Reviews by PvtCaboose91

A controversial and unforgettable British television movie from 1984, Threads is arguably one of the only films that indisputably lives up to the hype of being traumatising and unsettling beyond words. Although not a horror movie in the classical sense, as there are no ghosts or demons, it is undoubtedly a horror movie that shows the horrifying impact and aftermath of nuclear war with haunting results. Exhaustively and meticulously researched by director Mick Jackson (who previously oversaw the documentary A Guide to Armageddon), Threads is the first film of its kind to depict a nuclear winter. The film was broadcast a year after the similarly-themed The Day After hit television screens across the globe, but Threads takes a different approach to the depiction of a nuclear attack, with Jackson creating more of a quasi-documentary instead of a straightforward dramatisation. Threads is a confronting and harrowing viewing experience, and it is not something you will want to revisit frequently, but its relevance continues to endure in the 21st Century, and it is an essential watch.


Written by author and playwright Barry Hines, Threads is not a globe-trotting disaster movie in the vein of a Roland Emmerich production. Instead, it remains solely focused on the city of Sheffield in Northern England. Young adults Ruth Beckett (Karen Meagher) and Jimmy Kemp (Reece Dinsdale) discover an unplanned pregnancy and decide to marry, planning for the baby's arrival and dealing with their respective families. Sheffield is also home to strategic military targets, including steel production factories and an R.A.F. base. A conflict arises between the Soviet Union and the United States of America, and, despite attempts to keep things peaceful, it culminates with nuclear blasts that bring an end to civilisation as we know it. Millions are killed across Europe in an instant, while the survivors face an uncertain future of food shortages, a lack of shelter, radiation poisoning, and endless labour.

Threads does not concern itself with the politics behind the war. Instead, it is more about the experiences of innocent civilians who can only helplessly watch the news coverage of the senseless conflict, endure growing government restrictions, and fight for survival after the nuclear blast obliterates virtually everything. The escalation of the situation is highly compelling, with Jackson portraying what could conceivably occur before, during, and after a nuclear conflict. Scenes of panic buying, travel restrictions, and anti-war demonstrations (that are violently shut down by police) look incredibly eerie and uncanny after the pandemic, which is a testament to the veracity of Jackson's exhaustive research. Furthermore, instead of endless money shots of explosions decimating landmarks, Jackson concentrates on the people caught in the nuclear blast, with grotesque and disturbing imagery of bodies being melted, a woman losing control of her bladder, and people helplessly trying to assist one another. Plus, scenes of mass panic and hysteria are genuinely distressing.


Unfortunately, Threads lacks a compelling protagonist to guide us through the horrific events, as this is more of an ensemble piece comprised of various vignettes with a range of characters, some of whom are recurring but none of whom we intimately grow to know. As a result, viewers are kept at arm's length, which is probably the intention as the movie plays out like a documentary, but it is somewhat disappointing nevertheless. The ensemble is gargantuan, and Jackson deliberately chose unknown actors to fill the various roles to heighten the film's impact. Thankfully, there is no single dud performer in sight, with all the actors confidently hitting their marks. This is most commendable in the aftermath of the nuclear blast, with the actors needing to convey the sheer depression and hopelessness of the nuclear winter, as well as radiation sickness and sheer weakness from malnutrition. Jackson convincingly portrays people from all walks of life, with no artificiality or showiness in sight, enhancing the production's laudable realism.

Accomplished on a small budget, Threads was shot on grainy 16mm film stock, which undeniably works in the film's favour. The dreary and unpolished 16mm photography augments the horrors and creates a realistic sense of immediacy that crisp digital cinematography cannot come close to achieving. Jackson intercuts lots of archival material throughout the movie, including shots of military forces, planes, and explosions, solidifying the documentary approach to the subject matter. Additionally, despite the limited budget, the makeup and prosthetics are effective and, at times, difficult to look at. Not all of the special effects stand up to contemporary scrutiny, as the compositing is a little on the dated side when the first bomb hits near Sheffield, but this does not matter in the slightest. Threads does not live and die by its special effects, as it is not about the money shots. The intimate dramatic scenes between characters are the main focus, and Jackson scarcely puts a foot wrong during these sequences.


Anybody seeking a conventionally entertaining disaster or apocalypse movie should steer clear of Threads, as this is not an enjoyable film or even a good-looking one, which is entirely by design. With any hope, this is the closest that any of us will come to experiencing a nuclear winter. Indeed, as the years continue to go by after the blast, life might continue for some of the characters, but it is arguable whether or not life is actually worth living in this sort of post-apocalyptic world. Gut-wrenching and disturbing, Threads is hard to watch and even harder to forget.

8.0/10

An enduring classic from director Billy Wilder (The Apartment, Some Like It Hot), 1951's Ace in the Hole sparkles with irresistible wit from the very first scene and never lets up. An intelligent, acerbic satire that looks scarily prophetic and increasingly relevant in the 21st Century, Ace in the Hole ruthlessly skewers journalistic ethics and media sensationalism while exploring mankind's innate fascination with the lurid. These heady, controversial themes ended Wilder's winning streak with Paramount Pictures, foundering at the box office upon its release and drawing the ire of journalists and critics of the period. It took several decades before it received critical reappraisal, after which it deservedly developed into an iconic film with an esteemed reputation. Time has not only been kind to Ace in the Hole - it has actually elevated Wilder's film. With its boldly uncompromising portrayal of human nature at its ugliest and worst, Ace in the Hole is one of the most important and essential American movies of the 1950s.


Self-centred newspaper report Chuck Tatum (Kirk Douglas) has been fired by eleven major newspapers for reasons ranging from libel lawsuits to drinking alcohol and having an affair with a publisher's wife. Broke and unemployed, Chuck winds up in Albuquerque, where he bullies his way into a job at the tiny Albuquerque Sun-Bulletin newspaper run by Mr. Boot (Porter Hall). It's not a job that Chuck actually wants - he merely plans to find a big story, make it a national sensation, and use it to get a position at another big-city newspaper. While on an assignment to cover a rattlesnake hunt, Chuck and the newspaper's young photographer, Herbie (Robert Arthur), stumble upon another story: a local man named Leo (Richard Benedict) is trapped in a cave. The situation is somewhat unremarkable, however, and the engineering team can have him out within a day, but Chuck wants to extend the dilemma for maximum media coverage, conspiring with the Sheriff (Ray Teal) to hatch an alternative rescue operation that will last several days. Chuck's exaggerated news coverage triggers a frenzy of interest, with thousands of onlookers swarming the area, providing a boom for the local businesses. One such business is operated by Leo's wife, Lorraine (Jan Sterling), who is desperate to leave Leo but stays in town to reap the financial rewards of the media circus.

Ace in the Hole is loosely based on real events: in 1925, Floyd Collins was trapped in a Kentucky cave. An intense flurry of interest ensued, and newspaper reporter William Burke Miller received a Pulitzer Prize for covering the event, during which he participated in rescue efforts and had direct contact with Collins. Unfortunately, Collins did not survive the ordeal. Chuck knowingly references the Collins story after learning about Leo while talking to Herbie, further underscoring his conscious lack of morality in his hunger for a sensationalised human interest story. Mr. Boot's fundamental philosophy at the Albuquerque Sun-Bulletin is "Tell The Truth," putting him at odds with Chuck's desire to sell millions of papers by reporting a manipulated version of the truth, especially when he starts writing daily stories about Leo. Many critics in the 1950s found it preposterous that Chuck could use shady tactics to essentially call the shots on the rescue operation while keeping the story to himself, but it's important to approach Ace in the Hole as a satire, and the execution is sufficiently believable considering Chuck's unmatched gift of the gab.


Through a combination of sharp dialogue and note-perfect performances, Ace in the Hole does not feel like homework, nor is it the type of classic film you can only admire rather than love or enjoy. It's unfailingly engaging throughout, which is also a testament to the superb technical presentation that feels more dynamic than the stilted or static movies of this era. Most note-worthy is Charles Lang's cinematography, which is distinctly noir-esque. The compositions are consistently captivating, and Lang's use of lighting and shadows make the sets feel like authentic locations, rather than internal soundstages. This is particularly beneficial for the underground sequences; the cave where Leo is trapped looks incredibly convincing. It also helps that the main external set was constructed in an outdoor location, and it looks incredibly elaborate - it was actually the largest non-combat set ever built at the time. Admittedly, the rear projection techniques throughout Ace in the Hole do look dated in the 21st Century, particularly in vehicles or, in one case, inside the press tent near the cave. However, the illusion is convincing enough, and the minor technical shortcomings do nothing to tarnish Wilder's spellbinding vision.

As the sneaky, fast-talking, manipulative Chuck Tatum, Kirk Douglas delivers a first-rate performance and superbly handles all of the character's intricacies. His spiel towards Mr. Boot at the beginning of the movie makes you believe he can talk himself into gaining a job on the spot, and Douglas does not shy away from the darker aspects of the role, including a growing alcohol dependency or a shocking moment of Chuck slapping Lorraine. There's scarcely a dud performance in sight, with Richard Benedict also making a fantastic impression as Leo. Benedict comes across as naive and somewhat pathetic while talking to Chuck, as he believes that everyone actually cares about him and he trusts the newspaperman implicitly.


Wilder is renowned for being an astute social critic, using his films to critique American culture and shine a light on unsavoury parts of society. With Ace in the Hole (the title of which Paramount secretly changed to The Big Carnival without Wilder's permission), Wilder and co-writers Walter Newman and Lesser Samuels use a real-life story to explore the shamelessness and sordidness associated with major human interest stories, and the flagrant lack of humanity exercised by journalists to gain (or manipulate) big scoops for career advancement. Wilder also eschews a happy ending, with the film closing on a powerfully tragic and depressing note that remains true to the director's vision. Ace in the Hole is one of Wilder's defining masterpieces, which is a huge call considering his iconic body of work.

10/10

Sandwiched between the big-budget blockbusters of The Flash and Aquaman and the Lost Kingdom, 2023's Blue Beetle represents an unusual and unexpected diversion for the last act of the now-defunct DC Extended Universe. With the superhero genre slowly fading due to viewer fatigue as a result of oversaturation and lazy productions, Blue Beetle was always going to be a tough sell at the box office. Without any big-name stars, established DC characters in supporting roles, or notable universe connections or events, it's essentially a standalone superhero movie that happens to take place in the DCEU. Indeed, Blue Beetle feels more like a pared-down, more straightforward Phase One Marvel movie than a continuation of the DCEU originally established by Zack Snyder, but that's not necessarily a bad thing. Directed by Ángel Manuel Soto (Charm City Kings), Blue Beetle is surprisingly entertaining and compelling, surpassing most recent offerings from both Marvel and DC. It's not particularly ambitious, and it does not try to reinvent or subvert the overcrowded genre - it's just a well-made, old-fashioned superhero movie that gets it right where it counts the most.


After graduating from Gotham Law University, Jaime Reyes (Xolo Maridueña) returns home and reunites with his family in Palmera City. However, eviction looms for the family and job opportunities are scarce, adding to their financial anxieties. In desperation, Jaime takes a job working at a resort with his sister, Milagro (Belissa Escobedo), where they encounter the ruthless Victoria Kord (Susan Sarandon), CEO of Kord Industries. However, Jaime loses his job when he intervenes in a heated confrontation between Victoria and her niece, Jenny (Bruna Marquezine), who takes pity on the optimistic college graduate and invites him to explore job opportunities at Kord Tower. However, during the subsequent meeting, Jenny entrusts Jaime with a stolen alien artifact known as the Scarab, the power of which Victoria intends to harness to create soldiers. When Jaime opens the box containing the Scarab, it fuses to his body, giving him an armoured exoskeleton and superhuman abilities. However, Victoria is unwilling to let Jaime keep the Scarab or its powers.

Written by Gareth Dunnet-Alcocer (Miss Bala), Blue Beetle's narrative resembles 2008's Iron Man in some respects, though the initial pairing of Jaime and the Scarab, and the testing of his powers, is reminiscent of Spider-Man. However, the cultural change of scenery is welcome here, with Jaime's Mexican heritage and family giving the production a distinctive flavour. The story has genuine heart to boot, with themes of familial unity and loyalty, and the emotional beats are surprisingly effective instead of perfunctory. However, at over two hours long, Blue Beetle outstays its welcome, as the flick is not sharp or energetic enough to sustain momentum or interest. The script thankfully does not go heavy on political commentary, but lines like "Batman's a fascist" are unnecessary and threaten to ruin the experience, while the script does suggest that Jaime's family are disadvantaged and generally frowned upon due to their Mexican heritage. This angle is surprisingly underdeveloped, however, and the themes feel like an obligatory afterthought that might stir up controversy but will not satisfy anybody.


Blue Beetle's tone is lighter compared to other DCEU projects, with a brighter colour palette that is nothing like the visually dim Snyderverse. In keeping with the traditional superhero formula, humour livens the proceedings, and the jokes actually land more often than not. Some of the material is childish, but the "bug fart" moment during the climax made this viewer smirk from ear to ear. With about half the budget of a regular superhero movie, Blue Beetle is not an excessively digital-looking, CGI-laden blockbuster extravaganza. The scope is smaller and there is no numbing CGI excess, which makes it even more refreshing in 2023. There are set pieces, but the astonishingly convincing digital effects enhance rather than overwhelm, with practical sets, location filming and actual costumes (Jaime's armour is not purely digital) adding an appreciable tangibility to the overall aesthetic. Soto admirably acquits himself with the action sequences, which are mostly reserved for the final third but are enormously entertaining and exciting. The battles are more grounded than regular big-budget blockbusters, immediately making Blue Beetle more engaging than other, more indulgent genre offerings.

The characters inhabiting Blue Beetle are mostly likeable, played by a perfectly competent selection of actors who seem invested in the material and give it their all. This is Cobra Kai star Maridueña's first leading role in a major movie (hell, it's his first major movie, period), and he absolutely nails it. He's a charming and genuine screen presence able to handle the character's various intricacies and emotions, and it's easy to see why he landed this role. Alongside him, Jaime's family are endearing and actually emerge as distinctive people instead of cardboard cutouts. The standout is Jaime's uncle, Rudy (George Lopez), who's resourceful and amusing in equal measure. Also worth mentioning is the intimidating Raoul Max Trujillo as Victoria's bodyguard, Carapax, who's a legitimate threat and receives more character depth than anticipated. Less interesting is Victoria, who's as generic and one-dimensional as they come. Sarandon is a fine actor, but this is not the role for her, as the screenplay only asks for a broad, bone-headed caricature that she fails to do anything interesting with.


As with most mainstream superhero movies, Blue Beetle relies on contrivance, convenience and ludicrously precise timing to smoothly navigate from A to B. For example, Jaime arrives at Kord Towers just as Jenny is stealing the Scarab, the security surrounding the much-sought-after Scarab is incredibly flimsy, Rudy's technical know-how proves useful for disabling security systems, and so on. None of this is overly detrimental as we are dealing with a mainstream Hollywood blockbuster, but it's noticeable all the same. Despite its missteps, Blue Beetle is far better and more worthwhile than anticipated, delivering satisfying spectacle with a smidgen of emotion. If more DCEU movies were like this, a hard reboot would not have been necessary.

6.7/10

Santa slasher movies set at Christmastime are nothing new, as we've seen serial killers dressed as jolly old Saint Nicolas in cult flicks like Silent Night, Deadly Night (plus its sequels) and Christmas Evil, among many others. 2022's Christmas Bloody Christmas is the latest feature from wunderkind director Joe Begos (VFW, Bliss), and it essentially amounts to another Santa slasher movie...but with an unstoppable killer robot instead of a disgruntled psychopath who hates the festive season. In this sense, it's more like The Terminator than Silent Night, Deadly Night. Excessively violent and relentlessly paced when the shit fits the fan, Christmas Bloody Christmas is a grimy, nasty festive grindhouse flick, and an immediate holiday cult classic.


It's Christmas Eve, and record store owner Tori (Riley Dandy) is preparing to close her shop for the night with the assistance of her employee, Robbie (Sam Delich). Tori is only interested in binge drinking and partying to avoid thinking about the holiday, and Robbie convinces her to ditch her Tinder date to spend time with him at a bar. Their liquor-fuelled flirtations result in an evening of drunken passion, but the fun does not last. At a nearby toy store, a robotic Santa Claus (Abraham Benrubi) malfunctions and transforms into a violent killing machine, going on a rampage and brutally murdering everyone in its path. Tori and Robbie witness Santa's attack on a neighbouring house and attempt to flee, leading to an intense fight for survival on Christmas Night.

Those familiar with Begos's previous films will know what to expect here, as his cinematic aesthetic remains unchanged: grainy 16mm cinematography, gory practical effects, neon lighting, an 80s-inspired visual style, and a moody synth score. The movie earns its R rating, too, and it's even verging on NC-17 territory - there are plenty of creatively gory and vicious kill scenes throughout, and the camera does not shy away from the violent details. Begos appears to actively avoid digital effects, with the seemingly paltry budget allocated to creative practical effects and makeup. For good measure, the writer-director even throws in some nudity and sex scenes, making Christmas Bloody Christmas feel like an authentic '80s cult movie instead of a poor contemporary imitator. The only problem from an aesthetic standpoint is that it's occasionally difficult to discern what is happening due to the dim lighting and confusing framing, but these moments are thankfully scarce enough not to cause a major problem.


Before the robotic Santa begins his killing spree, Christmas Bloody Christmas lets us spend time with the characters, with Riley and Robbie receiving the most attention and development. The first half-hour or so amounts to characters discussing pop culture and sharing their opinions, reminiscent of something you would expect to see from Quentin Tarantino but not quite as absorbing. These scenes are hit and miss, and your mileage may vary depending on how your opinions compare to the characters (one amusing barb about Blumhouse's atrocious Black Christmas remake made this reviewer smirk), but it's never painfully dull - it's just a touch mundane. However, when the rampage begins, it rarely stops - the movie transforms into a relentless chase movie.

Whereas most slashers meander from one victim to the next, there's more momentum to Christmas Bloody Christmas, which primarily stays with the character of Tori throughout the entire movie as the events happen around her. Consequently, there's more momentum and tension, mainly since Begos is a legitimately good filmmaker who doesn't simply rely on the gore to see him through. Indeed, there is far more editorial and directorial skill throughout Christmas Bloody Christmas than all the other Santa slashers combined. The second hour, in particular, is relentlessly thrilling and fast-paced, but Begos also knows when to call it quits; the 87-minute running time feels perfect, and the movie doesn't outstay its welcome. The performance by Riley Dandy as Tori also deserves a mention; she truly throws herself into the character with spectacular results, handling the role's different emotions and moods with confidence.


Christmas Bloody Christmas is not as great as VFW, but it is better than every other Christmas slasher movie I have seen, and it's a cut above the usual low standard for Hollywood's festive output. It's a wild, enjoyably gory ride that delivers precisely what it advertises on the tin.

7.9/10