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About me

My name is Cal. I'm an independent filmmaker who runs the production company Expendable Films. You can check out my company's Vimeo page here: vimeo.com/expendablefilm
I've also made a list which details the movies I've made. You can check out my first feature, Unleashing the Demons, on Amazon Prime.

People may wonder why I pump so much time and effort into reviewing movies when it's doubtful many people even read my full reviews. With IMDb, Rotten Tomatoes and other websites full of critics more knowledgeable and better read than me, why should you bother with my writing? Well, I leave you to answer that question for yourself. Perhaps my primitive sense of humour will factor into your enjoyment of my reviews. Or perhaps it's that I am merely a lover of movies and do not consider myself a critic. Critics trash fun movies but praise wildly overrated, boring movies. I just like having fun at the movies... And I assess a movie as a guy who loves movies and seeks a good time.

I do not receive any money or revenue for my writing, so I write this as a passion and as a hobby. I aim to simply provide a fair, balanced analysis and commentary of a movie I've seen.

Thus, people may think I at times go too easy on a movie. Well, that's because I look for the good in all movies, even bad ones. I want to recognise the effort that has gone into a movie, and be fair to the filmmaker's intentions. I want to break into the film industry and I wish to make movies, so all films deserve a fair trial in my mind. I'd hate it for people to give a film of mine a low rating for a few purely nitpicking reasons.

I now mostly use Letterboxd (letterboxd.com/CalRambo1991) where I post a variety of mini-reviews that don't get carried across to here. Listal will still house my long-form reviews but not my shorter ones.

My reviews cannot be copied or reposted in whole or part without my express permission!
I once came across someone hovering around the web who copied my reviews word for smegging word.

However, you can link my reviews on your lists and stuff. That's perfectly cool. As long as I get credit

That's all I have to say.

Oh, and I post my reviews on a few different websites, most notably MichaelDVD and Manly Movie. I did some writing for Digital Hippos briefly... But that site is run by a bunch of cunts, so I didn't remain as a staff member. I suggest you guys avoid that site, too.

You'll find my reviews scattered on other websites around the web, including The Critical Critics, Flixster, Letterboxd and Manly Movie.

And finally...
Twitter feed: twitter.com/StrayButler91
YouTube Channel: www.youtube.com/user/PvtCaboose91
Link to Manly Movie: www.manlymovie.net/

Facebook? Dream on, internet stalkers...

Occupation: Filmmaker


Lists

6 votes
Movies Viewed in 2025 (57 items)
Movie list by PvtCaboose91
Published 1 month, 1 week ago
9 votes
Films I've Seen At The Cinema The Most... (11 items)
Movie list by PvtCaboose91
Published 11 years, 7 months ago 1 comment
1 votes
TV Shows Viewed in 2023 (9 items)
Tv list by PvtCaboose91
Published 1 year, 3 months ago
4 votes
Cal's Viewing Diaries (24 lists)
Movie list by PvtCaboose91
Published 6 years ago 1 comment
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Favorite movies (120 items)
Movie list by PvtCaboose91
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Recent reviews

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An entertaining, visually dazzling macho fantasy

Posted : 3 days, 14 hours ago on 10 February 2025 11:26 (A review of 300)

Zack Snyder's second feature film after his 2004 Dawn of the Dead remake, 2007's 300 establishes the director's distinctive visual style, replicating a graphic novel aesthetic for the big screen with a heavy reliance on digital effects. Instead of a factual retelling of the historical Battle of Thermopylae in the same vein as 1962's The 300 Spartans, Snyder turns to the pages of Frank Miller's 300 comic book limited series, mounting a heavily stylised action blockbuster with visual shades of Robert Rodriguez's Sin City adaptation. With a screenplay by Snyder, Kurt Johnstad and Michael B. Gordon, 300 amounts to two hours of macho posturing, vicious blood-letting, badass dialogue, and a bit of nudity, with the production displaying no sign of nuance, subtlety, or anything intellectually stimulating. It is a delightfully entertaining romp for those in the right mindset, but it is not a film for history snobs or pretentious critics.


In 480 BC, the Persian army led by King Xerxes (Rodrigo Santoro) invades Greece and demands submission from all Greek city-states, including Sparta. In response, the Spartan king, Leonidas (Gerard Butler), proposes a plan to push back the Persian armies at the narrow coastal passage of Thermopylae, where the Spartans have a strategic advantage over the more numerous Persian soldiers. Although the Spartan magistrates do not support Leonidas's plan, the king defies their orders, assembling a unit of 300 highly-trained Spartan warriors to fight against Xerxes's army at Thermopylae. Leonidas also joins forces with a few thousand Arcadian and Greek soldiers led by Daxos (Andrew Pleavin), who recognise the gravity of the Persian invasion. Three days of combat follow as Leonidas and his warriors boldly and confidently hold off the Persian assaults, though a hunchbacked Spartan outcast, Ephialtes (Andrew Tiernan), aligns with Xerxes and betrays the Spartans. Meanwhile, Leonidas's wife, Queen Gorgo (Lena Headey), advocates for her king in Sparta, dealing with a deceptive official in Theron (Dominic West) who wants Leonidas dead.

300's script sparkles with devilish wit, giving Leonidas an arsenal of memorable one-liners and humorous exchanges, from his iconic proclamation of "This is Sparta!" before kicking a Persian messenger into a bottomless pit, to telling his soldiers, "For tonight, we dine in hell!" before leading them to certain death. It is silly, but Snyder delivers this material with tongue firmly planted in cheek, again emphasising that 300 is a stylistic action film instead of a history lesson. Admittedly, the movie suffers from dull storytelling in its early stages, with Snyder struggling to energise the necessary exposition before Leonidas leads his men to battle against Xerxes. However, the film promptly picks up once the men depart Sparta, and Snyder maintains a solid pace as he works through dialogue and the spectacular battle sequences. However, since the film's first act is more about establishing the Spartan world and the political situation, it does not provide sufficient character development. Consequently, although the battle's foregone conclusion is a potent gut punch, the lack of meaty emotional investment in the characters reduces the ending's overall poignancy. In other words, what happens is a bummer, but it's not emotionally devastating.


The CGI throughout 300 is imperfect, particularly the over-the-top digital blood sprays (none of which ever seem to hit the ground or the warriors), but this is a deliberate part of Snyder's creative vision, with the director orchestrating a heavily stylised graphic novel recreation not meant to resemble reality. Snyder and cinematographer Larry Fong (who collaborated with Snyder on several more productions) use shadows and silhouettes in visually intriguing ways to cinematically replicate the style of Miller's artworks (which were coloured by Lynn Varley), while the distinctly desaturated colour grading ensures that not a single frame could be mistaken for another period movie like Troy or Gladiator. Unlike Rodriguez's Sin City, Fong shot 300 on grainy 35mm film, which contributes to the movie's distinct aesthetic. Although the crew built some partial sets, most of the film's backdrops are purely digital creations, with the actors performing on soundstages consisting only of green screens or blue screens, resulting in a cinematic ambience that is simultaneously surreal and hyperreal. The compositing remains impressive nearly two decades later, even if it is oh-so-slightly imperfect since fine edges around things like hairs occasionally struggle to blend in convincingly against the backgrounds. Just as Saving Private Ryan introduced a new aesthetic for cinematic depictions of modern warfare, 300 introduced a new aesthetic for swords-and-sandals combat that favours digital backdrops, CGI bloodshed and specific colour grading, with its style influencing films like Clash of the Titans, Immortals, Gods of Egypt, and the Spartacus television series.

The action sequences throughout 300 are spectacular, with impressive fight choreography and visceral bloodshed that puts old-fashioned swords-and-sandals epics to shame. Snyder puts genuine thought into the choreography: the Spartans fight as a single, coherent unit here, with Leonidas strategically opting to use fewer soldiers instead of a larger, potentially more disorganised army. Snyder also stays faithful to the source material by including oversized elephants that the Persians use for transportation, with the creature designs underscoring that this is a fictionalised fantasy instead of an account of reality. Meanwhile, Tyler Bates's accompanying music is heavy on metal guitar motifs, further distancing the production from more traditional swords-and-sandals films. Additionally, Snyder heavily leans on excess, sometimes approaching the material like a teenage boy and demonstrating minimal restraint. Indeed, there is plenty of excessive slow-motion bloodshed during the battle scenes, and there is also a hilariously overwrought slo-mo sex scene that comes across as juvenile and gratuitous. Although this approach is acceptable in the context of a big, dumb male action fantasy, it falls short of the more artful Sin City.


300 was a star-making turn for Gerard Butler, establishing the Scottish performer as a capable and reliable action hero. Butler authoritatively shouts much of his dialogue to memorable effect, and his incredible physique makes him a terrific fit for the role. The actor also remains believable during the quieter moments of introspection and intimacy. Snyder surrounds Butler with a remarkable ensemble of recognisable performers, from David Wenham and Dominic West to (pre-Game of Thrones) Lena Headey and (pre-stardom) Michael Fassbender. Meanwhile, Rodrigo Santoro (who played the soft-spoken Karl in Love Actually) is a memorable, throaty-voiced King Xerxes who sports numerous gold chains and rings. Indeed, the Persian designs are outlandishly embellished, particularly compared to the more modestly-dressed Spartans, ensuring that nobody will mistake a Persian soldier for a Spartan warrior. Although further reflective of the production's excess, the visual shorthand is handy for keeping tabs on who's who during the intense action scenes.

The Battle of Thermopylae was not the only battle to occur during the Greco-Persian Wars, and it feels somewhat anticlimactic that 300 concludes as the Spartan-led Greek army mobilises against the Persians. This material sets up the sequel, 2014's 300: Rise of an Empire, but the narrative here still feels somewhat incomplete, and one can only wonder what a spectacular third-act depiction of the Battle of Plataea could have added to the production. Nevertheless, 300 is a dazzling and entertaining big-screen rendering of Miller's graphic novel about what transpired at Thermopylae. 300 is not a meaningful history lesson by design, and Snyder's approach has drawn criticism from audiences unable to accept the feature as a fictionalised graphic novel adaptation, making it crucial to understand the director's intentions before viewing. Although dramatically inert, 300 is a whiz-bang, aesthetically memorable, adrenaline-pumping experience, and the visual feast remains something to behold, even in 2025.

7.6/10


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A gripping, edge-of-your-seat period thriller

Posted : 4 days, 9 hours ago on 9 February 2025 03:44 (A review of September 5)

September 5 is another dramatisation of the 1972 Munich Olympics massacre, but it offers a different and compelling viewpoint. Whereas Steven Spielberg's Munich was about the aftermath of the attack as Mossad agents assassinated the terrorists responsible, September 5 is an account of the events at the Olympic Village as they happened in 1972 from the perspective of the ABC Sports crew whose media coverage attracted hundreds of millions of viewers worldwide. Director Tim Fehlbaum (2021's The Colony) does not show the violence or shootouts that unfolded during the hostage crisis, instead concentrating on the reactions of the news crew as they receive accounts of what is happening from those on the ground. It is a tricky notion to orchestrate an engaging drama that perpetually takes place within the confines of a cramped newsroom decked out with analog broadcasting equipment, but Fehlbaum rises to the challenge, robustly executing the screenplay he co-wrote with Moritz Binder and Alex David. September 5 is a gripping, edge-of-your-seat period thriller that presents a tasteful dramatisation of the tragic events, buoyed by an exceptional cast and superb technical execution, making it one of 2024's standout motion pictures.


Optimism is high for Munich's 1972 Summer Olympic Games, with the West German government eagerly hosting the game to portray the country more favourably. The ABC Sports crew are in the country to cover the event, with channel president Roone Arledge (Peter Sarsgaard) and operational head Marvin Bader (Ben Chaplin) overseeing the complex technological task to televise the Olympic Games to the rest of the world. Stepping into the newsroom to continue orchestrating the live coverage is Geoffrey Mason (John Magaro), a rookie who is enthusiastic about becoming a director. When the team hears gunshots early in the night, they promptly investigate to find out what is happening, with local translator Marianne Gebhardt (Leonie Benesch) even listening to police radio broadcasts. Upon discovering that the Palestinian terrorist group Black September have taken the Israeli Olympic Team hostage, Mason scrambles to cover the event, facing broadcast cameras at the Olympic Village and covertly sending in a crewmember (Daniel Adeosun) to record 16mm footage from within athlete-only areas. With ransom demands coming out and a deadline approaching before the athletes lose their lives, the ABC Sports crew grapple with ethical considerations and limited satellite time as they try to maintain their coverage, with Mason desperately wanting to broadcast each scoop as it arrives.

Fehlbaum swiftly establishes the characters and their personalities before the crisis breaks out, ensuring viewers can easily discern who's who within the newsroom. An excellent cast tremendously aids the movie, and the lack of A-list superstars underscores that the performers were selected for their talent instead of their bankability. The likes of Sarsgaard and Chaplin make fantastic impressions, but Magaro (who was an extra in Spielberg's Munich) is arguably the star of the show, convincingly portraying confidence and nervousness throughout the ongoing situation. Since filming took place in Germany, the movie also features terrific European talent, with German actress Benesch making the most significant impression as a translator who is eventually assigned to help cover events on location.


The production's verisimilitude is overwhelming, with September 5 featuring extensive archival footage from the event. Editor Hansjörg Weißbrich (She Said) effectively intercuts footage of the actors with actual news reports (ABC's Jim McKay features prominently in archival footage) and media coverage, including 16mm material shot by ABC camera operators from inside the Olympic Village as the hostage crisis unfolded. Fehlbaum does recreate some material out of respect for the victims, as the crew understandably felt it was inappropriate to include footage of the real terrorists or hostages. However, it is genuinely difficult to discern the difference between the dramatisations and the archival material, with an astonishing sense of authenticity pervading virtually every frame. Additionally, with the production team going to great lengths to recreate ABC's newsroom in Munich, the resulting set bursts with authenticity, from the low-res monitors and the cameras to the vintage headphones and playback equipment. September 5 never leaves the newsroom, but the scope does not feel disappointingly restrictive as the movie creates a sense of the bigger picture through the media coverage at the Olympic Village and later at the nearby military airport.

Cinematographer Markus Förderer (who worked with Fehlbaum on The Colony) captures the action with Paul Greengrass-esque immediacy, opting for steady, engrossing handheld photography that further solidifies the "you are there" illusion. Although Förderer shot September 5 with digital cameras, the use of specific vintage lenses to soften the footage, combined with precise colour grading and thick film grain, creates an astonishing illusion, as the picture looks like genuine celluloid instead of a digital approximation of 16mm film. Förderer also uses the newsroom monitors to remarkable effect, as the screens provide a distinct but not overwhelming lighting source in the cramped space, and the imagery on the monitors is often reflected in characters' glasses. With the movie coming in at a reasonable 94 minutes, September 5 does not outstay its welcome, and interest seldom wanes as Fehlbaum stages tense exchanges as the characters feel the pressure and grapple with the gravity of the crisis, with human fallibility also inevitably creeping in. The director even mines fascinating material from the behind-the-scenes workings of news broadcasting in the 1970s, from sharing satellite time with other networks to the analog method for adding captions to news footage.


Understandably, the Israeli-Palestinian conflict makes the timing of September 5's release uncomfortable for some, particularly with the conflict causing much controversy and political unrest. However, Fehlbaum wisely avoids political grandstanding and condemnation, never using the material to make a statement on the ongoing Israel-Palestine conflict or draw clumsy parallels. Instead, September 5 is more about the ethical implications of broadcasting news that is shocking, violent and politically charged, with the crew emphasising the necessity for emotions over politics and discussing the possibility of on-air hostage executions and whether or not to broadcast unconfirmed reports, even with on-air caveats about the veracity of those rumours. Additional underlying themes relate to the Munich Olympic Games' significance, as the West German government hoped the event would provide catharsis after the Second World War by showing the country was eager to host other nations in a peaceful, democratic, uplifting setting. This material offers thought-provoking underpinnings to elevate the movie beyond a simple technical exercise. Instead of drab Oscar bait, September 5 is a sharp and thrilling feature brimming with anxious energy that recounts an important event from a compelling new perspective.

8.4/10


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A unique and compelling ghost story

Posted : 4 days, 11 hours ago on 9 February 2025 01:51 (A review of Presence)

How can a filmmaker make another "ghostly presence in a haunted house" horror movie feel original and fresh? For Presence, writer David Koepp and director Steven Soderbergh (reteaming after 2022's Kimi) achieve precisely that by telling the whole story from the perspective of the spirit through a series of extended point-of-view shots. Soderbergh, who temporarily retired from filmmaking over his frustrations with the industry's lack of innovation, guides the story with a sure hand, orchestrating thrills and creating a thick, pervasive sense of atmosphere, making the low-budget feature (it only cost $2 million) feel more like an indie film than a mainstream horror flick. The resulting movie is not packed with big set pieces or endless jump scares, as Presence is more interested in characters dealing with domestic problems and dysfunctional relationships. It is not exactly an "elevated" horror film like The Babadook - instead, Presence is a psychological thriller with a mystery at its core.


While searching for a new place to live, Rebekah (Lucy Liu) and Chris (Chris Sullivan) pounce on a sizeable home in a good neighbourhood, moving into the residence with their two children, Chloe (Callina Liang) and swim champion Tyler (Eddy Maday). However, an invisible apparition already inhabits the house and silently observes everything, soon making itself known to Chloe, who believes the spirit is benevolent instead of evil. Chloe mostly withdraws from the family after losing her best friend to a drug overdose, while her parents encounter marriage trouble as Rebekah is committing financial fraud at work. Tyler also makes a friend in Ryan (West Mulholland), who soon connects with Chloe, a notion that the Presence seemingly disapproves of.

Avoiding the banal monotony of In a Violent Nature (a slasher film from the killer's perspective), Koepp and Soderbergh have an interesting story to tell for those with the patience to stick with the deliberately paced narrative. More than a simplistic horror movie about a poltergeist randomly appearing and terrorising a family, Presence has a few surprises and twists up its sleeve, with the apparition serving a legitimate purpose in the narrative beyond wreaking havoc. Plus, as the spirit silently observes the characters and their conversations, the movie provides crucial information about the family and their domestic situation without forced, unnatural dialogue. Koepp's script even has an answer for the usual "Why don't they move out?" crowd, even after the apparition reveals itself to the family. Although Rebekah broaches the topic of leaving, Chloe refuses to move because she believes the Presence is friendly, and Chris chooses to stand by his daughter by staying in the house. Admittedly, however, Presence incorporates a few well-worn genre staples, including a psychic medium who comes to help and investigate during the picture's weakest scene. Additionally, there is insufficient payoff for an intriguing subplot about Rebekah engaging in illegal activities at work, but these are the only real shortcomings.


Captured with smooth long shots by Soderbergh, who served as cinematographer and editor (under his usual pseudonyms, Peter Andrews and Mary Ann Bernard), Presence establishes a thick sense of atmosphere, while the photography deliberately makes the titular Presence feel like an unwelcome voyeur with unclear motivations. The house feels authentic and lived-in, with realistic lighting instead of obvious, over-the-top soundstage lighting, underscoring the feeling that Soderbergh's camera is observing a real family in their home. Equally worthy of praise are the special effects, as Soderbergh convincingly shows the unseen Presence interacting with objects around the house, from moving books to pulling down shelves and toppling dozens of trophies. The seams are invisible, making it unclear whether the director achieved these moments using CGI or shrewd practical effects with digital assistance to remove wires and crew. The impressive sound design further assists the production, and Zack Ryan provides an effective score that does not lean into jump scares.

With recent movies like Unsane, No Sudden Move, Kimi and now Presence, Soderbergh continues to prove himself as a reliable purveyor of fascinating and innovative features, making it all the more fortunate that the filmmaker did not stay in self-imposed retirement. Instead of another by-the-numbers ghost tale, Presence is a compelling, visually unique psychological thriller with terrific performances from a cast of recognisable performers and newcomers. The only well-known star here is Lucy Liu, who submits a nuanced, realistic performance and comes across as a highly believable suburban mother who dotes on her high-achieving son. Presence feels like an auteur movie all round, with Soderbergh ensuring viewers will not mistake it for a Paranormal Activity sequel.

7.9/10


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An entertaining blockbuster despite its flaws

Posted : 2 weeks, 4 days ago on 26 January 2025 10:06 (A review of Spider-Man 3)

The final Spider-Man movie from director Sam Raimi, 2007's Spider-Man 3 is not the knockout trilogy capper the series deserves, with this third instalment receiving a far harsher critical reception than its superb predecessors. With three villains, a love triangle, and three times more story than it requires, Spider-Man 3 falls victim to the same overstuffing that marred movies like Batman & Robin and X-Men: The Last Stand, with Raimi sacrificing coherency and focus to jam as much into this threequel as possible. Upon its release in 2007, Spider-Man 3 received harsh criticism online, with many vocal commentators declaring the sequel among the worst films of all time. The overzealous and overstated denigration is unwarranted, as this third Spider-Man film is flawed, but it remains tremendously entertaining, and Raimi's competent craftsmanship mostly compensates for the narrative shortcomings. It is not perfect, but Spider-Man 3 is, at least, much better and more entertaining than several recent Marvel Cinematic Universe misfires.


After becoming a superhero and struggling to adjust to the complicated lifestyle, Peter Parker/Spider-Man (Tobey Maguire) is finally happy in life, maintaining a relationship with his dream girl, Mary Jane Watson (Kirsten Dunst), and enjoying adoration from the people of New York City. However, Peter's big head starts to upset Mary Jane, whose long-awaited Broadway debut ends in heartbreak. Further offending Mary Jane is Peter's classmate, Gwen Stacy (Bryce Dallas Howard), who shares an upside-down kiss with Spider-Man during a festival honouring the web-slinger. Meanwhile, Peter's former best friend, Harry Osborn (James Franco), is still determined to avenge his father's death, and he uses leftover Green Goblin technology and performance-enhancing gas to become the New Goblin. A Daily Bugle rival also emerges in the form of aspiring photographer Eddie Brock (Topher Grace), who swoops in to provide pictures of Spider-Man, leading to editor-in-chief J. Jonah Jameson (J.K. Simmons) giving him a staff photographer job instead of Peter.

Additionally, escaped convict Flint Marko (Thomas Haden Church) wants money to support his sick daughter, Penny (Perla Haney-Jardine), but while running away from police, he falls into an experimental particle accelerator that turns him into the Sandman, as the machine fuses his body with the sand around him. Marko's escape also prompts Gwen's father, Captain George Stacy (James Cromwell), to inform Peter and Aunt May (Rosemary Harris) that the criminal was actually responsible for the death of Uncle Ben (Cliff Robertson). However, an even more significant threat emerges in the form of a black alien symbiote, which arrives in a meteor and promptly attaches itself to Peter. The parasitic substance poisons Peter's mind and enhances the dark parts of his personality, which moves him closer to destroying his life, reputation and personal relationships.


The first two acts of Spider-Man 3 are, for the most part, extremely strong, exhibiting the same type of storytelling patience and dramatic development that characterised the previous movies. Marko is a legitimately interesting villain, and his ties to Uncle Ben's death allow for emotional catharsis as Peter wrestles with his desire for vengeance and might finally be able to assuage his longstanding guilt. Alas, the troubles emerge in the third act when Marko disappears for an extended period, and Peter deals with the symbiote's impact on his personality. This section feels lifted from another film entirely, and the script paints Peter's downfall in extremely broad strokes, with cringe-worthy dancing and outwardly atrocious behaviour, birthing the internet's infamous "Bully Maguire" meme. The campiness and comedic value of these scenes are undeniable, but they lack the dramatic nuance of Raimi's previous Spider-Man pictures, which were humorous but still sincere. Unfortunately, Spider-Man 3 is only funny in an ironic sense. Raimi wanted two villains (Sandman and New Goblin), though he entertained the idea of adding Vulture to the mix, and only included Venom at the behest of producer Avi Arad. The seeds of an interesting story are here with Peter and Eddie's rivalry at the Daily Bugle, but Venom and the symbiote should be the focus of its own movie. Instead of feeling like a true adversary, Venom only feels like a third-act roadblock. Worse, the film fails to include the symbiote's voice, making the character feel like even more of a wasted opportunity.

Spider-Man 3 is detrimentally overstuffed, with the sequel introducing Eddie Brock, Gwen Stacy, Captain Stacy, and Flint Marko. Raimi's previous Spider-Man films each concentrated on a single villain, though the second movie also established Harry's villainous arc as he progressed towards becoming the New Goblin. However, Spider-Man 3 has three villains, and despite the picture's beefy 140-minute running time, it does not do justice to any of them. The tragedy is that Raimi nearly does justice to Sandman and New Goblin, while Peter's pre-symbiote storyline of him gradually losing Mary Jane through his arrogance and selfishness is genuinely engaging, but the throwaway addition of Venom ruins the narrative flow. Additionally, the film cuts away from characters like Marko and Brock for such long periods that viewers will likely forget about them. However, to the credit of Raimi and his co-writers (Spider-Man 2 scribe Alvin Sargent and Raimi's brother, Ivan), they manage to successfully pull all the story threads together for the climactic showdown as the three villains come together (one of whom teams up with Spider-Man) and Mary Jane's life hangs in the balance. The climax provides closure for all three villains, concludes the love triangle, and redeems Peter for his selfish actions.


With Spider-Man 3 working through so much story material, screenwriter Sargeant considered splitting the film into two parts, but he abandoned the idea when he could not successfully create an intermediate climax. A two-part movie might have alleviated some of the threequel's flaws while still permitting the climactic showdown with Sandman, Venom, and New Goblin. As it is, there is too much happening during the picture's 140-minute duration that it gives you whiplash as it shifts from one plotline to the next, and the result is not as emotional or soulful as the first two movies, despite the inherent poignancy of Sandman and Harry's stories.

Unfortunately, despite Raimi's talent for composing terrific dramatic scenes (see the touching scene as Peter talks to Aunt May about marriage), there are a few notably awful moments here. One egregious example is Captain Stacy and Eddie Brock nonchalantly talking while Gwen precariously hangs from the 62nd floor of a skyscraper, with Brock even taking the opportunity to reveal he is dating Gwen. Neither of them seems too concerned about the gravity or danger of the situation, making the scene feel startlingly forced and insincere. Later in the movie, Harry and Mary Jane dance the "twist" together like teenagers from the 1950s, a bizarre choice that feels contrived and self-indulgent. Another particularly awful sequence involves Peter attempting to make Mary Jane jealous at a jazz club when he arrives with Gwen. The events that unfold therein are uncomfortable and difficult to watch, even for die-hard comic fans, and it is the moment when Spider-Man 3 plunges directly into the toilet and struggles to recover.


Despite Spider-Man 3's immense problems, it remains an enthralling and fun blockbuster. Sony once again spared no expense in bringing the iconic web-slinger back to the big screen, with a reported budget of between $250-350 million, making it the most expensive film in history at the time. Unsurprisingly, the visuals are astonishing, with virtually photorealistic digital effects giving vivid life to Sandman and Venom, and Raimi delivers the goods with energy and gusto. The director confidently surpasses the previous two films in terms of scale and excitement, and Raimi's commitment to mixing CGI with practical effects and live-action elements creates a realistic, tangible aesthetic that ensures the set pieces are grounded and exhilarating despite the fantastical elements at play. Sony Pictures Imageworks spent two years creating the digital Sandman, developing computer programs from scratch to handle the complex, shape-shifting villain, and the resulting visual effects stand up to intense scrutiny nearly two decades later, surpassing most of the shonky CGI that appears in more recent blockbusters. Meanwhile, composer Christopher Young (Hellraiser, Ghost Rider) takes over from Danny Elfman here, though the score retains the existing iconic Spider-Man theme that continues to provoke exhilaration and emotion. However, despite a few memorable new motifs, Young's score is not as memorable or jubilant as Elfman's music.

Sandman is another top-notch villain, and Raimi does his utmost to turn Marko into a three-dimensional antagonist instead of the one-note villain that Venom winds up becoming. Marko is an escaped convict who only wants to care for his daughter and does not want to hurt anybody. He only turns against Spider-Man when the web-slinger provokes him, with Peter yearning for revenge and refusing to let Marko escape. However, it does strain credibility to breaking point that the criminal who becomes the Sandman has a personal connection to Peter. On that note, all three villains having a personal connection to Peter is ridiculous, and the issue would have persisted if Raimi made Spider-Man 4 with Dylan Baker's Dr. Curt Connors finally turning into the Lizard after appearing in Spider-Man 2 and Spider-Man 3. Unfortunately, Topher Grace's portrayal of Eddie Brock/Venom is incredibly broad, with the performer struggling to act through the false teeth.


After years of playing the bumbling dork, Maguire relishes the opportunity to indulge in Peter's bad side, though the resulting performance is more befitting for a parody than a serious movie. With awful dance moves, a Goth combover, and an arsenal of one-liners ("I'm gonna put some dirt in your eye"), there is no nuance or believability to Maguire's portrayal of symbiote Peter. However, Maguire is superb in other scenes, demonstrating the same credible emotional depth that elevated his work in Spider-Man and Spider-Man 2. He is also an engaging and likable hero. Alongside him, Kirsten Dunst handles more dramatic material here and believably plays the conflicted Mary Jane, who finds Peter's selfish behaviour utterly disheartening and shows waning enthusiasm as she struggles to reconcile with their problems but falls apart when Harry forces her to end their relationship. Meanwhile, other returning members in the ensemble remain terrific, with James Franco convincingly portraying Harry's descent into villainy, Rosemary Harris once again bringing humanity and gravitas to the picture, and J.K. Simmons continuing to show he was born to play the outspoken J. Jonah Jameson. Spider-Man creator Stan Lee also turns up for another cameo appearance, of course, and actually has dialogue this time. Plus, Raimi brings back the indomitable Bruce Campbell for another uproarious cameo, this time playing a French maître d'. Also in the ensemble is Bryce Dallas Howard, who is promising but underused as Gwen Stacy, with her scenes merely intended to set up her appearances in future instalments that never happened.

While Spider-Man 2 received an extended cut on home video, Sony released an "Editor's Cut" of Spider-Man 3 in 2017 to commemorate the film's tenth anniversary and tie into the release of Spider-Man: Homecoming. The new version is shorter than the theatrical cut, taking away or trimming scenes while adding new and alternate material, plus Young's score is sometimes different. The Editor's Cut is a slight but noticeable improvement, with superior flow and a stronger motivation for Sandman, even if all the cringey symbiote behaviour remains. More deleted scenes reportedly exist that further flesh out Brock and Venom, but they remain unseen as of 2025.


Raimi cautiously approached the planned Spider-Man 4, hoping to redeem the series after this third picture, working through countless screenplay drafts with various writers as he tried to find something satisfactory, but to no avail. With Raimi unwilling to rush the production to meet Sony's 2011 release date, the filmmaker quit the picture, leading to 2012's rebooted The Amazing Spider-Man with a new cast and a worse creative direction. It is a genuine shame that Raimi did not get sufficient opportunity to make a sequel to compensate for the disappointment of Spider-Man 3, but at least this third film ends on a satisfying note, leaving no obvious loose ends and implying that Peter and Mary Jane might end up together. I cannot deny the movie's many flaws, but it is still a fine and perfectly watchable threequel with entertaining action sequences and superb visuals. Spider-Man 3 is not on the same level as its predecessors, but considering the intimidating quality of Spider-Man and Spider-Man 2, that would be a tall order.

6.7/10


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A fun, throwback action-horror flick

Posted : 2 weeks, 4 days ago on 26 January 2025 04:18 (A review of Werewolves)

The Purge meets Dog Soldiers in 2024's Werewolves, a lean and mean action-horror flick that delivers precisely what the title promises: hordes of bloodthirsty lycanthropes hunting, fighting, and ripping people apart. A throwback film in several respects that has the energy and attitude of '80s action flicks, Werewolves favours practical creatures and blood effects and has a terrific leading man in the underrated Frank Grillo, who is shredded to the extremes and looks primed to give Hugh Jackman's physique a run for its money. With direct-to-video purveyor Steven C. Miller (First Kill, Escape Plan 2: Hades) at the helm, the picture feels exceeding DTV in its plot and storytelling, but the narrative's purity and simplicity are precisely why Werewolves feels so refreshing, especially in an age of "elevated" horror. Plus, Miller avoids many of the pitfalls associated with DTV productions, as there are no extraneous subplots or egregiously cartoonish digital effects.


One year before the story takes place, a unique supermoon event awakens a dormant gene in humans, causing them to turn into werewolves if the moonlight hits them, leading to worldwide chaos. With another supermoon event about to occur, the CDC hopes to control the situation and prevent another werewolf outbreak, with Dr. Aranda (Lou Diamond Philips) leading a team searching for a cure. The team includes Dr. Wesley Marshall (Frank Grillo) and Dr. Amy Chen (Katrina Law), who are testing a new spray-on "moon screen" treatment that shields participants from the moonlight, preventing them from turning into werewolves. The experiment goes awry, with the treatment only proving effective for an hour. After werewolves kill their colleagues, Marshall and Chen head out to cross the werewolf-infested city, hoping to reach Marshall's late brother's wife, Lucy (Ilfenesh Hadera), and daughter, Emma (Kamdynn Gary), to protect them from the hordes of attacking lycanthropes.

Mileage may vary depending on expectations, as Werewolves is the antithesis of plodding, critic-pandering horrors like Robert Eggers's Nosferatu or anything Ari Aster has directed. Without any pretensions, arthouse sensibilities or core messages, Werewolves is all about visceral thrills, and it is extremely silly, but Miller delivers the mayhem with tongue firmly planted in cheek. It is preposterous that Grillo is both a badass special forces operative and a scientist, and the "moon screen" serum preventing Marshall and Chen from turning in the moonlight for an hour at a time is a convenient plot contrivance so the actors can show their faces throughout the action scenes. Plus, the characters use a fun and varied arsenal of firearms, including a massive Gatling gun mounted to a vehicle in one memorable scene. Luckily, the actors are in tune with the material, with the superb Grillo showing once again that he deserves to lead more action movies, and it is fun to see Lou Diamond Phillips in a minor role as a respected doctor.


Although a budget figure is not available at the time of writing, Werewolves does not look cheap or nasty. Despite the bizarre insistence on lens flares, the movie looks slick and expensive, with robust production values, and Miller never uses slipshod CGI in an egregious attempt to enhance the scope. The movie's scale is small, but Miller makes the most of the resources at his disposal, and he nails the most important thing: the werewolves look amazing. They were designed by special effects maestros Alec Gillis and Tom Woodruff Jr., who also worked on several Alien films, as well as the AvP movies and 2018's The Predator. Not since Neil Marshall's Dog Soldiers have we seen practical lycanthropes look this convincing, while the impactful sound design gives them unnerving growls and roars, making these creatures seem wholly real instead of cartoonish digital creations or performers covered in obvious prosthetics. Miller also uses practical blood squibs, and the sparing use of digital effects for the transformations is practically seamless, resulting in some of the most satisfying transformation scenes since An American Werewolf in London. The attack scenes are enormously satisfying, with the lycanthropes biting and ripping hapless victims to pieces, and the terrific, gory prosthetics give a strong visceral edge to these scenes. Miller even delivers a memorable werewolf-on-werewolf fight scene for the climax, which left this review grinning like the Cheshire Cat.

Werewolves is a B movie through and through, standing in stark contrast to something like Leigh Whannell's Wolf Man, which was more about characters and allegory than pure werewolf action. Even though Werewolves is primarily an action movie, there is legitimate mood and atmosphere throughout the flick, with tense moments (an unseen werewolf growling in the dark) and ominous images (a character peers out a window to see a werewolf standing silhouetted against the night sky). Admittedly, though, the movie is not perfect, as the editing is too restrictive during certain action scenes, leading to a few awkward-feeling beats, and the muzzle flashes are obviously digital whenever a character discharges a firearm (a strange misstep considering the production's otherwise excellent special effects). Additionally, even though there is some badass dialogue at times, a lot of the dialogue is cheesy and standard-order, with characters feeling the need to vocalise the obvious. Matthew Kennedy's screenplay does not do enough with the intriguing premise; like The Purge, it feels like the budget-restrictive introduction of an excellent idea ripe for further exploration in sequels. But there is still plenty to enjoy here, with Miller creating an all-in-good-fun action romp that seldom slows down and feels like a return to classic, old-school horror fun.

6.8/10


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One of the best superhero movies of all time

Posted : 3 weeks, 5 days ago on 18 January 2025 05:40 (A review of Spider-Man 2)

The inevitable follow-up to the incredibly successful Spider-Man, 2004's Spider-Man 2 lives up to and surpasses expectations, eclipsing its groundbreaking predecessor and emerging as one of cinema's all-time greatest superhero movies. Passionate comic-book fan Sam Raimi returns to direct the sequel, orchestrating another immensely satisfying live-action adventure for Stan Lee and Steve Ditko's iconic Marvel Comics web-slinger. With appreciable reverence and respect for the source material, Spider-Man 2 mixes enthralling pathos with thrilling action set pieces, resulting in an entertaining, witty and poignant blockbuster that will please established fans and newcomers. With a larger budget and even more visual panache than its predecessor, Spider-Man 2 is a perfect superhero sequel, providing even more spectacle and eye candy without neglecting the story's all-important human element.


After an opening credits sequence recaps the original film through extraordinary hand-drawn comic-book panels, Spider-Man 2 finds Peter Parker (Tobey Maguire) struggling to hold down a job and pay his rent because of his never-ending commitments as Spider-Man. Peter's grades also suffer as he misses classes at Columbia University, and the young man has trouble figuring out his relationship with Mary Jane Watson (Kirsten Dunst), whom he deeply loves but does not want to endanger. Daily Bugle editor J. Jonah Jameson (J.K. Simmons) also keeps printing sensationalist headlines about Spider-Man, portraying him as a public menace. Peter's best friend, Harry Osborn (James Franco), is now Oscorp's CEO after his father's death and funds the development of a fusion power machine with the potential to provide affordable electricity to the whole of New York City. The mastermind behind the experiment is Dr. Otto Octavius (Alfred Molina), who also develops four powerful mechanical tentacles to interact with the machine safely. However, the experiment goes wrong, resulting in the death of Otto's wife (Donna Murphy) and the destruction of a crucial inhibitor chip that controls the artificially intelligent tentacles. As a result, the tentacles begin controlling Otto's mind, turning him into a criminal who is determined to rebuild the machine. Although Peter seeks to stop "Doc Ock," his powers begin to dwindle, and he wants a happier and more stable life, prompting him to give up being Spider-Man.

Raimi took inspiration from Superman II to create Spider-Man 2's narrative, mixing Doc Ock's reign of terror with the story of Peter giving up his responsibilities as Spider-Man. Screenwriter Alvin Sargent, who worked alongside Raimi to select the best components of the various scripts written by an array of scribes during the picture's development (including David Koepp), mines material from the 1967 Spider-Man No More! storyline, firmly rooting the film in the characters and their individual struggles. Spider-Man was about Peter learning to be a hero and coming to terms with the responsibilities that come with his powers, but Spider-Man 2 is about the now-adult Peter adjusting to the challenging dual life of a superhero, fighting crime and saving people while trying to earn a living, complete his studies, and build and maintain relationships. Batman/Bruce Wayne is wealthy, and the X-Men live in an affluent mansion, but Peter struggles financially and cannot hold down a job due to his consistent tardiness. Peter's mental struggles also influence his decision to quit being Spider-Man as he finds himself unable to spin webs at times, adding another intriguing angle to the story. The scene in which Peter makes his final decision, complete with an appearance of Cliff Robertson as Uncle Ben, is achingly poignant. The guilt of Ben's death still weighs heavily on Peter, who initially turned to crime-fighting in an attempt to diminish it.


With filmmakers repeatedly intending to use Doc Ock as the villain in Spider-Man's debut film, and with Spider-Man's screenplay originally featuring the character, it is unsurprising that Otto Octavius is the prime antagonist in this sequel. Sargent's script slightly changes the character's backstory, establishing Peter's immense admiration for the scientist and making the villain more of a conflicted soul whose mechanical tentacles corrupt his mind. Spider-Man 2 also focuses on Harry's resentment towards Spider-Man after the first film, setting up his budding villainy as he progresses towards becoming the New Goblin. Remarkably, Raimi competently intertwines the narrative strands, with Harry's connection to Octavius feeling organic instead of contrived. The acting is also remarkable, bringing emotional depth and gravitas to this superhero tale. Maguire believably transitions the character from teenager to young adult, while Kirsten Dunst and James Franco provide terrific support. The most significant newcomer is Alfred Molina, who is extraordinary as Otto Octavius. The distinguished dramatic actor brings spectacular depth to the role while adding a believable, sinister edge. Rosemary Harris adds further humanity and emotional resonance, making her a pitch-perfect May Parker.

Raimi smoothly navigates the material, ensuring the film is consistently engaging over its two-hour duration. Like the first film, the director permeates Spider-Man 2 with a healthy sense of humour, establishing a playful yet sincere tone. One of the most notable comedic scenes involves Bruce Campbell, who cameos here as an obstinate theatre usher. However, J.K. Simmons once again steals the show as J. Jonah Jameson, dispersing an endless stream of witty, humorous dialogue with utmost energy, gusto and confidence. Another standout is Russian actor Elya Baskin (Air Force One), who plays Peter's relentless, unforgiving landlord, and brings further comedic energy to the picture. Marvel legend Stan Lee also has another cameo here, and it is fascinating to see a young Joel McHale playing an unhelpful bank teller. Hell, even comedian Joey Diaz shows up as a train passenger, while filmmaker John Landis plays one of the doctors attempting to operate on Doc Ock. On that note, New Yorkers are thankfully not passive observers of the chaos, with Aunt May getting a moment to shine and a group of citizens on a subway train standing up to Doc Ock in an attempt to protect Spider-Man. The strong ensemble keeps Spider-Man 2 consistently captivating, as interest never wanes between the action.


With a larger budget than the first movie, Spider-Man 2 is even more technically proficient than its predecessor, and the digital effects remain seamless despite the production now being over two decades old. Once again, Raimi uses as many live-action elements as possible to reduce the need for CGI, to the extent that Otto's mechanical arms are mostly practical puppets while the computer wizards merely erased the strings. Even the digital doubles for Spider-Man and Doc Ock look astonishingly impressive during the action set pieces, making it challenging to discern what is digital. Spider-Man carries genuine weight and inertia as he glides through the streets of Manhattan, and you can viscerally feel the nerve-wracking heights alongside the web-slinger. It is clear the visual effects team took the time to execute each shot properly, and the 35mm photography further enhances the realism, resulting in a movie that looks more convincing than more recent superhero blockbusters that contain CGI of mixed quality in almost every shot. Unsurprisingly, Spider-Man 2 received an Academy Award for Best Visual Effects.

Spider-Man 2 is more than sound and fury, as Raimi ensures viewers are emotionally invested in the characters before he places them in perilous situations. The action sequences are spectacular, with one major set piece aboard a moving train representing the film's centrepiece. Raimi and cinematographer Bill Pope (Darkman, The Matrix) orchestrate seemingly impossible camera movements, capturing the battles in stunning wide shots as Spider-Man leaps and swings around his opponent. Additionally, Raimi indulges in his horror sensibilities in the depiction of Doc Ock's mechanical arms, as they possess a palpably malevolent personality and even slaughter a medical team trying to remove them from Otto's body. Even though composer Danny Elfman felt that scoring Spider-Man 2 was a miserable experience due to creative battles with Raimi, his compositions are superlative, bringing back the iconic theme and introducing further recognisable motifs. With Elfman's music, the film is more exhilarating and emotional. (Other composers contributed additional music for the soundtrack, including horror composer Christopher Young, who took over from Elfman for 2007's Spider-Man 3.)


Unlike the first picture, an extended edition of Spider-Man 2, Spider-Man 2.1, was released on home video in 2007 to coincide with the release of Spider-Man 3. However, the extended edition is unnecessary, as it adds superfluous deleted and alternate scenes to an already terrific movie. Stick to the theatrical version.

Although Spider-Man 2 is a fantasy action-adventure, the central characters inhabiting the story feel like real people with problems and dreams, as the screenplay gives them agency to ensure they do not feel like mere plot pawns. For example, Aunt May is dealing with an eviction, and Mary Jane is planning her upcoming wedding instead of continuing to pine for Peter. The script introduces themes relating to self-identity, sacrifice, guilt, regret, and love - as a result, Spider-Man 2 could work as a pure character drama without any colourful action sequences. Indeed, Spider-Man 2 transcends its comic-book roots and takes on a life of its own, but the movie also works as a grandly entertaining superhero blockbuster with remarkable visual effects. Over two decades later, it is difficult to imagine another Spider-Man movie managing to top it.

9.5/10


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A robust, old-fashioned action-thriller

Posted : 3 weeks, 5 days ago on 18 January 2025 12:30 (A review of Last Seen Alive (2022))

An old-fashioned action-thriller from director Brian Goodman (2017's Black Butterfly with Antonio Banderas), 2022's Last Seen Alive seemingly appeared out of nowhere, releasing in a handful of cinemas in select territories with no fanfare. Despite this and its current 5.7/10 rating on the Internet Movie Database, Last Seen Alive deserves your attention. Led by the reliable Gerard Butler, this is a taut, gritty action-thriller that moves at an agreeably frenetic pace and never becomes bogged down in extraneous subplots or politics. It certainly emanates more gravitas than your usual bog-standard direct-to-video revenge film starring the likes of Steven Seagal.


Will Spann (Gerard Butler) is a well-off real estate developer going through a rough patch with his wife, Lisa (the beautiful Jaimie Alexander), who committed an act of infidelity and needs a break from their marriage. The two are travelling interstate to Lisa's hometown for her to stay with her parents while she works things out, but after a somewhat tense exchange, she mysteriously vanishes during a pitstop at a gas station. Will immediately springs into action to find her and alerts the local authorities to assist, contacting Detective Paterson (Russell Hornsby), who begins coordinating the investigation. However, the struggling husband cannot sit idly by while the police conduct their official enquiries in the crucial hours after her disappearance. Determined to do whatever it takes to retrieve his wife safely, Will pursues his own leads, leading him to uncover the town's seedy criminal underbelly.

Written by long-time movie producer Marc Frydman (his second screenplay credit after Black Butterfly), Last Seen Alive is relentless and no-nonsense from the word "go"; in fact, Lisa's abduction occurs within the first ten minutes. The feverish pace and the lack of narrative flab are reminiscent of the classic Kurt Russell/Jonathan Mostow movie Breakdown, though the scope is more modest in comparison, and there are no expensive, large-scale set pieces here. Indeed, Goodman derives satisfying thrills from smaller moments, such as a tense scene involving Will creeping into a suspect's trailer and getting into a brutal brawl or another sequence during which Will sneaks around a drug camp trying his hardest to remain undetected. The lack of scope does not mean that the movie feels cheap or nasty, however, as it feels expensive and skilful outside of a few moments (there's a shonky-looking digital explosion in the third act that will not impress anybody). Nevertheless, the screenplay feels overly clichéd at times, and the dialogue is relatively standard-order – there is not much wit or humour. Then again, I doubt anybody expected sharp dialogue.


Last Seen Alive is, thankfully, an R-rated action-thriller. Any viewers fearing another sanitised action offering will have their fears quelled within the first ten seconds, as the word "motherfucker" is said in the first line of dialogue before the movie's freaking title card. Do not expect non-stop profanity or excessive bloodshed, but Goodman does not shy away from bloody bullet wounds or swearing, nor does it feel like the director is pulling any punches. Action is sparse but brutal and effective; easy to follow, with solid choreography despite some set pieces taking place in dim locations. The picture also benefits from the inclusion of Butler, who expectedly shines in the leading role. Although the Scottish actor is not on the same level as Stallone or Schwarzenegger (nobody is, really), he is a reliable action star who looks believable when wielding a firearm. Plus, it is fun to hear Butler embrace his natural Scottish brogue here. Viewers who enjoyed Butler's turn as Mike Banning in the Fallen movies (not to mention his roles in Copshop and Den of Thieves) will have a good time with Last Seen Alive.

Goodman sometimes struggles to maintain a strong pace, especially with the picture delving into flashbacks to examine Will and Lisa's marriage before the abduction. Additionally, since the picture opens with a flash-forward that reveals who the real criminals are at the beginning, it makes all the red herrings and growing suspicion feel somewhat moot. Nevertheless, these points are not a deal-breaker. Mid-budget, R-rated action-thrillers like Last Seen Alive are becoming rarer in 2022, as direct-to-video rubbish mostly dominates the genre and studios are more concerned with superhero movies or blockbusters as they seek to generate another profitable franchise, which makes the film all the more refreshing. The screenplay often feels like a relic from the 1990s, as the narrative is gloriously old-fashioned in all the best ways, evoking pictures like Frantic and the aforementioned Breakdown. If this sounds appealing, Last Seen Alive is a worthwhile, enjoyable time-waster.

6.7/10


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A fun, energetic action-comedy

Posted : 3 weeks, 5 days ago on 18 January 2025 11:47 (A review of Back in Action)

Aside from being notable for bringing Cameron Diaz out of retirement over ten years after her last feature-film appearance, there is nothing conceptually groundbreaking about 2025's Back in Action, which tells a familiar story and trots out numerous clichés. Heck, the narrative is even distinctly similar to the recent 2023 flick The Family Plan. But it's the execution that saves this Netflix action-adventure, as Back in Action is genuinely funny, exciting and involving, and it features a charismatic and capable cast. Director Seth Gordon (Horrible Bosses, Identity Thief), who co-wrote the screenplay with Brendan O'Brien (Neighbors, Mike and Dave Need Wedding Dates), orchestrates a high-energy espionage yarn with slick visuals and robust pacing, resulting in an entertaining if relatively unmemorable romp that eclipses most of Netflix's recent action offerings.


CIA spies Emily (Cameron Diaz) and Matt (Jamie Foxx) retrieve an Industrial Control Systems Key in Eastern Europe to ensure that America's enemies cannot use the device to disrupt crucial infrastructure. Although they successfully steal the Key from terrorist Balthazar Gor (Robert Besta), their getaway goes awry, with the two narrowly escaping a plane crash. With Emily finding out she is pregnant with Matt's child, they decide to use the crash as an opportunity to disappear, starting new lives away from the agency and letting everyone believe they are dead. Fifteen years later, Emily and Matt have two children together, Alice (McKenna Roberts) and Leo (Rylan Jackson), and they maintain a pleasant, unremarkable suburban existence. However, when a viral video exposes Emily and Matt's location, their former handler, Chuck (Kyle Chandler), quickly finds them and explains that Gor's men are coming after the couple to retrieve the ICS Key. Grabbing the kids and fleeing, the former spies plan to travel to England to visit Emily's mother, Ginny (Glenn Close), while Gor's men relentlessly pursue them. Also on their tale are MI6 agents led by Baron (Andrew Scott), who knew the pair during their CIA days and similarly wants to retrieve the Key.

Although Back in Action is largely predictable and relies on well-worn genre tropes (including a resentful teenage daughter, Hollywoodised high-tech computers, and a powerful MacGuffin), there are a few surprises along the way, and the picture deploys red herrings to nice effect. Fortunately, the dialogue does not merely amount to tone-deaf action-movie speak, as there is a genuine spark of wit to many of the character interactions, and the movie consistently scores easygoing laughs. (However, the scenes with Baron and his MI6 agents are extremely bog-standard). Perhaps Back in Action could have been improved with an R-rated spark to the dialogue, especially since Gordon and O'Brien specialise in adult-oriented comedies, but the flick thankfully never feels unnaturally neutered by the restrictions of its PG-13 rating.


Back in Action is silly and stretches credulity at times, but knowingly so, never asking viewers to accept the proceedings with a straight face. The goofiness even extends to using the combination of Mentos and Diet Coke as a weapon during a vehicular chase. With Gordon eschewing a dark or gritty tone, the flick sometimes feels like an old-fashioned action-comedy from the 1990s or early 2000s, recalling pictures like True Lies, Mr. & Mrs. Smith, and the two underrated Charlie's Angels films starring Diaz. Gordon also makes great use of music during the action set pieces to enhance the energy, selecting classic tracks like At Last, Ain't That a Kick in the Head and James Brown's Papa's Got a Brand New Bag while the characters engage in butt-kicking. Admittedly, the picture's prologue features imperfect special effects, including obvious blue-screening and videogame-level CGI, which made this reviewer miss the days of location shooting and practical models. Thankfully, however, most of the action throughout the rest of the picture is more grounded, with competent fight choreography that is actually comprehensible thanks to smooth camerawork and editing.

Returning to acting for the first time since 2014 (when she starred in The Other Woman, Sex Tape, and Annie), Diaz lights up the screen with genuine charm, and she shares terrific chemistry with the equally energetic Foxx, who was determined to convince the actress to take the role. Glenn Close also makes a delightful impression as the smart, savvy, resourceful Ginny, a fun reprieve from the usual mother archetype. Meanwhile, Jamie Demetriou is the film's comedic secret weapon as Ginny's lover, Nigel, who aspires to be an MI6 agent by putting himself through self-devised training regimens. The Stath Lets Flats actor brings immense energy to the picture with his lovable goofiness, scoring belly laughs whenever he appears and never overdoing the schtick. Back in Action gives all the characters a time to shine, with Nigel even getting in on the action during the climax. Other recognisable performers here include Andrew Scott and Kyle Chandler, who are perfectly sufficient, while newcomers McKenna Roberts and Rylan Jackson make a positive impression as Emily and Matt's kids.


A throwback spy caper, Back in Action succeeds because it's an action-comedy that delivers actual humour and fun action. Despite the unoriginal narrative, the movie does not fall victim to the usual flaws associated with such productions - indeed, it is far funnier and more engaging than similar streaming likes like The Family Man and Ghosted. Back in Action ends with a blatant sequel tease, and the prospect of another light-hearted adventure with these characters is surprisingly enticing.

7.2/10


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Half-hearted leftovers, but sometimes fun

Posted : 1 month ago on 11 January 2025 05:41 (A review of Son of Kong)

Quickie sequels are not a strange concept to 21st-century audiences, with studios routinely forcing follow-ups to successful movies within a year or two of their predecessor. But 1933's The Son of Kong was developed, filmed and released in the same year as the enormously successful King Kong, hitting cinemas a mere nine months after its iconic predecessor. RKO Radio Pictures wanted to release the sequel in time for Christmas, bringing back directors Ernest B. Schoedsack and Merian C. Cooper, screenwriter Ruth Rose, composer Max Steiner and several others to accomplish the seemingly impossible within a six-month production period. With a few familiar faces also returning, The Son of Kong is fascinating from a historical perspective and is worth watching for its minor highlights, but it pales in comparison to the highly influential King Kong.


A month after Kong fell to his death from the Empire State Building following his destructive rampage through the city, Carl Denham (Robert Armstrong) faces numerous lawsuits and is on the verge of indictment by a grand jury. Escaping prosecution, Denham leaves New York City aboard the Venture, which is still under the command of Captain Englehorn (Frank Reicher), who also fears legal action against him if he stays. After failing to make much money moving cargo around Asia, Denham and Englehorn arrive at the port of Dakang, where they encounter Nils Helstrom (John Marston), the Norwegian captain who initially sold Denham the map to Skull Island. Helstrom convinces Denham and Englehorn that there is a treasure on Skull Island they can retrieve together, but this is only a ploy to dupe the men to take him away from Dakang to prevent his prosecution for the death of Mr. Petersen (Clarence Wilson). The voyage soon gains a stowaway in Petersen's daughter, Hilda (Helen Mack), who winds up accompanying Denham, Englehorn, Helstrom and the ship's cook (Victor Wong) when the crew of the Venture stage a mutiny. The group soon arrive on the shores of Skull Island, where they encounter a large albino gorilla who, presumably, is Kong's son.

Screenwriter Ruth Rose (who co-wrote King Kong and was married to Ernest B. Schoedsack) knew the sequel had no chance of equalling the first film, let alone surpassing it, and instead concentrated on making it funnier. The Son of Kong is knowingly goofy and tongue-in-cheek, with the characters even finding Kong's son within minutes of landing on the island, a laughable notion after the ape was nowhere to be seen in the original picture. Beyond Denham landing his boat a bit further up the island, the script offers no explanation about where Little Kong was hiding during the first film's events. Indeed, Rose's script knowingly leans into the goofiness, never even trying to recapture the emotional core or heart of King Kong. In one scene, Little Kong scratches his head and shrugs at the camera, seemingly breaking the fourth wall, which reflects the non-serious tone. Little Kong also acts embarrassed when he sees Denham and Hilda kissing, and the scene of the pair bandaging the ape's finger is more amusing than touching. Furthermore, the storytelling is less assured than the first picture, with The Son of Kong struggling to maintain interest in the lead-up to the return to Skull Island. However, the screenplay does contain some fascinating ideas, including the Skull Island natives blaming Denham for Kong destroying their village and making it clear that he is not welcome.


Willis H. O'Brien returned to oversee the stop-motion animation for this sequel, though traumatic personal circumstances and frustrations with Cooper and Schoedsack reduced his involvement, as the animator seldom showed up for work. In his stead, Buzz Gibson (O'Brien's assistant on King Kong) finished the animation. Especially due to the time constraints, The Son of Kong features significantly fewer special effects sequences than its predecessor, with the characters arriving on Skull Island at the 40-minute mark of the 70-minute picture. Planned sequences were abandoned, including a dinosaur stampede during the climactic cyclone/earthquake on Skull Island that never made it past the scripting stage. Schoedsack was the sole director for The Son of Kong, as Cooper lost interest in the project after finding out about the reduced budget (less than half of King Kong's budget) and fast turnaround time, instead serving as an executive producer.

Despite the accelerated production schedule, the special effects throughout The Son of Kong remain impressive for the most part, with the crew once again using matte paintings, miniatures and rear-screen projection to portray Skull Island and integrate the live-action actors with the animated creatures. Notable set pieces include a large Styracosaurus chasing a group of characters into a cave and a prehistoric cave bear fighting Little Kong. Although these scenes display an unnerving edge with the ferocious roars of the creatures, the picture's goofiness also shines through, with Steiner's intense music turning to something more playful as Little Kong bumps his head on some rocks during the scuttle. To distinguish Little Kong (or "Kiko") from his father, the ape is albino with white fur and is understandably smaller than King Kong. Little Kong's armature is actually a repurposed Kong puppet from the original film.


Despite RKO's desperate attempt to recapture King Kong's commercial success by striking while the iron was hot, The Son of Kong was only a moderate success, grossing a bit over twice its budget and not coming close to replicating the box office earnings of its predecessor. One supposes that the comparatively underwhelming commercial performance dissuaded RKO from pursuing any further sequels, with the King Kong franchise subsequently lying dormant until Toho used the character in the 1960s and Dino De Laurentiis produced a King Kong remake in 1976. Without ever coming close to the heights of its predecessor, The Son of Kong is a watchable epilogue that remains a competent showcase for the era's groundbreaking stop-motion special effects. Just skip past the first 40 minutes and start watching when the characters reach Skull Island. It feels like half-hearted leftovers, but at least it's sometimes fun. Interestingly, Robert Armstrong reportedly preferred The Son of Kong over the original film because the sequel focuses more on Denham, with the film director becoming the story's protagonist and receiving a happy ending in which he gets the girl. It is doubtful any viewers will share his opinion.

6.1/10


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An involving blockbuster with heart and spectacle

Posted : 1 month ago on 11 January 2025 09:39 (A review of Spider-Man)

The long-gestating big-screen debut of Marvel's most recognisable and iconic superhero, 2002's Spider-Man helped usher in the new contemporary era of comic-book films, establishing a template that continues to influence filmmakers. Like previous successful superhero movies (1978's Superman: The Movie, 1989's Batman), Spider-Man treats the inherently goofy material with utmost sincerity, resulting in an entertaining and thrilling blockbuster that never feels like a self-parody. Additionally, whereas director Bryan Singer banned comic books from the set of X-Men, Spider-Man has a wonderful director in the talented Sam Raimi (Evil Dead 2, A Simple Plan), a massive comic book fan who lets his affection for the source material shine through in every frame. Raimi's adaptation is a film for established comic book fans and newcomers alike, as familiarity with the source material is not a prerequisite. Thrilling on both a visceral and an emotional level, Spider-Man is an action-packed, deeply engaging origin story with hard-hitting poignancy and genuine heart.


In New York City, awkward high school student and keen photographer Peter Parker (Tobey Maguire) visits a university generics laboratory as part of a field trip, accompanying best friend Harry Osborn (James Franco) and his lifelong crush, Mary Jane Watson (Kirsten Dunst), among other students. A genetically engineered spider bites Peter during the trip, and the teen soon realises he has spider-like powers, including enhanced strength, senses and speed, and the ability to shoot webs from his wrists. Peter's sudden behaviour worries his Aunt May (Rosemary Harris) and Uncle Ben (Cliff Robertson), who have cared for the orphan since he lost his parents. When an attempt to earn money as an amateur wrestler ends in tragedy, Peter begins using his abilities to fight crime, hitting the streets of New York City in a distinct red and blue suit as "Spider-Man" to protect the public from criminals. Spider-Man's exploits catch the attention of the media, with Daily Bugle publisher J. Jonah Jameson (J.K. Simmons) hiring Peter as a freelance photographer to supply images of the prolific web-slinger while headlines question if he is a hero or a menace. Meanwhile, Harry's father, Norman (Willem Dafoe), the founder of the Oscorp company, tests a performance-enhancing chemical on himself, but the experiment leaves him mentally unstable. Norman develops an alter ego known as the Green Goblin, who flies around on a glider, wears metallic green armour, and wants to kill Spider-Man.

Since the 1970s, numerous directors and screenwriters tried to tackle Spider-Man, with Marvel exploring options to bring their flagship web-slinger to the big screen and eventually selling the film rights to The Cannon Group in 1985 (for a pittance). Most notably, James Cameron began developing a version in the early 1990s with Leonardo DiCaprio as Peter Parker before lawsuits stalled the production, compelling Cameron to move onto Titanic. Retaining some of Cameron's ideas (including the story's structure and Peter's organic web-shooters), screenwriter David Koepp (Jurassic Park) started scripting Spider-Man when the project finally began taking shape in the late 1990s, with Scott Rosenberg (Con Air) and Alvin Sargent (Ordinary People) contributing uncredited revisions. Within the feature's two-hour runtime, it adequately fleshes out the origins of both Spider-Man and the Green Goblin while introducing several additional characters, from Aunt May and Uncle Ben to J. Jonah Jameson and Betty Brant (Elizabeth Banks). Wisely, script rewrites removed the character of Doctor Octopus (who later appeared in the sequel) because Raimi felt there was not enough room for a third origin story. Remarkably, the supporting characters feel like an organic part of the story instead of forced additions to provide surface-level fan service. Fortunately, nothing feels rushed or underdone, as Spider-Man finds time for effective and engaging moments of character interaction, with a smattering of witty humour to enhance the picture's entertainment value.


Koepp's script roots Peter's story in his modest home life, finding tremendous heart in the teen's relationship with his caring aunt and uncle, who love him like a son and seek to teach him right and wrong. Spider-Man explores the morality of being a superhero, with Uncle Ben delivering the now-infamous line "With great power comes great responsibility" in one emotionally powerful scene. Norman and Peter's personal relationship, with the scientist treating the teen as a son, adds an interesting dynamic and dimension to the battles, particularly since their identities do not remain a secret throughout the story. Additionally, the film depicts the dire and tragic consequences of Peter's decision to engage in petty, vengeful behaviour by not stopping an armed robber. In most superhero films, the protagonist has already internalised these moral lessons, making it refreshing to see a young hero needing to actually learn, mature, and make mistakes. Spider-Man also touches upon the dichotomy of being a hero, with J. Jonah Jameson portraying the web-slinger as a menace and prompting characters to question whether Spidey is a hero. One particularly uplifting moment occurs during the climax when hundreds of New Yorkers fight back against the Goblin and stand up for Spider-Man.

Commencing with a spectacular, web-themed opening credits sequence set to Danny Elfman's superlative score, Spider-Man is immediately engaging, with these first few minutes confirming that the film is in the right hands. With a generous but not overwhelming $139 million budget, Spider-Man's visuals are remarkable, with the state-of-the-art special effects giving convincing life to the titular web-slinger. Raimi demonstrates incredible dexterity throughout the action scenes, from minor scuttles (Peter standing up to Flash Thompson at school) to the bigger battles, such as Goblin attacking a Unity Day festival and a showdown on the Queensboro Bridge. The set pieces are not mere noise, as Raimi pervades the battles with genuine tension, making viewers question whether or not Spidey will always come out on top. The music also significantly contributes to the film's distinct comic-book flavour. Spider-Man is not Elfman's first superhero outing (he previously scored Tim Burton's Batman movies), making him a top-notch choice to compose this film's atmospheric original score. The music is perfect, underscoring the emotion and excitement, and introducing wonderfully memorable motifs.


With cinematographer Don Burgess (Forrest Gump, Cast Away) capturing the action on 35mm film within authentic sets and locations, the picture carries an agreeable aesthetic - things look tangible and real instead of cartoonish. The Oscar-nominated visual effects are, for the most part, spectacular, demonstrating the possibilities of contemporary big-budget filmmaking. Some shots are slightly dated (Peter initially leaping across rooftops as he tests his abilities looks especially ropey, and Goblin vaporising Oscorp's board of directors looks like something from a B-movie), but Spider-Man still looks better and more convincing than the glut of more recent superhero blockbusters that rely on absurdly unconvincing CGI in almost every shot. Raimi uses digital effects only when necessary and ensures that no shots are completely computer-generated to prevent the picture from feeling like animation, which is a quaint notion in hindsight. Raimi's commitment to practical effects even extends to a now-iconic shot of Peter catching Mary Jane's lunch on a tray, a moment that took a reported 156 takes to accomplish.

Maguire creates a vulnerable, three-dimensional hero with insecurities and weaknesses, making Peter Parker/Spider-Man one of Marvel's most relatable and credible superheroes. When Uncle Ben tries to help his nephew by offering advice, Peter's teenage anger and impatience come off as startlingly genuine, a testament to the actor's nuanced performance. Although Maguire's Spider-Man lacks the smartarse, fast-talking dialogue of the web-slinger from the comics, the character begins finding his confidence to taunt his opponents in amusing ways, and the depiction of the titular hero feels authentic and consistent. Alongside Maguire, Kirsten Dunst is a terrific Mary Jane Watson, delivering an endearing and engaging performance as Peter's long-time romantic interest. Dunst was only 19 years old at the start of filming, making her the only member of the cast who actually looks like a teenager. Maguire and Dunst elevate the unspoken romance between Peter and MJ, conveying a lot through expressions and subtle touches.


Willem Dafoe makes for an indelible and memorable villain, believably creating two distinct sides to the character: the arrogant (but sometimes sympathetic) Norman Osborn and the maniacal Green Goblin. Dafoe chews the scenery with gusto as the Goblin (even singing "Itsy Bitsy Spider" while waiting for Spider-Man), delivering a vibrant and sinister performance that remains iconic. Indeed, there is a reason why Dafoe later reprised the role in 2021's Spider-Man: No Way Home. Another standout is J.K. Simmons, who was born to play J. Jonah Jameson. Fast-talking and witty, Simmons is indispensable as the newspaper publisher, making it impossible to imagine anybody else in the role. It is, therefore, unsurprising that Simmons was invited to play the character in the Marvel Cinematic Universe alongside Tom Holland. Other terrific names fill out the cast, from Rosemary Harris and Cliff Robertson, who are perfect as Aunt May and Uncle Ben, to a young James Franco as Harry Osborn, and even Ted Raimi as a Daily Bugle employee. Spider-Man is also the second Marvel movie to feature Stan Lee in a cameo appearance (after X-Men). Lee later appeared in 2003's Daredevil and Hulk before becoming a Marvel Cinematic Universe mainstay until his passing in 2018.

Spider-Man is not ashamed of its comic book origins as Raimi lets the movie be slightly cheesy at times, with voiceover narration, a campy Bruce Campbell cameo as a wrestling announcer (who coins the term "The Amazing Spider-Man"), Macy Gray performing a live concert, sly humour, and other moments that would look out of place in "dark and gritty" superhero movies. Raimi takes the movie seriously but not too seriously, a tricky balancing act that the filmmaker confidently achieves. Admittedly, a few of Spider-Man's components are too distinctly Hollywood, including the depiction of high school (down to the students who look like they are in their 20s), the decision to kill the main villain, and the script positing that Parker was able to devise and create such an impressive suit. Nevertheless, none of this is enough to meaningfully tarnish the film. A coherent, involving comic-book origin story that delivers action and spectacle, Spider-Man works so well because Raimi never loses sight of the story's human core and ensures there is heart to supplement the blockbuster elements.

8.8/10


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Comments

Posted: 8 months, 3 weeks ago at May 25 1:13
Some things never change. All these years later, your reviews still make me cum. :)
Posted: 10 years, 3 months ago at Nov 2 16:35
Sorry to hear about the discharge, but getting a payout sounds nice. I know how excited you were about the army, so that sucks your run was short-lived. I'm sure another door will open for you though. :)

How's your foot?
Avatar
Posted: 10 years, 6 months ago at Aug 5 13:42
Posted: 10 years, 6 months ago at Aug 5 1:28
Glad to know they didn't stomp out your love of film...though I'm positive that's impossible. ;) The shift from doing reviews full-time is definitely a good thing, and no doubt by dropping that habit you'll have more time to devote to better activities. Personally I'm hoping that at some point you'll focus on channeling your movie knowledge into making movies for the rest of us to enjoy, so long as that's something you're still interested in.

All right, I better eat dinner. Keep taking care of yourself.
Posted: 10 years, 6 months ago at Jul 30 16:13
Hey, sorry to hear about your injury. Hope that at the end of your 5 weeks leave you're feeling immensely better and able to do all that you're expected to. Sounds like you've got the determination.

As for the site, well, sure I'll miss your reviews & thoughts on movies but no worries. Change & growth are good things, so kudos and best wishes on moving onward & upward.

Keep me posted on how you're doing. Talk to you soon....
Posted: 10 years, 8 months ago at May 23 16:30
Posted: 10 years, 10 months ago at Apr 12 20:26
All the best, buddy. It'll be great for you.
Posted: 10 years, 10 months ago at Apr 5 15:50
Sure, I'll take it. Thanks for offering!
Posted: 10 years, 10 months ago at Apr 5 7:25
Very cool! I'll look forward to your thoughts on it then. If you have time to add them to the site before you ship off, that is.

Off to bed with me...up later than I'd intended. Funny how time flies by when you're online. Hope you have a good weekend! :)
Posted: 10 years, 10 months ago at Apr 4 2:22
If you want a good martial arts movie with a story that DOES make sense, I recommend Man of Tai Chi. It's probably already on your radar, but I watched it tonight & enjoyed it.
Posted: 10 years, 10 months ago at Apr 3 22:08
Thanks for the warning! And your thoughts in your list adequately backed up said warning. I'm just going to ignore all sequels to his films. Wonder if he'll go back to being a monk or finally make a good standalone film next...sounds like if he tries the latter he'll need new blood for the script & production. Heh.
Posted: 10 years, 10 months ago at Apr 1 6:33
Ahh nice! I like the bit about Tom Hanks at the end of that clip too. Yeah, "Man or Muppet" is by far my favorite song & scene from The Muppets. They really did a great job with the music in that film overall. I've never cared much for the Tex Richman song (and the longer soundtrack version grates on my nerves even more), and the Cee-Lo cover is all right, but everything else is aces. Glad to hear they continued that with the new one. The main reason I haven't seen it yet is because I haven't been able to take my daughter with me & I want to watch it with her. It's not looking like I'll get a chance to either unless I want to go somewhere that's not Drafthouse (which I'm always reluctant to do), but maybe I'll suck it up & slum it just for her. I'd rather see it at Drafthouse though since I know they'll have 30 minutes of Muppets clips showing before it. Sigh.
Posted: 10 years, 10 months ago at Apr 1 5:33
I just knew you were going to tell me you were stealing a choppah. ;)

Good to know about the new Muppets soundtrack. I bought the last one as much for my daughter as for myself & still like most of the songs on it. And while I've always had mixed feelings about the soundtrack for The Muppet Movie, I may be picking that up on vinyl next month when it's re-released for Record Store Day. Evidently it's been out of print for 35 years, so clearly their renewed popularity is a very very good thing if they're finally making new ones. The trick will be to get my hands on a copy before they're all gone.
Posted: 10 years, 10 months ago at Apr 1 0:56
Posted: 10 years, 10 months ago at Mar 29 15:18
Posted: 10 years, 10 months ago at Mar 27 22:14
They do indeed do 35mm prints (and their downtown Austin location is set up for 70mm prints too), and YSH will be screened in 35mm. Let me know when you're packed up & headed here. ;)

Yeah, Muppets Take Manhattan is my least favorite of the Henson ones too. I liked it better when I was a kid (back before I consciously noticed things like whether plots made sense), but the older I get the less I enjoy it.

And again on the interesting timing I saw today that Drafthouse is screening The Great Muppet Caper this Saturday (also in 35mm). It's FREE, so maybe I'll hit it up if the timing works out to do so. Only downside there is I can't take the kiddo due to their no kids under 6 years old rule (which they only lift for pre-2pm screenings on Tuesdays, AKA "Baby Day").
Posted: 10 years, 10 months ago at Mar 27 6:16
So today on Twitter, my local Alamo Drafthouse announced they're screening Young Sherlock Holmes this Sunday. How's that for timing? I don't know right now whether I'll go (doubtful, honestly, as there are a few NEW films I'd rather drop that money on), but I still thought it was worth mentioning.
Posted: 10 years, 11 months ago at Mar 23 23:15
Thanks for the heads-up on those reviews! I haven't been keeping up with the site very well lately, but now that I've finally found a new job to start next month I should get back into the swing of things around here before long. Glad you enjoyed YSH, and I'll keep an eye out for your Great Muppet Caper review. I just now got all caught up on your 2014 list as well & was glad to see you enjoyed several other movies recently too (Perks, American Werewolf, Paranorman, to name a few).

Speaking of movies I think I'll watch a couple before I crash for the night. Cheers!
Posted: 10 years, 11 months ago at Mar 22 21:10
So glad you liked it!! Yeah, I'd missed it- sorry for the delay in answering, but life lately has been getting in the way of everything movie-related (more than usual). Could probably use a re-watch of Perks, actually, hehe.
Posted: 10 years, 11 months ago at Mar 13 12:58
Thanks for the vote!