Reviews by PvtCaboose91

All reviews - Movies (1559) - TV Shows (38) - DVDs (2)

A nasty, old-fashioned, manly revenge actioner

Posted : 4 years, 7 months ago on 21 September 2019 03:47 (A review of Rambo: Last Blood)

Note: Two versions of Rambo: Last Blood were released into theatres: an 89-minute cut in North America and the United Kingdom, and a 101-minute cut in all other territories. This review specifically relates to the 101-minute version.

Even for hardcore Rambo fans, the idea of a fifth instalment seemed excessive and unnecessary, given the note-perfect ending of 2008's Rambo which brings the titular character full circle. But co-writer and star Sylvester Stallone manages to do the impossible, cooking up a new story which meaningfully contributes to John Rambo's character arc and delivers the type of balls-to-the-wall, vicious mayhem that fans attend these motion pictures to witness. Rambo: Last Blood is a different type of Rambo movie, more solemn and character-focused, to the extent that some believe this should not be part of the series at all. However, with the weight of Rambo's history behind it, the material has more significance and context. Directed by newcomer Adrian Grunberg (Get the Gringo), perhaps the most refreshing thing about Last Blood is its unwillingness to force a political agenda or subscribe to ever-changing standards of political correctness, making it feel like a nasty, old-fashioned, manly revenge picture from the 1970s.

Peacefully living on his late father's ranch in rural Arizona, Vietnam War veteran John Rambo (Stallone) keeps his inner demons under control with pharmaceutical assistance, spending his days taking care of the property's horses as well as forging blades in his underground sanctuary. While he prefers solitude, Rambo maintains a close relationship with housekeeper Maria (Adriana Barraza), and serves as a guardian for her 18-year-old granddaughter Gabrielle (Yvette Monreal) who is about to leave for college. Curious about the world, Gabrielle tracks down her absentee father (Marco de la O) in Mexico, harbouring a desire to confront him about why he abandoned the family. Rambo is quick to dissuade the young woman, but she defies his advice, travelling south of the border only to become ensnared in a cartel sex trafficking ring run by Hugo (Sergio Peris-Mencheta) and his hothead brother Victor (Óscar Jaenada). Rambo sets out to save his loved one without hesitation, awakening the dormant beast within himself as he navigates the violent city. Rambo's mission also attracts the attention of journalist Carmen (Paz Vega), who previously lost a loved one to the ruthless cartel's operation.

The previous sequels dropped Rambo into a real-life, ripped-from-the-headlines setting that is relevant to the era, such as Vietnam in Rambo: First Blood Part II, and the Burmese Civil War in 2008's Rambo. This fifth movie continues along the same lines, setting its sights on human trafficking and forced prostitution in Mexico, which is an ongoing international concern. At just over 100 minutes in length, Last Blood has sufficient narrative breathing room, with unhurried early scenes between Rambo and his de facto family before trouble strikes in Mexico, while the screenplay additionally explores the aging soldier's broken mental state at this point in his life. The underlying theme at play here is how someone like Rambo can attain peace after living in a self-described world of death, trying to stay in control as he attempts the serene family lifestyle, using the horses as therapy. To Rambo, who still suffers from PTSD, his underground tunnels represent a Minotaur's Labyrinth of madness and memories, sparking aggressive Vietnam flashbacks. By taking the fight underground, he harnesses the violent trauma associated with these tunnels to kill his enemies, giving more substance to the climax. Like the fourth Rambo film, it might seem like I am reading too much into Last Blood, but again, I believe the critics are not reading enough into it, or acknowledging the story's thematic foundation.

Written by Stallone and Matt Cirulnick, Last Blood does enough to build palpable relationships between the characters, creating a sense of humanity amid the chaos. Furthermore, it helps that the scenes between Rambo and Gabrielle feel genuine as opposed to perfunctory, including a standout moment in which Rambo delivers an emotional speech to his niece at the end of the second act. Now in his early 70s, Stallone confidently slips back into his iconic role, playing a world-weary Rambo who struggles to keep a lid on his animalistic instincts. Thankfully, the movie resists the temptation to give Rambo a younger protégé, with Last Blood remaining Stallone's show from start to end. Proficient support is provided by Monreal and Barraza, while Peris-Mencheta is a credible villain. Additionally, like the fourth film's depiction of Myanmar, the scenes involving violence and prostitution in Mexico are nihilistic and grim, making it all the more satisfying when Rambo finally unleashes hell upon the cartel army. However, one story element which feels short-changed is the subplot involving Carmen, while Gabrielle's father is oddly insignificant as well, though any further material involving either character would probably be too generic and slow down the narrative.

Last Blood adopts a stark tonal change, feeling more like Logan, Sicario or Unforgiven than the jingoistic, cheesy Regan-era Rambo sequels of the 1980s. Although Rambo does not hesitate to carry out violent acts, this follow-up is not as action-packed as its predecessors, with most of the carnage reserved for the big climax, which is perhaps the most vicious, violent set-piece of the series to date. First Blood memorably showed us Rambo's ingenuity with guerrilla warfare, but he refrained from actually killing, while the sequels involved Rambo being on the offensive as he wasted countless enemies with large weapons. In Last Blood, we finally get to see Rambo unleash his guerrilla training to kill, and it is truly a sight to behold. Under Grunberg's focused direction, the final ten minutes or so amount to a taut succession of gory slayings, showing that Rambo is still a relentless one-man force to be feared. Moreover, the R rating is pushed to its boundaries, showing the gory consequences of Rambo's traps as he becomes a slasher movie antagonist, swiftly moving around his tunnel network as he mercilessly slaughters the cartel intruders. When Rambo cuts loose, it's heart-pounding cinema, sure to provoke goosebumps and foot stomping. It is also more impactful directly because of the lengthy build-up preceding it. Meanwhile, Brian Tyler returns as composer, reusing a few recognisable cues and making astute use of the iconic Rambo theme. This is not Tyler at his best, but the music ramps up the intensity and underscores the emotion effectively.

Contrasted against the cheap, straight-to-video Escape Plan sequels, Rambo: Last Blood carries appreciable gravitas, while the story's execution is effectively sincere. It is a formulaic movie from a narrative standpoint, while villains are predictably cartoonish, but there are some unexpected plot developments which feel appropriate given the subject matter, and it creates a satisfying ending for Rambo nearly forty years after the release of First Blood. It is not on the same level as First Blood (not many movies are), and it lacks the urgency of the fourth instalment, but it still delivers the goods, even without Rambo's trademark long hair and bandana (and even with some mediocre digital effects). Be sure to stick around for the first part of the end credits, as it recaps the franchise and adds more to Last Blood's ending.

7.9/10

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Entertaining as a bizarre Aussie comedy-horror

Posted : 4 years, 7 months ago on 15 September 2019 01:47 (A review of The Howling III)

The third instalment in the incredulously long Howling series (eight films and counting), 1987's Howling III: The Marsupials sees the return of Australian filmmaker Philippe Mora as director and co-screenwriter, cooking up a uniquely goofy genre romp set in the wilds of Australia. As a sequel to Joe Dante's The Howling, it is easy to understand the disdain towards Howling III, as this is a standalone entry that does not feel like an organic continuation of the original classic and is not connected to its predecessor. However, the film is an entertaining success if taken as a bizarre, completely off-the-nails '80s Ozploitation comedy-horror, as flawed as it definitely is.

In Australia, a clan of marsupial werewolves live in isolation and relative peace in a rural bush town, led by Thylo (Max Fairchild). Werewolf Jerboa (the gorgeous Imogen Annesley) escapes her tribe, fleeing to the streets of Sydney where she meets an American named Donny (Leigh Biolos), who is working on a low-budget horror film and wants to recruit the runaway for a role in the production. Jerboa and Donny rapidly fall in love, but Jerboa's true animalistic nature is soon revealed to the world. Meanwhile, Australian anthropologist Beckmeyer (Barry Otto) is determined to uncover the truth behind the continent's long-standing werewolf secrets, joining scientist Professor Sharp (Ralph Cotterill) in his investigations.

On paper, Howling III is based on Gary Brandner's novel The Howling III: Echoes, but the film actually bears no resemblance to its literary source. Storytelling is inconsistent throughout, as Mora throws a lot at the wall to see what sticks - most bizarrely, the film establishes that a camera crew is following The President of the United States (Michael Pate), but the distinction between the purported "found footage" and the film footage does not exist, and no additional references to a camera crew are uttered after the five-minute mark. For some reason, too, the American government is heavily involved in Australian affairs, and Jerboa ostensibly does not hold any grudges against Thylo in the third act even though he sexually abused her (which is why she left the tribe in the first place). However, the mythology behind Howling III is sufficiently fascinating, connecting the Aussie lycanthropes to the extinct Tasmanian Tiger, and the film actually has a message about tolerance and peace, reminding us that werewolves are people, too.

There are fun ideas throughout Howling III, including a transformation sequence during a ballet as well as a scene in which Jerboa gives birth in marsupial fashion. One poor extra is even thrown off a building, set to the tune of the A.J. Brown song "All Fall Down." Nevertheless, Mora's vision is held back by a noticeable lack of funds; the prosthetic effects are cheap and phoney, a military raid on the werewolf pack involves merely a dozen soldiers, and a short scene at the Oscars was obviously filmed in a tiny room. There is a certain charm to this cheapness, though your mileage will vary depending on your tolerance for this type of cinema. As a horror movie, Howling III noticeably lacks bite as well, and even though a couple of attack sequences are well-edited, Mora strangely keeps things PG-13, shying away from the type of overzealous gore (and cheap nudity) that we come to expect from campy horror. Furthermore, rather than closing with a big finish, Howling III instead fizzles out with a minor showdown followed by a peculiar extended prologue, solidifying this as a cult curiosity as opposed to a genuine genre classic.

At the very least, Howling III: The Marsupials never takes itself too seriously; for crying out loud, one of the characters even asks "Wanna put a shrimp on the barbie?" The performers all understand what type of movie this is, and play the material accordingly without winking at the camera. Frank Thring (Ben-Hur, Mad Max Beyond Thunderdome) is especially amusing as an eccentric film director. In a sea of werewolf flicks and Howling sequels, Howling III stands out because it proudly wears its heritage on its sleeve; the more Australian it gets, the more fun it is to watch. It's not a strong endeavour, but it's a fun enough waste of 94 minutes.

6.2/10

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An involving, at times horrifying animated classic

Posted : 4 years, 7 months ago on 1 September 2019 10:00 (A review of Watership Down)

A passion project for writer-director Martin Rosen, 1978's Watership Down is an adaptation of the treasured novel of the same name by Richard Adams, compressing the 413-page source into a streamlined 92-minute animated movie. At its core, this is a survivalist adventure picture with political undertones, and it's a genre classic that is most remembered for not being suitable for little kids. Indeed, do not let the cutesy rabbit characters or the PG rating fool you, as Watership Down is brutal and harrowing, the furthest thing imaginable from a classic Disney movie. It's a confident and remarkably realised anthropomorphic vision, bolstered by sumptuous animation and a roster of sublime actors who deliver the material with astute sincerity.

In a crowded, regimental warren near Sandleford in the United Kingdom, rabbit Fiver (Richard Briers) has an apocalyptic vision which convinces him that the entire burrow is in grave danger. Fiver and his brother Hazel (John Hurt) attempt to convince the chief rabbit (Ralph Richardson) to evacuate but are fiercely ignored, with the chief announcing that nobody can leave the warren. Following a conflict, Fiver and Hazel, along with several other rabbits - including Bigwig (Michael Graham Cox) and Blackberry (Simon Cadell) - manage to escape, setting out in search of a new home. A perilous, uncertain road lies ahead of them, with the threat of death lurking around every corner in the form of rats, birds of prey, dogs, as well as humans, who wield firearms and set snare traps. The group is also in need of mates, while soldierly rabbits in another dictatorial warren represent further danger.

Beginning with a mythological prologue that outlines the rabbit species' genesis, a rich world buttresses Watership Down, with the animals living in constant fear of predators, as the fragility of their lives is continually underscored. The warren communities, meanwhile, are patriarchal and oppressive, enforced by de facto policemen and military types. The rabbits of this story are hard-bitten as a result of their difficult living conditions and were not designed for maximum cuteness. In Rosen's hands, Watership Down is uncompromising and hard-edged, with a sense of danger permeating the story. No matter how cute the rabbits are, they are killed off without sentimentality, reflecting the cruelty of nature in the real world. This is a violent movie despite its PG rating - there's Fiver's initial vision of a field running with blood, one of the rabbits almost dying in a snare, a fierce dog killing several rabbits, as well as a bloody final showdown - and some of the images here may even haunt adults, let alone children. Nevertheless, there is tact to the brutality, while a feeling of hope is tangible amid the film's confronting grimness. Additionally, humour does break up the callousness, particularly in the form of a black-headed seagull named Kehaar, voiced by the late great Zero Mostel in his final big-screen performance.

Vividly brought to life with hand-drawn animation against stylised watercolour backgrounds, Watership Down carries a striking sense of picturesque beauty. The animation admittedly lacks immaculate fluidity, and the drawings may appear somewhat crude to 21st century moviegoers, however genuine love and care are evident in every frame of this animated gem. The rabbits, for instance, burst with personality, with the tiniest behavioural nuances enhancing the illusion. A superb original score (credited to Angela Morley and Malcolm Williamson) augments the sense of danger and tension, and the film additionally features the touching song "Bright Eyes" which was sung by Art Garfunkel. Watership Down further benefits from a cast of esteemed British actors, including Hurt as well as Denholm Elliott and Nigel Hawthorne, who infuse the material with honest-to-goodness gravitas. At times you might have trouble distinguishing the rabbits from one another, and the film is occasionally lethargic even though it was edited by the superlative Terry Rawlings (Alien, Blade Runner), but these are minor shortcomings.

Produced on a meagre budget, Watership Down is a timeless classic that still packs a punch in the 21st Century, representing a rare type of animated film that is geared more towards adults than children. Involving and breathtaking, this is animation at a deeper level, tackling complex subject matter that lingers in the mind after viewing. In spite of the movie's violence, it is still a rewarding watch, even if it is easier to admire than conventionally enjoy. The novel was later adapted into both a television show and an animated miniseries.

8.2/10

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An undeniable classic of Australian cinema

Posted : 4 years, 7 months ago on 29 August 2019 06:08 (A review of Storm Boy (1976))

A seminal, award-winning Australian film which remains a classroom staple across the country, 1976's Storm Boy is an adaptation of Colin Thiele's beloved children's book of the same name, telling a sincere coming-of-age tale steeped in Australian culture. Scripted by Sonia Borg (Blue Fin, Dark Age) and Sidney Stebel, this was the first theatrical feature for Paris-born filmmaker Henri Safran, who cut his directorial teeth on TV shows and telemovies. This is a rare type of children's film with the potential to appeal to both kids and adults, as the simple story is free of pandering touches (cute side characters, obvious humour) that might turn off mature viewers. Storm Boy is an enchanting human drama, permeated with subtle themes relating to ecology, Indigenous relations, family, and the importance of education, and it still holds up for the most part in 2019.

Ten-year-old Mike Kingsley (Greg Rowe) lives with his dad Tom (Peter Cummins) in a derelict shed on the Younghusband Peninsula in Coorong, South Australia, isolated from civilisation. Tom is a fisherman, able to make a modest living selling his catch in the local town of Goolwa. Mike does not attend school, as his father denies him the opportunity for an education, much to the chagrin of Goolwa Primary School teacher Miss Walker (Judy Dick) as well as the local park ranger (Tony Allison). A free spirit, Mike spends his time exploring the coastline, where he encounters Aboriginal recluse Fingerbone Bill (David Gulpilil) who is estranged from his tribe. Mike quickly takes to Fingerbone, who dubs him "Storm Boy" because he runs with the speed of an Indigenous person. When a pair of shooters kill several pelicans, Mike chooses to care for three orphaned pelican babies, affectionately naming them Mr Percival, Mr Ponder, and Mr Proud. Although Tom resents interference from the outside world, Mike begins to grow curious about what he's missing, which threatens the pair's reclusive existence.

Whereas the material is rife for Disney-esque manipulation and overzealous melodrama, Storm Boy plays out in an authentic, matter-of-fact cinematic style free of overbearing schmaltz, a decision which separates it from Hollywood pictures of a similar vintage and genre. Produced for a reported budget of just $260,000, Storm Boy inevitably appears dated to a certain extent, particularly in terms of the technical contributions, though that is not to entirely impugn the lush cinematography, the evocative location work, or the competent production design. Guided by Safran's careful, sure-handed direction, the film feels agreeably organic and lived-in, while the piano-rich original score by Michael Carlos subtly accentuates the material's sweetness and emotion throughout. It's just that, in 2019, moviegoers accustomed to polished contemporary cinema might have trouble getting into this Aussie classic. Admittedly, Storm Boy is not always engaging, and budget limitations are occasionally evident, but this is a minor knock against an otherwise fine movie.

A small cast inhabits Storm Boy, but the actors all make positive impressions. In his film debut, Rowe fully commits to the titular role; he is thoroughly convincing, and - miraculously - never annoying. Veteran Aboriginal actor Gulpilil is likewise engaging, while Cummins is believable as Mike's stern father. Upon its release in 1976, Storm Boy demonstrated the viability of Australian cinema to the rest of the world; it was sold to over 100 international territories, which was a tremendous achievement at the time. Over forty years later, time has done little to diminish Storm Boy's power, charm and magic. The film was eventually remade in 2019.

7.1/10

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A sincere and mostly effective romantic drama

Posted : 4 years, 7 months ago on 28 August 2019 07:10 (A review of Five Feet Apart)

Romantic dramas involving terminal illness were popularised again with the 2014 box office hit The Fault in Our Stars, an adaptation of the popular young adult novel of the same name. 2019's Five Feet Apart ditches cancer in favour of cystic fibrosis, with screenwriters Mikki Daughtry and Tobias Iaconis using the opportunity to educate mainstream film-goers about the intense difficulties of this debilitating, life-threatening disorder. The feature-length directorial debut for veteran TV actor Justin Baldoni, Five Feet Apart actually works for the most part despite the story's been-there-done-that disposition; it is easy to become invested in this vividly drawn world, and care about the central relationship. Unfortunately, the movie is handicapped by a third act which devolves into exasperating melodrama, though the ultimate dénouement is effective despite its forced, manipulative nature.

Teenager Stella Grant (Haley Lu Richardson) is afflicted with cystic fibrosis, attempting to live a normal life as she keenly uses social media to communicate her daily routine to the world. Returning to the hospital with renewed health issues, Stella meets former CF patient Will (Cole Sprouse), who's undergoing a special clinical drug trial but cannot bring himself to maintain a consistent treatment program. Although Stella is initially resentful of Will and hesitant to speak to him, the two eventually make a deal which allows Will to draw Stella, and Stella to organise Will's treatment program that he must follow to the letter. The pair build a relationship, but continue to respect the rule of maintaining a distance of at least six feet from one another, at the risk of dying from cross-infection. Will's devil-may-care attitude begins to rub off on Stella, who chooses to rebel against the rules and remain only five feet away from fellow CFers.

In many respects, Five Feet Apart plays out like a flavour-of-the-month YA novel, to the extent that one could be forgiven for assuming this is a YA adaptation. However, the material actually began as a screenplay before being adapted into a book while the movie was in post-production. There's a slight When Harry Met Sally vibe to the central characters' relationship, with Stella's clinical OCD tendencies and Will's rebellious streak rendering them virtually incompatible as a couple. Chief to the film's success is the sense of authenticity, with Baldoni recruiting real CF sufferer Claire Wineland as a consultant on the project. This is certainly a fascinating conceit for a romantic drama, and the film will likely aid CF awareness as a result. Five Feet Apart works best when focusing on gentle character interaction, with the second act soaring as Stella and Will experience the ups and downs of their budding relationship. This delicate emotionality is thrown to the wind, however, with a desperate last act that goes unnecessarily big. Character action lacks proper motivation, and the characters' rampant stupidity might make you question whether this story is still worth your investment.

Whereas comparable motion pictures are usually pedestrian from a filmmaking standpoint, Five Feet Apart is visually inviting and sumptuous, photographed to perfection by cinematographer Frank G. DeMarco (All Is Lost, Margin Call). Shot in a recently built hospital in New Orleans, the production design is eye-catching, transforming the sterile hospital rooms into believable, personalised, lived-in spaces, underscoring the reality of how CF patients live. Baldoni happily avoids the temptation to turn the hospital into a prison, depicting the clinical staff as strict but wholly human, with the sometimes frustratingly by-the-book Barb (Kimberly Hebert Gregory) simply concerned with patient safety. It's a refreshing perspective, eschewing any superfluous forced antagonists beyond CF itself. Baldoni's filmmaking style is recognisable for this genre, often resorting to montages accompanied by cutesy pop music, while the score by Brian Tyler and Breton Vivian shamelessly pulls on the heartstrings.

Perpetually keeping the material afloat, even throughout its rougher patches, are the lead actors. As Stella, Richardson is so natural and down-to-earth, handling the diverse requirements of the script like a consummate professional. She is able to convey joy, sadness, frustration and love with seemingly little effort, and she's charming to boot. Meanwhile, recognisable former child actor Sprouse (whom you may remember from Big Daddy and Friends) makes an equally good impression as the brooding love interest, giving the role real gravitas and believability. Five Feet Apart is unmistakably cheesy at times, but it does work more often than not thanks to the level of sincerity on display, and its heart is in the right place. It's just less successful when the movie resorts to unfortunate YA clichés, a creative choice that is especially disheartening since the story's conceit is otherwise unconventional. Nevertheless, Five Feet Apart will almost certainly work for its target market, and you could do a lot worse in this subgenre.

6.6/10

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A poignant and deeply resonant remake

Posted : 4 years, 9 months ago on 4 July 2019 03:47 (A review of A Star Is Born)

2018's A Star Is Born is the fourth filmic iteration of this time-honoured melodrama about fame and addiction, following previous versions in 1937 (starring Janet Gaynor and Fredric March), 1954 (featuring Judy Garland and James Mason), and 1976 (with Barbra Streisand and Kris Kristofferson). Although each remake retains the same narrative structure and ending, they also reflect the culture of the time in which they were produced, which justifies every new retelling. The directorial debut for star Bradley Cooper, this 2018 update of A Star Is Born is arguably the best one yet, confidently demonstrating that, in the right hands, remakes can invigorate familiar stories, achieving more than simply rehashing the same familiar story beats. Relevant, authentic and teeming with passion, A Star Is Born is one of the best and most essential motion pictures of 2018.

Country rocker Jackson Maine (Bradley Cooper) remains at the peak of his musical career, still filling arenas and selling thousands of records, but he privately battles alcoholism and addiction while also dealing with gradual hearing loss. After playing a gig in California, Jackson visits a drag bar where he watches Ally (Lady Gaga) performing on stage, and becomes instantly smitten with the small-time singer-songwriter. Rendezvousing after the show, Jackson and Ally spend the night together just talking to one another, forming a special bond. Believing in Ally's talent, Jackson lures the young performer away from her monotonous day job and coaxes her into singing with him on stage in front of enormous crowds. Gaining a manager in Rez (Rafi Gavron), Ally soars to worldwide fame, becoming a highly in-demand recording artist and tying the knot with Jackson. However, Jackson's substance abuse intensifies, which leaves Ally needing to choose between the man she loves and the career she has always dreamed about.

Scripted by Cooper, Eric Roth and Will Fetters, A Star Is Born allows the relationship between Jackson and Ally to develop organically through unforced, extended scenes of dialogue as they bond and get to know one another. Consequently, both characters are fully rounded and three-dimensional; they feel like real people. In addition, the movie is brutally honest and compelling in its depiction of substance abuse, showing its effects on a relationship we care about. Jackson also has a tumultuous relationship with his brother Bobby (an exceptional, Oscar-nominated Sam Elliott), which is likewise strained by the singer's desperate alcohol and drug problems. Furthermore, A Star Is Born noticeably idolises Jackson's singer-songwriter style while denouncing mass-produced pop, a bold yet relevant statement about the current state of the music industry. Rez insists that Ally change her hair colour and incorporate backup dancers to become a "manufactured" pop star bereft of her unique musical identity. Ally's abrupt rise to fame bothers Jackson; he's unable to hide his jealousy for her overnight success, or his disdain for the pop personality she has become, further threatening to tear them apart.

Cooper keeps A Star Is Born relatively basic from a directorial and visual standpoint, but subtle complexities in the cinematic style and mise-en-scène shine through, while cinematography by Matthew Libatique gives the picture a spellbinding sense of immediacy. Libatique's decades of working with Darren Aronofsky (from Pi to Mother!) shows in the often handheld photography here, which creates an exhilarating sense of energy during the live music performances. Said live music sequences are evocative and exciting, backed by a sensational sound design, while the songs themselves represent a tremendous asset. Cooper and Gaga collaborated with several artists to create the various original songs, and the resulting soundtrack consistently dazzles. It is virtually impossible to hear the final song, "I'll Never Love Again," without getting a tear in one's eye. Editing by Jay Cassidy (Silver Linings Playbook) is noticeably leisurely by design, and pacing is not always spot-on as a result, but A Star Is Born is welcomely old-fashioned in its structure and execution, with the 130-minute runtime giving the story ample breathing room. The movie feels full as opposed to truncated, though there is also an extended edition featuring over ten minutes of additional material.

In his Oscar-nominated role as Jackson, Cooper sheds all movie-star predilections to genuinely become this character, espousing a lower voice and unrecognisable mannerisms. Cooper bares his soul in this transformative performance, affectingly portraying Jackson's internal pain and struggles, while also retaining a disarming aura of charisma despite his destructive behaviour. Equally sublime is the Oscar-nominated Gaga, who finally gets to truly spread her wings as an actor after years of minor roles in various films (including Machete Kills and Sin City: A Dame to Kill For) as well as a memorable turn in American Horror Story: Hotel. Despite limited thespian experience, Gaga sincerely delivers with this heartfelt and convincing performance, while the chemistry between the two leads is sensational. The supporting cast represents another enormous asset, with Elliott consistently stealing the show while Andrew Dice Clay is a downright revelation as Ally's father Lorenzo. Even Dave Chappelle brings his 'A' game in a small but necessary part as Jackson's best friend George. Several drag queens are also present to add further flavour and humour to the production.

Despite its remake status, A Star Is Born is profound, refreshing and deeply poignant, thanks in large part to Cooper's focused direction and a selection of chameleonic performances. The themes underpinning this decades-old story remain as relevant as ever, with the film delving into the harsh realities of the voracious music industry with bracing honesty. The soundtrack is outstanding, and fortunately, the songs are used in the service of an effective, resonant narrative.

8.9/10

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A watchable horror movie, despite its flaws

Posted : 4 years, 10 months ago on 4 June 2019 07:47 (A review of The Nun)

The latest addition to the vastly profitable Conjuring-Verse, 2018's The Nun represents another spinoff that further exploits an evil entity originally introduced in one of the franchise's main movies. Putting away the Annabelle doll for a change, The Nun flashes back to the early 1950s to reveal more about the demonic nun figure from 2016's The Conjuring 2, with long-time series screenwriter Gary Dauberman (Annabelle, Annabelle: Creation) endeavouring to write an entire feature film based on this anaemic concept. It's not the worst Conjuring spinoff to date (that dubious honour belongs to 2014's hastily assembled Annabelle), but The Nun underwhelms despite a generous budget and ample talent behind the camera. Although the film is occasionally effective, a threadbare story and an over-reliance on loud bangs handicaps it, though that is just scratching the surface of the problems therein.

In 1952 Romania, villager Frenchie (Jonas Bloquet) discovers the decomposing corpse of a nun hanging outside a remote abbey, the news of which promptly spreads to the Vatican. Concerned about the incident, and determined to learn why a pure soul committed the ultimate sin, Vatican officials send Father Burke (Demián Bichir) to Romania, pairing him with Sister Irene (Taissa Farmiga) who is preparing to take her vows and pledge a life of service to the church. Burke and Irene enlist Frenchie as their chaperone, travelling across remote terrain to the abbey in order to investigate the suicide, but the situation immediately appears even more ominous than originally assumed. Looking into the abbey's tragic history, Burke identifies a sinister threat in demonic entity Valak (Bonnie Aarons), who seeks to unleash pure evil on the outside world.

Whether the result of reshoots, rewrites or simply Dauberman's original script, The Nun lacks a proper, discernible, soundly conceived narrative, as there is not enough plot to guide the picture through a traditional three-act structure. Indeed, once the main characters arrive at the abbey at the 20-minute mark, the remainder of this spinoff amounts to a meandering collection of scenes involving characters wandering around dark, shadowy locations waiting for an inevitable jump scare. The Nun admittedly works to a certain extent during its first half, but the set-pieces grow repetitive and monotonous, with the limitations of this regrettably slim plot becoming more and more apparent. Although ostensibly an origin story, The Nun barely touches upon Valak's origins beyond an arbitrarily short (one-minute) tale told by one of the characters, though it leaves room for any sequels to bridge the gap between this story's conclusion and Valak's appearance in The Conjuring 2. Furthermore, dialogue is not a strong suit, as lines are often clichéd or obvious, from characters calling after apparitions in the dark ("Hello! Who's there?") to the announcement of "You will find the answers you seek."

Overseeing his second feature film, director Corin Hardy (2015's The Hallows) rarely delivers the type of horror capable of getting under your skin; for the most part, The Nun amounts to repetitive loud noises and jump scares, none of which will stay with you after the end credits expire. Worse, moments of obvious CGI sneak into the picture, which spoils its otherwise old-fashioned aesthetic bolstered by gorgeous Romanian locations and gothic production design. However, Hardy does deliver a few effective set-pieces, such as Frenchie encountering the evil in a darkened forest at night, or another extended night-time sequence involving a cemetery. Unfortunately, these bright spots exclusively occur in the movie's first half, after which the film grows more laboured and lazy. The Nun needed more subtlety and nuance, as opposed to things simply jumping out of the darkness.

In terms of casting, Bloquet's presence as Frenchie unquestionably cheapens the material, preventing The Nun from becoming a truly dark and sinister horror flick. Visibly written to appeal to the younger demographic, his antics are neither witty nor funny - he even has a groan-worthy catchphrase. On a more positive note, Taissa Farmiga (younger sister of The Conjuring star Vera) is credible and sympathetic as Sister Irene, while Bichir makes for a convincing Father Burke. Additionally, The Nun further benefits from Maxime Alexandre's exquisite, measured cinematography - composition and lighting is consistently eye-catching throughout, building a rich sense of atmosphere, while Abel Korzeniowski's original music is suitably intense. It's slick and nicely made, as to be expected from the reported $22 million budget, but there is little else to care about or latch onto aside from the impressive technical specs.

Frustratingly, The Nun actually hints at, and glosses over more interesting narratives. There is surely a worthwhile story to be told about the nuns who inhabited the abbey when Valak took over, while the tale about the abbey's medieval history would likewise be fertile ground for an entire feature. But with such a feeble and underdeveloped narrative in place, The Nun simply cannot sustain itself over its 90-minute runtime, though it does have its moments and it's not a complete bust. As a surface-level contemporary horror movie, it's still watchable for the most part, though your mileage will inevitably vary based on expectations (and viewing conditions, probably).

6.3/10

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A total masterpiece, and a new manly classic

Posted : 5 years ago on 31 March 2019 04:47 (A review of Dragged Across Concrete)

"We have the skills and the right to acquire proper compensation."

The third feature film from writer-director S. Craig Zahler, 2018's Dragged Across Concrete is a new manly classic for the ages, further verifying the filmmaker's immense talents behind the camera. Zahler happily preserves the distinct filmmaking idiosyncrasies glimpsed in both Bone Tomahawk and Brawl in Cell Block 99, with Dragged Across Concrete another mesmerising exercise in engrossing character interaction and drama, punctuated by moments of extreme, wince-inducing ultraviolence. It's a slow-burn, but it never feels cumbersome or unnecessarily overextended, as Zahler keeps the movie on a tight leash, delivering superb submersion into this neo-noir world brimming with hard-boiled dialogue. Dragged Across Concrete is a tough sell for more sensitive viewers due to its decidedly un-PC dialogue, the graphic violence, the prolonged 158-minute runtime, and the lack of any prototypical good guys. It's not for everyone, but those who enjoy this type of masculine entertainment will consider Dragged Across Concrete an absolute godsend.

A veteran street cop, Brett Ridgeman (Mel Gibson) has grown bitter with the world, with a poor salary forcing him to live in a bad neighbourhood with his MS-stricken wife Melanie (Laurie Holden) who's unable to work, as well as his teenage daughter Sara (Jordyn Ashley Olson) who is often assaulted whilst walking home from school. Brett's younger partner Anthony (Vince Vaughn) also dreams of a more stable financial future, planning to propose to girlfriend Denise (Tattiawna Jones). When Brett and Anthony are caught on camera roughing up a Mexican drug dealer during a bust, Lt. Calvert (Don Johnson) places the two men on suspension for six weeks without pay, a tough break that neither of them can afford. Seeking to sort out his financial situation for good, Brett enlists Anthony's help to track the movements of career criminal Lorentz Vogelman (Thomas Kretschmann), who is planning a heist to steal gold bullion. Vogelman's team includes a wheelman in Henry (Tory Kittles), who returns to criminal activities after his release from prison to provide for both his destitute mother and disabled brother.

There is much to unpack in terms of narrative, with Dragged Across Concrete switching focus between the parallel storylines throughout, but Brett and Anthony receive the lion's share of screen-time, with their suspension the impetus which leads to the story's final destination. As demonstrated in his previous efforts as writer and director, Zahler's dialogue is uniquely poetic and exhibits unending wit, whilst simultaneously feeling organic and unforced. In particular, the bantering between Brett and Anthony is a perpetual source of joy and amusement, sparkling like an early Quentin Tarantino screenplay. A bulk of Dragged Across Concrete's second act involves Brett and Anthony performing surveillance in cars, replete with idiosyncratic banter. The runtime also allows the movie to spend time with Kelly (Jennifer Carpenter), a new mother on extended maternity leave who is reluctant to return to work at a local bank. Although the side plot may seem superfluous at first glance, it generates almost unbearable tension during the subsequent robbery, adding humanity to a brutally violent showdown.

Zahler keeps Dragged Across Concrete welcomely free of political grandstanding and virtue signalling, though the movie does have things on its mind regarding the state of the world in 2019. Brett and Anthony get results, but their methods are considered too barbaric in the 21st century, with the omnipresent threat of digital eyes putting them under unwelcome scrutiny. Brett is expressly bitter about the modern world, refusing to adhere to increasingly strict standards of political correctness, which is why he is still a street cop after three decades on the force. Nevertheless, this material merely serves as subtext to colour the story and the characters; Dragged Across Concrete is an apolitical movie featuring humans who realistically interact and have opinions, with Zahler choosing not to dilute sometimes harsh reality for mass consumption. Furthermore, much like Brawl in Cell Block 99, the main characters here are anti-heroes for all intents and purposes, but they also have a moral compass, and themes of morality do permeate the movie.

Shot by Zahler's loyal director of photography Benji Bakshi, who favours sturdy tripod shots as opposed to incomprehensible handheld cinematography, Dragged Across Concrete unfolds at a deliberate yet enthralling pace, with editor Greg D'Auria (another regular Zahler collaborator) permitting the action to unfold in prolonged full shots. Indeed, there is no shaky-cam or rapid-fire editing here, nor is there any overt computer-generated imagery to mar the sense of realism or authenticity, with the director achieving a practical aesthetic. Relying on old-school blood squibs and practical special effects, Zahler aims for the old-fashioned cinematic sensibilities of '70s exploitation cinema, on top of evoking the period's mean, unrelenting mood (think Martin Scorsese). Although set-pieces are scarce, the action beats are outstanding when Zahler cuts loose. Additionally, the soundtrack was one of the most notable aspects of Brawl in Cell Block 99, and thankfully Dragged Across Concrete similarly delivers, with a killer selection of catchy songs and a memorably moody original score. Zahler makes the most of the modest $15 million budget, polishing the film to perfection, making the end result look as if it was made for a considerably higher amount.

Dragged Across Concrete boasts Zahler's most impressive ensemble cast to date, featuring a number of familiar faces. In addition to Gibson and Vaughn, the supporting cast boasts the likes of Michael Jai White, Laurie Holden, Thomas Kretschmann, Jennifer Carpenter, and more. Brawl in Cell Block 99 alumni (and excellent actors in their own right) Don Johnson and Udo Kier also appear in a single scene each, adding to the production's colour and flavour. The pairing of Gibson and Vaughn is superb, and the thespians submit some of their finest work to date here - Gibson nails the grizzled, tough-as-nails veteran cop, while Vaughn again shows off his fine dramatic chops, reminiscent of his equally top-notch work in Hacksaw Ridge. Kittles, meanwhile, has bounced around the sidelines of films and TV shows for years, featuring in the likes of True Detective, Olympus Has Fallen, The Sapphires and Sons of Anarchy. Although not as well-known or as recognisable as his co-stars, Kittles exudes enough gravitas and talent to convincingly play Henry, who has an unexpectedly large role to play in the proceedings. Suffice it to say, the rest of the performers are equally sublime, with White most notable playing Henry's childhood friend Biscuit.

Let's not mince words here: Dragged Across Concrete is a full-blown masterpiece. It's a mean, stylish, enthralling and often hilarious crime-thriller, brought to life by the most talented new directorial wunderkind currently working in the industry, and performed by a superb cast. Zahler is a rare type of filmmaker who hopes that his movies are enjoyed, but refuses to sell out by making creative choices to broaden audience appeal. Additionally, Zahler displays no sentimentality towards any of his characters, meaning that no matter how familiar the actor, they can be killed off at any time. As a result, it is genuinely difficult to take your eyes off the screen, and Dragged Across Concrete is relentlessly heart-stopping and gripping despite its intimidating running time. Added to this, it confidently stands up to repeat viewings.

10/10

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A wholly compelling and affecting sequel

Posted : 5 years, 1 month ago on 16 March 2019 02:52 (A review of Creed II)

"In the ring, you got rules. Outside, you got nothing. Life hits you with all these cheap shots. People like me, we live in the past. You got people that need you now. You got everything to lose, this guy has got nothing to lose."

An ostensibly shaky proposition, 2015's Creed eclipsed expectations to earn significant acclaim and solid box office, propelling director Ryan Coogler into the spotlight. Creed II sees Coogler assuming a diminished executive producer role, with newcomer Steven Caple Jr. (2016's The Land) stepping in to helm this inevitable follow-up, working from a script by Sylvester Stallone and Juel Taylor (his first screenplay credit). Essentially functioning as a sequel to 1985's Rocky IV, Creed II's narrative admittedly amounts to a "greatest hits" compilation, but the execution is miraculous - this is an outstanding, highly involving boxing drama peppered with top-notch fight sequences. Moreover, Creed II is all about fathers and sons, with connections to Rocky IV serving a legitimate thematic purpose when the story could have been a surface-level cartoon. Indeed, the film's most significant achievement is accomplishing something wholly compelling despite building upon the unabashed lunacy and cartoonishness of Rocky IV.

Son of the late Apollo Creed, Adonis/Donnie (Michael B. Jordan) enjoys a string of victories as he rises to the top, ultimately winning a bout against Danny "Stuntman" Wheeler (Andre Ward) to earn the title of World Heavyweight Champion. With former champ Rocky Balboa (Stallone) still in his corner as both a coach and a close friend, Donnie marries Bianca (Tessa Thompson) and receives news that a child is on the way. As Donnie adapts to the changes in his life, Ivan Drago (Dolph Lundgren) travels to the United States with boxer son Viktor (Florian Munteanu), who was single-mindedly bred to earn glory in the ring and regain respect for the family name. With Viktor challenging Donnie to a boxing match, and sordid promoter Buddy (Russell Hornsby) emphasising the revenge angle due to Apollo's death at the hands of Ivan, Rocky fears history will repeat itself, and questions the champ's motivations for fighting as he becomes determined to face such a powerful opponent.

Eschewing the ostensible temptation to simply rehash Rocky II, this Creed sequel plots its own path, borrowing from Rocky II (Donnie and Bianca starting a family), Rocky III (learning from an initial defeat), and Rocky IV (returning to training basics before fighting in front of a hostile Russian crowd) while carving out a touching dramatic story carrying weighty themes. Incorporating the Dragos here feeds directly into Donnie's overarching arc, exemplifying the narrative's central fathers and sons theme. Creed II is about Donnie's relationship with the father he never met, as well as his relationship with Rocky, who represents a surrogate father figure. Rocky reminds Donnie to never lose sight of his reasons for stepping into the ring, initially refusing to train the world champion to take on Viktor since he immediately recognises that the fight is more about unfinished business and revenge. Donnie's daddy issues are evident, with the champ moving to an apartment in Los Angeles and marrying Bianca as he tries to become his own man. Meanwhile, Rocky has his own issues, remaining in Philadelphia estranged from his son Robert (Milo Ventimiglia), unable to muster up the courage to even call him, as he wrestles with shame and self-doubt.

Whereas the first Creed was keenly focused on Donnie, Creed II facilitates narrative asides to explore the personal lives of Rocky as well as the Dragos, though Donnie remains the primary protagonist. It is a tough balance to strike, but Caple manages to pull it off, supported by smart, well-judged editing. Inevitable fan service does sneak in, but Creed II astutely avoids revelling in the ridiculous possibilities of Ivan's return, with Caple striving for legitimacy as opposed to absurdity. Here, Ivan yearns to restore glory and respect to his family name through Viktor after his humiliating loss on his own home turf, which is what also prompted Ivan's wife Ludmilla (Brigitte Nielsen) to abandon the men. Against all odds, the movie works to transform the Dragos into proper three-dimensional characters instead of cartoonish villains, using them to serve the picture's themes rather than indulging in pure formula. Themes run deep, involving legacy and redemption, making for an incredibly poignant follow-up that perfectly justifies its existence.

The relatively inexperienced Caple exhibits the confidence of a seasoned veteran overseeing his first major motion picture, coaxing outstanding performances out of a talented cast, and staging several thrilling, edge-of-your-seat boxing matches. Caple adeptly recreates the meditative, dramatic tone of the Coogler-directed original, with fighting pushed to the movie's peripheries throughout the second act to concentrate on Donnie's newfound fatherhood as he starts a family with Bianca. Although pacing is occasionally hit-and-miss as the movie loses sight of narrative momentum, things soon pick back up, leading into a magnificent third act. Furthermore, cinematography by Kramer Morgenthau (Fahrenheit 451, Terminator Genisys) imbues the material with honest-to-goodness immediacy and sincerity. The photography is primarily handheld throughout, but Morgenthau never falls victim to gratuitous shaky-cam. Accompanying the visuals is a first-rate score by returning composer Ludwig Göransson (who earned an Oscar for 2018's Black Panther), which underlines the story's drama and accentuates the sheer excitement during the fights. Göransson does sample Bill Conti's iconic Rocky theme at a certain point in the climax, which is sure to elicit goosebumps.

Stallone and Jordan remain an excellent pairing, with their chemistry and camaraderie shining through in every frame. The bantering between the two is a never-ending source of pure joy and amusement, demonstrating a mutual respect and fondness for one another. Although the script does not permit Stallone anything as heart-wrenching as some of the material in the first Creed, he's still eminently likeable, slipping back into his iconic role with ease. Meanwhile, Thompson - a fiercely talented actress - eschews the "long-suffering love interest" designation, presenting something welcomely original and measured. She has a substantive part to play in Creed II, and her performance is flawless. But the perpetually underappreciated Dolph Lundgren is easily the most interesting thing in the film, purely by virtue of unpredictability. After all, his Ivan Drago was a one-dimensional cartoon villain in Rocky IV, but here he's legitimately compelling, given unexpected additional layers and an honest-to-goodness, effective arc. It's constantly surprising to see where Creed II takes Ivan, and Lundgren assuredly executes the dramatic material. As Ivan's son, Munteanu is a smart pick; he's an intimidating physical presence, and believable as an unbeatable fighting machine. This is Munteanu's first feature film credit, yet he also exudes impressive on-screen confidence. Meanwhile, Phylicia Rashad is one of the movie's secret weapons as Mary Anne Creed. She is utterly believable playing the role of a loving mother, emanating warmth and strength, and her interactions with both Jordan and Thompson are incredibly naturalistic.

Creed II has clichés to spare, but it all coalesces into a hugely effective and affecting drama that is worthy of both the first Creed, and the Rocky franchise. This sequel works from start to end, delivering boxing spectacle as well as touching human drama, and it's one of the best movies of 2018. According to Stallone, Creed II represents the end of the line for Rocky Balboa after forty-two years, and it's one hell of an ending. Long-time Rocky fans will struggle to hold back tears as the movie reaches its touching dénouement, with the iconic character's story finally concluding on a fitting, optimistic note. With Rocky departing the spotlight, the Creed series is now free to create its own legacy, though the prospect of future sequels is not entirely inviting. Indeed, the formula for these types of movies is not exactly fresh, and a third Creed should only materialise if there is an original, worthwhile story to tell.

9.1/10

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A mediocre threequel, though not without merit

Posted : 5 years, 1 month ago on 9 March 2019 04:04 (A review of Beyond Re-Animator)

Arriving thirteen years after its immediate predecessor, and eighteen years after the original Re-Animator, 2003's Beyond Re-Animator is the product of a completely different time. Instead of an old-fashioned B-movie permeated with campy '80s goodness, this third instalment in the Re-Animator franchise is a straight-to-video cheapie, lacking the legitimacy and wit of the earlier pictures. The inimitable Jeffrey Combs reprises his role of Dr. Herbert West, while Bride of Re-Animator helmer Brian Yuzna likewise returns to direct, but it doesn't quite feel the same, with cheap production values and no Bruce Abbott as Dan Cain. Nevertheless, this sequel has its charms despite some major shortcomings - it's an absurd, over-the-top, darkly comic and occasionally fun B-movie when it manages to settle into an agreeable groove.

After a reanimated zombie runs amok and slaughters a teenage girl, Dr. West is finally sent to prison for his dangerous experiments. Incarcerated for thirteen years, West attempts to continue his work behind bars, though he lacks the resources to concoct another batch of his reanimation agent to conduct further tests. However, Dr. Howard Phillips (Jason Barry) takes the job as the prison's new doctor and specifically requests West to be his medical assistant. Unbeknownst to the tyrannical Warden Brando (Simón Andreu), Phillips intends to continue West's reanimation experiments after witnessing his sister's death at the hands of one of West's creations when he was a young boy. Phillips becomes distracted, however, when he meets journalist Laura Olney (Elsa Pataky), who's doing a story on the penitentiary.

Whereas the first two Re-Animator movies were loosely adapted from H.P. Lovecraft's serialised Herbert West stories, Beyond Re-Animator is entirely original, with Lovecraft no longer mentioned in the credits. The twist to this third Re-Animator is that West discovers a potential way to bring people back to life properly, restoring the souls of the dead, as opposed to simply turning them into mindless zombies prone to degeneration. It's the next logical step in the series, and it is refreshing that the screenplay credited to José Manuel Gómez (from a story by The Lion King and Revenge of the Nerds scribe Miguel Tejada-Flores) exhibits some sense of invention. Nevertheless, perhaps unsurprisingly, the narrative's broad strokes remain similar to the previous Re-Animator flicks, and Beyond Re-Animator will not exactly win awards for dialogue. Additionally, although West prominently features in the first two pictures, he was never the protagonist; he was more of a scenery-chewing side character. Beyond Re-Animator, on the other hand, graduates West to protagonist, and that's an issue since he never grows or develops over the course of the film. Phillips represents Cain's replacement, but he's simply not substantial enough as a potential protagonist, with the material only permitting him a trite romantic subplot with Laura.

Beyond Re-Animator was produced for a meagre $3 million, with costs minimised by filming in Spain, hiring a Spanish crew, and setting the feature primarily within the confines of the prison. To Yuzna's credit, many of the set-pieces are enjoyable enough, with gory highlights transpiring every 15-20 minutes, culminating with a customary prison riot that showcases one outrageous sight after another. Grotesque delights include a reanimated rat playing with an amputated penis (there's more of that during the end credits), a ripped-in-half inmate swinging through the penitentiary, creative use of the electric chair, a prisoner's stomach exploding spectacularly, and many other instances of spilled guts and severed limbs. Yuzna has fun with the patently absurd material, maintaining an effective comedic tone and never taking things too seriously. Nevertheless, the film does struggle to maintain momentum, with some lackadaisical editing which makes this feel like a rough workprint at times. Also, a few obvious instances of computer-generated imagery betray the practical effects work which defines this film franchise. Alas, Beyond Re-Animator needed a bit more polishing, and snappier editing. Additionally, although composer Xavier Capellas recreates some of the franchise's familiar musical motifs effectively enough, the original score is chintzy and cheap for the most part, and not in a charming '80s fashion. As a result, the production feels all the more generic and low-rent.

Unsurprisingly, Combs is the movie's secret weapon. Despite the production's other shortcomings, Combs gives it his all as Dr. West, playing things totally straight and delivering his dialogue with utmost conviction. For the third time here, Combs turns what is essentially a mad scientist caricature into a believable and endearing character. As West's protégée for this go-round, Barry (who played Tommy Ryan in Titanic) is fine - he's believable enough and brings requisite intensity to the finale. While Combs is American and Barry is Irish, the rest of the actors are Spanish. However, it's not always obvious, as the characters speak English with convincing accents. Admittedly, some of the performers are visibly dubbed, but the likes of Pataky and Andreu are noticeably permitted their own voices, and they're perfectly adequate as their respective characters.

Combs' Dr. Herbert West remains an outstanding character in both conception and execution, and he should have the same genre notoriety as the likes of Jason Voorhees, Michael Myers and Freddy Krueger. However, the Re-Animator sequels fail to adequately serve him - he deserves more. Beyond Re-Animator was not actually intended to be the last instalment in this series. A fourth movie, entitled House of Re-Animator, entered active development in 2006, with Combs and Abbott on-board to reprise their respective roles, and original Re-Animator helmer Stuart Gordon returning to direct, but unfortunately, it never materialised due to funding difficulties. Beyond Re-Animator is not a downright unwatchable ending for this franchise, as it still has its charms, but it's not a patch on the classic 1985 movie that started it all.

5.4/10

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