

McDonagh deservedly earned an Academy Award nomination for his screenplay, which is a masterclass of rich character work, meticulous storytelling, and sharp, shudderingly hysterical dialogue. It takes several viewings to absorb all the niceties of the dialogue, with McDonagh devising laughs through broader comedic exchanges (a conversation about a bread van) and sly asides (Dominic discussing his pub ban with the publican). McDonagh's writing also leans into the Irish vernacular, with conversations sounding astonishingly naturalistic yet distinctly poetic and incredibly engaging, and the humour never seems forced or contrived. For its first hour in particular, The Banshees of Inisherin is intensely funny, but the story's dramatic elements start to take shape once violence enters the equation, leading to despair and tragedy. It is a testament to McDonagh's writing and direction that the film remains compelling and palatable despite the tonal changes as the third act devolves into cruelty and sadness. McDonagh also uses the setting to enhance the picture's themes; the screenplay draws parallels between the circumstances on Inisherin and the tumult of the Irish Civil War, underscoring the conflicts as pointless and senseless.


The Banshees of Inisherin is visually distinct and aesthetically rich, with the old-fashioned execution ideally serving the material. McDonagh's third collaboration with cinematographer Ben Davis (Seven Psychopaths, Three Billboards Outside Ebbing, Missouri), the film looks magnificent, with the photography taking advantage of the gorgeous Irish vistas and intricate production design. Shot on location off the coast of Ireland, the sense of authenticity is astonishing, with buildings and clothing that look lived-in and genuine instead of artificial, and with no trace of distracting digital trickery. Additionally, with McDonagh specifically requesting no Irish music for the soundtrack, composer Carter Burwell delivers a beautifully melancholic original score reminiscent of his contributions to In Bruges. Burwell's music meaningfully contributes to the storytelling, with distinct motifs for Pádraic and Colm that reflect their different personalities and dispositions. Irish musicians also appear to play fiddle music on-screen, contributing further flavour to the production. Furthermore, McDonagh confidently guides the narrative with his superlative direction, unafraid to hang onto pauses or silences but consistently maintaining a steady pace.

Four of The Banshees of Inisherin's nine Oscar nominations were for acting, as the Academy acknowledged the quartet of leads for their note-perfect performances. McDonagh creates distinct, fully-realised characters with unique personalities, traits and speech patterns, while the superb actors sink their teeth into the meaty material. Farrell is terrific in practically everything, but his performance as Pádraic is one of his finest, bringing dramatic gravitas and emotional depth to a complex character. Farrell superbly portrays fluctuating emotions throughout the story, trying to maintain his cheerful, fun-loving disposition while confronting loss and loneliness. This is Farrell's third time working with McDonagh (he did not appear in Three Billboards Outside Ebbing, Missouri), and it is easy to see why Farrell continues collaborating with the director. Alongside him, his In Bruges co-star, Brendan Gleeson, is equally fantastic, bringing humanity and depth to a character who seems unnecessarily callous. With the script revealing more and more about Colm as the picture progresses, Gleeson handles the philosophical and dramatic dialogue with utmost confidence, and his portrayal of Colm is a far cry from his compassionate In Bruges character. McDonagh specifically wrote Pádraic and Colm for Farrell and Gleeson, and they positively light up the screen with their chemistry; they are a superb pair.


Kerry Condon's Siobhán provides a dramatic anchor for the absurdity throughout the story, serving as a scolding mother to the juvenile male characters. However, the screenplay gives her more dimension, as Siobhán has ambitions beyond Inisherin. Meanwhile, after his foray into superhero cinema with The Eternals and The Batman, Keoghan shows his incredible acting chops here with a subtly nuanced performance wholly deserving of an Oscar. His comedic timing is remarkable, and he expresses so much through facial expressions and understated changes in the delivery of his dialogue. See, for example, Dominic realising Pádraic is not as nice as he once thought, or the boy responding to Siobhán rejecting his romantic proposition; his responses to both situations are extraordinarily authentic. The Banshees of Inisherin also demonstrates that it is possible to make a tremendous impact with limited screen time, as even minor members of the talented ensemble deliver huge laughs. For example, David Pearse is gut-bustingly funny as a priest whose confessional scenes with Colm had this reviewer in tears of laughter, while Aaron Monaghan only has one notable scene as a fiddler from the mainland but is responsible for numerous belly laughs.

Like McDonagh's Irish plays, The Banshees of Inisherin is a tragedy; it is not a mainstream comedy with clichés, schmaltz or a happy ending. The ambiguous, open-ended conclusion ends the story on an intense note of melancholy, but once the sense of despair wears off and you can reflect on the story and the characters, it is difficult to imagine the movie playing out more perfectly. With his fourth feature film, McDonagh demonstrates yet again that his ability to mix comedy and pathos is unmatched. Hilarious and heartbreaking, The Banshees of Inisherin is one of the best and most memorable movies of 2022.

9.0/10

Like 2008's Taken and several other recent action films produced by French filmmaker Luc Besson, Lockout feels like a cinematic relic from the 1980s or 1990s, and in no way is that a bad thing. With modern blockbusters becoming too overcomplicated and too reliant on digital effects (see John Carter, Wrath of the Titans, and Battleship), Besson's EuropaCorp production company routinely churns out the type of simplistic, old-school action films that become rarer and rarer with each passing year. Although 2012's Lockout is unoriginal and silly, it is also incredibly fun - an endearing throwback science fiction actioner that might have starred Arnold Schwarzenegger or Sylvester Stallone if the movie entered production twenty years prior. Although imperfect, it is a joyous guilty pleasure guaranteed to satisfy action connoisseurs seeking an entertaining beer and pizza movie.


In 2079, sardonic CIA agent Snow (Guy Pearce) is framed for the murder of a U.S. Colonel and receives a thirty-year prison term on MS One, a maximum security prison floating above the Earth where prisoners are placed into stasis for the length of their sentences. Meanwhile, the President's daughter, Emilie (Maggie Grace), visits MS One to investigate reports that prolonged periods in stasis lead to dementia and mental instability. However, a riot breaks out when a deranged inmate, Hydell (Joe Gilgun), breaks free and releases all of the prisoners. With Emilie among the hostages, CIA officer Harry Shaw (Lennie James) believes a siege is too dangerous, recommending that they instead send in a single man on a rescue mission to retrieve Emilie. Although initially unwilling to help, Snow learns that boarding MS One could be the key to his freedom, which motivates him to accept the assignment. After sneaking aboard the MS One, Snow works to transport the stubborn Emilie to safety while seeking to locate information crucial for proving his innocence.

Although marketed as Die Hard in a futuristic Blade Runner setting, and even though the movie is billed as "based on an original idea by Luc Besson," Lockout amounts to an unauthorised remake of John Carpenter's Escape from New York. The story is strikingly similar, as both films involve an incarcerated criminal venturing into a dangerous setting to rescue a high-profile political hostage while bureaucrats oversee the operation and communicate with the hero. Carpenter himself noticed that Lockout essentially plagiarised Escape from New York and Escape from L.A., and he successfully brought legal action against the filmmakers. Fortunately, the flick is still a fun ride despite feeling narratively derivative, with spirited action scenes and brisk pacing, though it is not as thoughtful as Blade Runner or as brilliant as Die Hard - instead, it is pure B-grade cheese. And, heavens me, the cheese flows like running water. Snow is a wisecracker in the vintage action hero mould who is fluent in sarcasm and always has witticisms at the ready. Refrain from expecting depth or nuance from the characters, with Snow lacking meaty dimension while the bad guys merely exist to act menacingly and commit villainous acts. Nevertheless, the script's wit and humour keep things entertaining.


Produced for a modest $20 million, Lockout provides action and thrills on a limited budget, though the ropey digital effects are occasionally distracting. See, for example, a vehicular pursuit early in the flick featuring woeful computer-generated imagery that would not pass muster in a PlayStation 2 video game. Fortunately, the visual effects improve when the action shifts to MS One, with the ship exteriors looking more competent and passable, but none of the CGI is particularly photorealistic or commendable. Although the special effects in films like Escape from New York are imperfect, practical model work is more endearing and tangible than phoney computer renderings. Lockout's humdrum digital cinematography further detracts from the sense of visual realism, as there is little doubt that shooting on 35mm film is far more appropriate for throwback action movies. Furthermore, the feature has its fair share of idiocy, including a preposterous climactic evacuation from MS One that shows a primary school-level grasp of science and physics. Ultimately, Lockout is more involving and exciting during the grounded action beats, with directors James Mather and Stephen St. Leger staging effective shootouts and fights. Although not ultraviolent, there is enough of a visceral kick to the action scenes that genre buffs will appreciate.

It is easy to admire EuropaCorp's track record with actors, as they manage to attract recognisable, talented performers despite meagre funding. Australian actor Guy Pearce is not an obvious choice to play a sarcastic action hero in the tradition of John McClane and Snake Plissken, but he nails it and is one of the production's biggest assets. Pearce looks the part with a muscular physique, while his sarcastic bravado and masculine personality make him a likeable and engaging protagonist. Entertaining and colourful, Pearce looks more badass than the twentysomething actors Hollywood keeps attempting to position as action heroes (Taylor Lautner, for example). The reliable and charismatic Lennie James (Snatch, The Walking Dead) provides capable support, bringing a touch of class to the material. Additionally, Peter Stormare (The Lost World: Jurassic Park, Prison Break) sinks his teeth into his sleazy, semi-antagonistic role, and his banter with Pearce genuinely sparkles. Maggie Grace (who previously starred in Taken) is a fine if unspectacular addition to the cast, while the prisoners ham it up big time, with Joe Gilgun a notable standout as an unhinged psychopath with a strong accent.


Like most of EuropaCorp's action movies, there is both a PG-13 and an unrated cut of Lockout to maximise the movie's commercial performance. Unsurprisingly, the unrated version is far superior, as the slopping editing and camerawork in the PG-13 cut are unforgivable. The cinematography is marginally superior in the unrated cut, but a tripod would still be appreciated. Despite its flaws and shortcomings, Lockout delivers unpretentious B-movie fun with goofy charm and enthusiasm, and Pearce demonstrates he has what it takes to play more action heroes. The movie is cheesy and ridiculous at times, but the filmmakers commit to the material with sincerity, making it feel like a worthy modern successor to action films from the '80s and '90s. In fact, if it were produced in the '90s, Lockout would probably be considered a forgotten geek classic like Fortress or Soldier. For action fans seeking an undemanding fix, Lockout scratches that itch. However, you should look elsewhere if you desire something more intellectually stimulating.

6.8/10

With Ghostbusters: Afterlife sparking the decades-old franchise back to life in 2021 under the direction of Jason Reitman, 2024's Ghostbusters: Frozen Empire continues the series, bringing back as many returning actors as possible for another round of supernatural comedy. Taking the directorial reins this time is Reitman's Afterlife co-writer Gil Kenan (A Boy Called Christmas), who again partnered with Reitman to devise the screenplay for this sequel. Whereas Afterlife was a heartfelt supernatural mystery, Frozen Empire feels more like a traditional Ghostbusters picture, recapturing the original New York City aesthetic while taking the franchise to its next logical place as the team again deals with both intrusive bureaucracy and a growing paranormal threat. Although it lacks Afterlife's poignant heart and emotional weight, this latest ghostbusting adventure is fun and funny, and it deserves far better than the harsh reception it received.


Three years after defeating Gozer the Gozerian in Oklahoma, Gary (Paul Rudd) and Callie (Carrie Coon) relocate to New York City with Phoebe (Mckenna Grace) and Trevor (Finn Wolfhard) to help Winston Zeddemore (Ernie Hudson) and Ray Stantz (Dan Aykroyd) restart the Ghostbusters. Moving into the firehouse headquarters with the restored Ecto-1, they work together to capture ghosts on the streets of NYC, but their exploits draw the wrath of the city's Mayor, Walter Peck (William Atherton), who threatens to put them out of business. Gary and Callie are forced to remove the underage Phoebe from the team, who struggles to accept the decision but soon finds an unexpected friend in a kindly ghost named Melody (Emily Alyn Lind). Meanwhile, Ray still owns and operates an occult bookshop, working with Podcast (Logan Kim) to examine cursed objects for a web series. Hoping to earn some quick money, Nadeem Razmaadi (Kumail Nanjiani) approaches Ray with a mysterious brass orb that radiates a high level of psionic energy, piquing his curiosity. Taking the orb to Winston's paranormal research centre, Dr. Lars Pinfield (James Acaster) and Lucky (Celeste O'Connor) try to extract the dark energy, but this threatens to release a phantom god known as Garraka, who seeks to conquer the world with an undead army.

With Afterlife receiving criticism for rehashing narrative elements of the first Ghostbusters, there is no shortage of fresh ideas in Frozen Empire, with the script even exploring the concept of the ghost containment unit being at full capacity after forty years of imprisoning spirits. Winston's research facility also presents numerous possibilities for ghostbusting in the 21st Century as his team consistently develops and experiments with new technology, adding a James Bond-esque vibe to this part of the story. However, the feature is not always light on its feet, with ample plot threads and characters vying for screen time throughout the beefy 115-minute duration. The most redundant character is Melody. Although a human/ghost relationship is fascinating, and the character's presence is tied to Garraka's plan, it nevertheless takes up too much time in an already busy movie. Frozen Empire tries to do too much, wanting to keep the new characters relevant while giving the older characters a meaningful part to play, but nothing ever gains as much dramatic traction as it should. Whereas Afterlife was incredibly poignant, Frozen Empire is a lightweight action adventure with oodles of fan service. It still works well enough on its own terms, but it is not a convincing home run.


The return to New York City is welcome, making it feel closer to its 1980s predecessors. NYC was a character unto itself in the original Ghostbusters pictures, and Frozen Empire thankfully retains this, with action set pieces occurring in the city streets and outside the New York Library, a pleasing throwback to the 1984 film (complete with sly cameos). The climactic battle against Garraka retains the intimate scope of Afterlife's finale, with Kenan confining the action to the firehouse headquarters as the ancient demon unleashes his potent ice powers. Although an exciting and nail-biting climax, the lack of scope is disappointing, especially since the movie kicks off with the team catching a ghost while driving through the city streets in Ecto-1. Compared to the finales of the first two pictures, with Ghostbusters II even involving the Statue of Liberty walking the streets of NYC, Frozen Empire's climax is a wasted opportunity in need of a true show-stopping moment. Additionally, although the CGI is largely impressive and Garraka looks borderline photoreal, an entirely digital villain is not as memorable as Gozer or Vigo the Carpathian, both of whom had human avatars.

With a comparatively modest $100 million budget (still smaller than most major blockbusters), Ghostbusters: Frozen Empire looks fantastic for the most part, with Kenan following in Jason Reitman's footsteps by creating a more old-fashioned-looking movie instead of the modernised digital look of 2016's Ghostbusters. Furthermore, Kenan retains the horror elements of the film's predecessors, adding danger and tension to supplement the spectacle. Ghost designs are once again creative, and the film brings back Slimer and the mini Stay Puft Marshmellow Men for the sake of nostalgia. Additionally, instead of updating the soundtrack, Dario Marianelli's compositions mostly follow the template set by Afterlife, with an original score reminiscent of Elmer Bernstein's music from the first Ghostbusters picture, bringing back recognisable motifs and cues. Frozen Empire represents another robust mix of the old and new, with a cinematic approach that is respectful to the 1980s pictures without looking cheap or B-grade.


The chemistry between the original Ghostbusters and the new cast members is magical, and it is a treat to see Ray and Winston playing a more prominent part in the proceedings while Peter also pops in occasionally. Dan Aykroyd and Ernie Hudson play alongside each other in several scenes, and the actors confidently lean into the more dramatic material, portraying melancholy and pathos with relative ease. Bill Murray's screen time is limited, but he does deliver some of the film's funniest moments. It's great to see the three men back together, though the script does come up short in terms of the amusing interplay that characterised the original movies. Although Rick Moranis refused to return as Louis Tully here, Annie Potts thankfully plays a slightly bigger role as Janine Melnitz and even dons a Ghostbusters uniform for the first time.

Frozen Empire also sees William Atherton return to the franchise as the officious Walter Peck for the first time since the original film (though the actor did reprise the role for the 2009 video game), which is another pleasing touch. Of the new cast, Mckenna Grace remains the standout, and Paul Rudd still shows terrific comedic timing. Patton Oswalt also makes a positive impression as a research librarian, while James Acaster is a charming addition as one of Winston's researchers. The only weak spot is Kumail Nanjiani, who grossly misinterprets the flick's tone. Whereas the other actors take the material seriously, Nanjiani is too broad, constantly mugging the camera and never scoring a meaty laugh.


Similar to the maligned Ghostbusters II, Ghostbusters: Frozen Empire gets more right than wrong, compensating for its shortcomings with an appealing ensemble cast, competent filmmaking and a high entertainment value. Future instalments remain a tantalising prospect, especially with the original Ghostbusters continuing to play an active part in the paranormal investigations instead of merely passing the torch or allowing the younger cast to overshadow them.

7.1/10

With its incomparable combination of uproarious comedy and state-of-the-art special effects, 1984's Ghostbusters was a lightning-in-a-bottle project, and a sequel was inevitable considering its immense commercial success. Eventually released five years after its predecessor and three years after the debut of the animated TV series The Real Ghostbusters, 1989's Ghostbusters II came to fruition following an arduous development and production rife with behind-the-scenes conflicts. The negative critical reception to Ghostbusters II and comparatively underwhelming box office performance turned this follow-up into something of a cinematic black sheep, but the film deserves more love and recognition than it appears to receive. Although it lacks the magic and freshness of the original Ghostbusters, this second instalment is nevertheless entertaining and amusing big-screen escapism boosted by the charismatic cast, while returning director Ivan Reitman guides the picture with a sure hand.


Despite saving New York City from the shapeshifting god Gozer, the Ghostbusters swiftly went out of business following lawsuits and injunctions, leading the four members to pursue other careers. Ray Stanz (Dan Aykroyd) and Winston Zeddemore (Ernie Hudson) work as children's entertainers while Egon Spengler (Harold Ramis) experiments with human emotions and Peter Venkman (Bill Murray) hosts a TV talk show about psychics. After Peter's ex-girlfriend, Dana Barrett (Sigourney Weaver), experiences a supernatural occurrence involving her baby son, she reaches out to Egon and Ray for assistance, leading the Ghostbusters to reunite. While carrying out their investigation, they discover a river of sinister slime running underneath the streets of Manhattan that feeds on negativity and threatens to destroy the city. Meanwhile, Dana works as an art restoration specialist for the sleazy Dr. Janosz Poha (Peter MacNicol), and their newest acquisition is a large portrait of a 16th-century tyrant and sorcerer, Vigo the Carpathian (Wilhelm von Homburg). Vigo's spirit lives within the painting, and he needs to possess a child to allow him to escape the painting, re-enter the realm of the living, and conquer the world. In exchange for a date with Dana, Janosz agrees to bring Dana's infant son to Vigo.

Instead of continuing on from the ending of the first movie, Ghostbusters II finds the team out of business and exploring other career avenues, making this feel like a legacy sequel. Although a direct sequel chronicling another adventure from the team's golden years would undoubtedly be fun, The Real Ghostbusters was already exploring such exploits, necessitating a more narratively complex approach to justify a theatrical follow-up. Ramis and Aykroyd's screenplay is conceptually interesting, with the public no longer perceiving the Ghostbusters as heroes and the river of slime representing a metaphor for urban decay, and the film gets ample comedic mileage from the idea of New Yorkers needing to be friendly and feel positive emotions to defeat the supernatural evil. Despite this sequel's below-par reputation, Ghostbusters II does not feel like a lazy, careless cash grab - on the contrary, it tells a worthwhile story. Unfortunately, the narrative flow is hit-and-miss, with the script introducing too many setbacks and obstacles preventing the story from progressing comfortably. The most egregious example of this is an ill-advised plot detour involving the city's douchebag mayoral aide committing the Ghostbusters to an insane asylum. Additionally, the story follows a similar structure to its predecessor, with the Ghostbusters getting their operation off the ground again, Peter pursuing a relationship with Dana, and a big finale involving a giant figure stomping through the city.


Reitman was not a technical director, and his approach to a blockbuster like this did not involve careful planning or meticulously overseeing every aspect of the special effects; instead, he gave carte blanche to the wizards at ILM. With a rushed schedule and post-production reshuffling, ILM was required to create 180 special effects shots with limited time, a modest number in the 21st Century but a sizeable amount in the realm of old-school optical printing. Fortunately, the visual effects remain enormously impressive for the most part, vividly giving life to the various spirits and apparitions, with the Scoleri Brother ghosts in the courtroom looking especially terrific. Slimer's popularity (especially among children) ensured his return here, but his screen time was reduced after test screenings, resulting in a mere cameo. A few special effects shots look on the ropey side, but not to a distracting degree, and Reitman heavily relies on practical effects and location shooting that makes the film's visual design more agreeable than artificial-looking modern blockbusters beset with computer-generated imagery. Additionally, composer Randy Edelman replaces Elmer Bernstein here, and the resulting original score does not retain the original movie's recognisable motifs or cues because Edelman wanted to create a new sound for this sequel. Ghostbusters II even features a new rendition of the iconic Ghostbusters song, with hip-hop group Run-DMC performing the track instead of Ray Parker Jr. The soundtrack also features songs from artists like Glenn Frey, Bobby Brown, and Elton John, adding further flavour to the production.

With the Ghostbusters franchise subsequently lying dormant until after Harold Ramis's tragic passing (except for the 2009 video game), Ghostbusters II features the original four Ghostbusters on-screen for the second but final time. Despite its flaws, Ghostbusters II remains eminently watchable due to the funny, charismatic cast - Murray, Ramis, Hudson and Aykroyd are an incredible cinematic quartet, and their sharp, funny interplay is a huge asset, but there is not enough of it compared to the first film, and the content feels more kid-friendly. Sigourney Weaver, Annie Potts and Rick Moranis also return, with Weaver adding appreciable dramatic weight while Moranis is a superb comedic force, earning abundant laughs as Louis Tully. Out of the newcomers, the comic highlight is the uproarious Peter MacNicol, who espouses an over-the-top accent and steals every scene in which he appears. Meanwhile, it took two actors to play the film's villain, Vigo the Carpathian - Wilhelm von Homburg provides the intimidating appearance while the magnificent Max von Sydow gives the character a strong, authoritative voice.


Following disastrous test screenings, Ghostbusters II underwent extensive reshoots and re-editing to add more exposition and memorable set pieces, including an underground ghost train sequence complete with a vision of severed heads. Despite the last-minute tinkering, the story feels surprisingly cohesive, though the hasty changes perhaps explain the movie's choppy narrative flow and uneven pacing. Flaws and shortcomings hold back Ghostbusters II, but there is still plenty to recommend about this entertaining and underrated sequel that deserves a fair reappraisal.

7.3/10

After successfully resurrecting the Bad Boys franchise on an unexpected high in 2020, directors Adil El Arbi and Bilall Fallah return for another round of comedic, action-packed mayhem in 2024's Bad Boys: Ride or Die. Most franchises grow stale and dull by the fourth instalment (see Die Hard, Terminator, or Predator), but this fourth Bad Boys flick shows no signs of fatigue, surpassing its immediate predecessor while also emerging as one of the year's best and most enjoyable action offerings. With a screenplay by Will Beall (Beverly Hills Cop: Axel F) and returning writer Chris Bremner, Bad Boys: Ride or Die directly follows on from Bad Boys for Life, tying into the previous movie's events and bringing back returning characters, meaning that familiarity with the first three films is essential to get the most out of this instalment. While Bad Boys for Life was more heartfelt and story-driven, Bad Boys: Ride or Die wisely cuts loose, cranking up the comedy while delivering bombastic action scenes and never forgetting the core appeal of these movies. Although not as instantly iconic as the untouchable Bad Boys II, Bad Boys: Ride or Die is a blast.


Finally ready to settle down in his middle age, Mike Lowrey (Will Smith) marries his physical therapist, Christine (Melanie Liburd), but their wedding day is spoiled when Mike's best friend and long-time partner, Marcus Burnett (Martin Lawrence), suffers a near-fatal heart attack during the reception. After seeing visions of the late Captain Howard (Joe Pantoliano) while in a coma, Marcus wakes up believing he cannot die and approaches life with a new enthusiasm. However, news soon breaks that authorities believe Captain Howard was dirty and worked with the drug cartels, an allegation that the Bad Boys refuse to accept. Desperate to prove Howard's innocence, the pair turn to Mike's incarcerated son, Armando (Jacob Scipio), who can identify the man responsible for orchestrating the Captain's assassination, James McGrath (Eric Dane). With help from Rita (Paola Núñez) and her new boyfriend, district attorney Adam Lockwood (Ioan Gruffudd), Mike and Marcus take custody of Armando to transfer him to safety in Miami, but they wind up stranded and on the run, with the authorities branding them as fugitives. Unsure who to trust, the Bad Boys turn to AMMO members Rita, Dorn (Alexander Ludwig), and Kelly (Vanessa Hudgens).

Whereas Bad Boys for Life increased the stakes by breaking up Mike and Marcus for a portion of the proceedings, Bad Boys: Ride or Die keeps the pair together from start to finish, with the iconic Bad Boys working to solve the conspiracy and prove their late Captain's innocence while eluding the authorities. It is an undeniably clichéd premise, but the story is a secondary concern for the Bad Boys films, which are more about the action, comedy and interplay between Mike and Marcus. Although it doesn't offer any truly innovative or original, the story is perfectly serviceable and the directors treat it with sufficient sincerity, while the pacing is assured and the picture does not outstay its welcome despite a beefy 115-minute running time. Additionally, the script reminds us that the two leads are human and are getting older, with Marcus suffering a heart attack early in the proceedings while Mike begins experiencing panic attacks, including during a high-stakes pursuit. Acknowledging their ages and giving them flaws adds some extra dimension and makes them more interesting.


With a generous budget (a reported $100 million), Bad Boys: Ride or Die is polished and slick, looking like a big-budget blockbuster instead of a forgettable distraction for the streaming crowd. Showing ample visual invention during the action set pieces, Adil and Bilall enliven the shootouts with creative cinematography, including first-person-shooter-style shots and aerial photography, making the flick more aesthetically engaging than most B-grade action titles. The directorial duo take visible inspiration from Michael Bay's brand of visual overkill, though the resulting cinematic style is their own since they do not fall victim to headache-inducing shaky cam or rapid-fire editing. The action is destructive and violent, luckily retaining the franchise's coveted R rating that allows for satisfying bloodshed, and the directors further channel Michael Bay (who even makes a cameo driving a Porsche) by paying homage to Bad Boys II in several moments, including use of slow motion and tracking shots of bullets.

Although not all of the green-screen effects are entirely convincing (the driving scenes look a touch ropey), the digital effects throughout Bad Boys: Ride or Die are mostly solid, with Adil and Bilall even incorporating alligators into the deliriously enjoyable climactic shootout at an abandoned amusement park. Although Smith and Lawrence continue to play an active part in the action sequences, one of the film's most notable highlights does not involve the pair - Dennis Green's Reggie comes full circle in a crowd-pleasing throwdown with several assailants during a home invasion, proving himself as a capable man of action. Furthermore, returning composer Lorne Balfe amplifies the excitement during the action sequences, sampling and paying homage to Mark Mancina's music from the original film. Hearing the Bad Boys theme again is an undeniable thrill, and the soundtrack also features the iconic titular song.


Smith and Lawrence's chemistry and interplay remain the franchise's biggest asset, as the two comedic performers continue to score laughs with seemingly little effort. It is an ideal comeback role for Smith after the infamous Oscar slap, with the performer continuing to show his trademark charm and humorous spark, and the film even slyly references the slap. However, although frequently hilarious, the film still lacks the type of defining and memorable comedic moments that made Bad Boys II such a standout (nothing rivals Reggie's introduction). It is nice to see the AMMO squad return here (with the curious absence of Charles Melton), and the actors make a good impression, with Ludwig once again the standout. Despite Captain Howard's demise in Bad Boys for Life, Joe Pantoliano still appears in a minor capacity via video messages and Marcus's visions, and he scores a few laughs. Meanwhile, the lovely Rhea Seehorn (Better Call Saul) appears as Captain Howard's daughter, Judy, but she feels miscast in this mostly thankless role despite her immense dramatic talents. Also joining the cast is Ioan Gruffudd, who plays one of the most obvious bad guys imaginable. Even though Gruffudd's villainy is supposed to be a twist, it would have been a far more unexpected twist if he was not corrupt. Bad Boys: Ride or Die is also the first Bad Boys movie without Theresa Randle as Marcus's wife because she retired from acting in 2020. In her place is Tasha Smith, though the change is thankfully not distracting.

It is comforting that there is still a place for the old-fashioned Bad Boys movies in a modern cinematic climate dominated by superhero movies and expensive PG-13 blockbusters, and it is all the more encouraging that Bad Boys: Ride or Die is an entertaining and lively distraction instead of a soulless, boring cash grab. With outstanding action scenes and uproarious comedy plus a sufficiently engaging story that links to the previous movies, it is difficult to imagine any franchise fans walking away unsatisfied. The movie leaves room for another sequel, and the prospect of a fifth Bad Boys picture is legitimately exciting for this reviewer as the series remains reliably enjoyable nearly thirty years after the first film entered cinemas. Stick around for a brief post-credits scene that does not deliver anything narratively significant but does contain an additional gag.

7.9/10

The purest and most satisfying Jason Statham action vehicle in years, 2024's The Beekeeper is a delirious blast of competent, action-packed, unpretentious fun, with director David Ayer (Fury, End of Watch) and screenwriter Kurt Wimmer (Equilibrium) using intriguing John Wick-esque lore to spice up an old-fashioned One Man Army premise. Playing out with the zest and spirit of action films from the '80s and '90s, it tells a simplistic story, and the screenplay is not airtight, but the execution is first-rate, with Ayer again proving himself a competent action craftsman. Although not deep or meaningful cinema, The Beekeeper offers good, clean storytelling, a strong sense of pacing and badass action scenes with Statham at the top of his game. As long as you approach The Beekeeper in the right mindset (as a Jason Statham action flick), the movie is a total blast with plenty of highlights to recommend.


In Massachusetts, Adam Clay (Jason Statham) carries on a quiet life as a beekeeper living in a barn and shares a warm friendship with the farm's landowner, Eloise Parker (Phylicia Rashad). While Clay is busy tending to the bees one afternoon, Eloise falls for a phishing scam, with the fast-talking, slimy Mickey (David Witts) tricking her over the phone before draining all the money from her accounts, including a charity fund that she manages. Horrified and devastated, Eloise promptly commits suicide, and Clay discovers the body before encountering Eloise's FBI agent daughter, Verona (Emmy Raver-Lampman), who struggles to make sense of the situation. With law enforcement unable to stop the scammers who habitually defraud senior citizens, Clay uses his connections to track them down, swiftly finding the location of Mickey's call centre. Clay is a retired member of a black ops unit known as the Beekeepers, and his career turned him into a highly competent, resourceful, and dangerous assassin capable of orchestrating a relentless killing spree to avenge Eloise's death. Clay also intends to target Mickey's boss, a technology executive named Derek (Josh Hutcherson), who frantically turns to a security expert and former CIA director Wallace Westwyld (Jeremy Irons) for assistance.

The Beekeeper's premise is timely in 2024 since cyber criminals work to scam innocent people every day, and watching Clay furiously unleash upon these unscrupulous tech bro scumbags is the best type of satisfying wish-fulfillment action cinema. Ayer leans into the corniness of action flicks of yesteryear, portraying Clay as an impossibly ingenious and unstoppable force of nature who remains a few steps ahead of his enemies, and there is some over-the-top, badass dialogue to boot. Indeed, The Beekeeper is cheesy to its core, with one-dimensional characters and dialogue that makes the expositional scenes sound like a parody of action flicks. However, it is all sold in the correct spirit. The movie's only genuine downfall is a subplot involving the FBI and Verona, which is the least interesting part of the plot. The complication involving the government trying to capture Clay threatens the sense of fun, especially considering the lapses in logic as the titular Beekeeper evades and fights federal agents without major repercussions. One would also suppose that if Verona could not officially support Clay in his revenge mission, she would sneakily assist him or enable him since her mother was a victim, but it takes the character too long to come to her senses.


Ayer understands precisely what action fans crave, and he delivers the goods in spades. With an R rating, The Beekeeper is remarkably violent, with Ayer adding a hard-hitting, visceral edge to Clay's murder spree, allowing for satisfying and creative kills. Ayer favours a grittier aesthetic compared to the John Wick movies, and cinematographer Gabriel Beristain (Ayer's Street Kings) captures the action scenes with smooth handheld photography, amplifying the intensity without turning the superb choreography into a confusing blur. After watching Statham do battle with enormous digital sharks and maintaining a presence in the ongoing Fast and Furious franchise, it is all the more satisfying to watch a film like The Beekeeper, which is light on phoney CGI (a couple of explosions notwithstanding), with Ayer instead favouring practical effects and grounded action scenes, including old-fashioned shootouts and brawls. Ayer makes the most of the modest $40 million budget, and the picture feels vehemently theatrical instead of a cheap, straight-to-streaming, B-grade distraction. Admittedly, the production design is exaggerated, with the call centres looking colourful and fancy, like high-class nightclubs, and the story requires a certain suspension of disbelief (scammers typically work in other countries, not a short drive from their victims in the United States), but this hardly matters in the grand scheme of things, especially when the movie is so entertaining.

Although Statham essentially plays another variation of the same action-hero character, he is a lot of fun in roles like these and he does it exceptionally well. Now in his fifties, Statham still has the physicality to credibly portray an accomplished man of action, and his grizzled, emotionless line delivery is ideal for the character of Clay. Meanwhile, Josh Hutcherson vehemently plays against type as the villain here, relishing the chance to take on the role of a slimy, dishonest nepo baby who tries to talk tough but only comes off as pathetic. Hutcherson is not a formidable or memorable villain, but that is where Jeremy Irons steps in. The perpetually reliable Irons adds a touch of gravitas to the proceedings, submitting an incredibly engaging performance as one of the only people who can recognise the dangers that Beekeepers pose. Also of note is Phylicia Rashad (from the Creed movies), who adds an appreciable warmth to the story and shares wonderful chemistry with Statham, ensuring a believable motive for Clay's rampage.


For Statham fans, The Beekeeper is a must-see, standing alongside films like Wrath of Man and Safe as one of his best solo action movie offerings. Running at an agreeable 105 minutes, the picture does not outstay its welcome, and Ayer ably maintains a fast pace without sacrificing narrative or editing coherency. Additionally, the lore at the centre of The Beekeeper screams franchise potential, as one can certainly imagine enjoying further action-packed adventures with Clay (the ending leaves room wide open for this) and spinoffs set in the same universe.

7.2/10

Another remake of a beloved '80s classic, 2024's Road House is an overlong misfire that lacks the charm, personality and appeal of Rowdy Herrington's wildly enjoyable 1989 cult classic. Although director Doug Liman, who works from a script by Anthony Bagarozzi and Chuck Mondry, tries to create a fresh take by tapping into the world of MMA fighting, the execution is disappointingly wrong-headed. Without a compelling reason to exist, this nihilistic reimagining of Road House feels like a passionless endeavour that prioritises commerce over art and only exists to fill a release schedule. Despite Liman's disgruntled comments over the movie not receiving a cinema release, it plays out bland, forgettable streaming content instead of a grand theatrical event.


Frankie (Jessica Williams) owns an unruly roadhouse in the Florida Keys and desperately needs outside help to restore order by ousting the bar's unsavoury new clientele. After witnessing former UFC fighter Elwood Dalton (Jake Gyllenhaal) on the underground fighting circuit, she offers him the job of head bouncer at her establishment, sweetening the deal with an attractive paycheque. Hesitantly accepting the offer, Dalton makes a home for himself in the Florida Keys, living on a rundown houseboat as he begins cleaning up Frankie's bar, simply known as The Road House. He quickly becomes a target for men working for a local crime boss, Ben Brandt (Billy Magnussen), who hopes to disrupt Frankie's business to compel her to give up the bar and allow him to take over the land. Dalton's efforts also attract the attention of a local doctor named Ellie (Daniela Melchior), while Brandt's incarcerated father sends in a psychotic enforcer, Knox (Conor McGregor), to take on Dalton and destroy The Road House.

With the story only slightly resembling the original movie, the flick would have been better off as an original movie with a different title and a few storytelling tweaks. Indeed, most potential viewers will have no idea that this is a remake, and calling it Road House only invites unflattering comparisons since the 1989 picture did everything better - it has a better soundtrack, better actors, more memorable fights, and more '80s excess. Instead of a catchy soundtrack comprising blues, jazz and rock songs, the band in this remake only plays generic, bland pap, though this is at least thematically suitable since this iteration of Road House as a whole also amounts to generic, bland pap. Instead of memorable one-liners or engaging dialogue, this remake only contains bland, witless action movie speak, and all attempts at humour will only trigger exasperated sighs. The script overcomplicates the narrative by introducing a corrupt cop with no reason to exist, Brandt's real estate scheme is patently uninteresting, and Liman wastes potentially interesting storytelling ideas. For example, Dalton takes one young bouncer under his wing as a protégé, but their relationship is tragically underdone when it could have provided some honest-to-goodness heart similar to the dynamic between Patrick Swayze and Sam Elliott in the original flick. This narrative angle feels like a wasted opportunity, especially since Dalton's relationship with Ellie feels perfunctory and superficial, lacking in heat and chemistry.


Admittedly, changing the setting from the Midwest to the Florida Keys is a robust creative decision, as it gives the picture its own aesthetic identity and results in some eye-catching, colourful cinematography courtesy of Henry Braham (The Suicide Squad, Guardians of the Galaxy Vol. 3). Unfortunately, the cinematography during the fights is hit-and-miss, with gimmicky shots that detract from the visceral impact of the brawls, making these sequences less engaging. Furthermore, dreadful digital effects plague Road House, with CGI vehicles and explosions looking janky as hell, while Liman unwisely tries to enhance the fights themselves with obvious digital trickery. Although Liman tries to do something fresh, the attempt does not pay off - the movie would look infinitely better with well-choreographed, well-filmed, practical fights and stunt sequences. It's difficult to believe that Road House was directed by the same filmmaker who was responsible for memorable action films like The Bourne Identity, Mr. and Mrs. Smith, and Edge of Tomorrow. How embarrassing that an $85 million production from a major studio pales in comparison to the low-budget, independent Australian gem Life After Fighting.

Road House is not entirely without its charms, as Conor McGregor's laughably over-the-top performance is a source of constant amusement. Other highlights include Arturo Castro as Moe, a polite henchman who has fallen in with the wrong crowd and is forever trying to avoid getting on Dalton's bad side. Unfortunately, Magnussen's Ben Brandt is another bad guy who adheres to the contemporary villain archetype: a snobby, snivelly rich kid with no social skills. Magnussen exudes no genuine menace and poses no threat, feeling better suited for a low-grade TV show than a theatrical action film. There's no denying that Gyllenhaal is a fine actor, but his version of Dalton is a miss. It's not entirely his fault, as the script gives him a troubled past in an attempt to humanise him, but this material slows the storytelling to a halt and makes Dalton an infinitely less interesting character. Additionally, the lousy storytelling introduces things like a bizarre almost-suicide for Dalton in the first act that the film quickly forgets about instead of further developing, while a knife wound Dalton suffers early in the movie bleeds at a convenient time for Ellie to notice but is never an issue again. The inconsistencies, lack of consequences, and absence of proper storytelling cohesion significantly harm Road House, making the narrative feel like a tedious string of inconsequential scenes and moments. It's difficult to care or feel genuine investment in anything that happens.


Let's not mince words here: Road House did not need a remake. An endlessly enjoyable product of its time, the charm of 1989's Road House cannot be replicated in the 21st Century, but one could still imagine a prospective remake being better than this. Remake ideas floated around Hollywood for years, with directors like Rob Cohen and Nick Cassavetes taking a stab at developing the film, while Ronda Rousey was also attached to star at one point. With this in mind, I guess it could have been worse. At the very least, it is fortunate that this Road House is R-rated and packs a visceral punch during the action scenes, but the filmmakers ruin many of the fight sequences with egregious digital enhancements. There are entertaining moments here and there, and Conor McGregor's goofy, unsubtle performance is hilarious, but there is not enough of value to recommend sitting through all two hours of this tripe. Talks of a sequel are ongoing, a notion that sparks about as much excitement as a prostate exam.

4.1/10