Still traumatised by the events of Part IV, the now-adult Danny wonders if he is responsible for a new series of killings. Undistinguished mid-series entry; Part V tries some fresh ideas, but mostly settles for a high body count and gratuitous female nudity.
Month: November 2018
Winchester (2018, dir. The Spierig Brothers)
A widowed doctor is hired to prove that the eccentric owner of a weapons company is insane. Handsomely-mounted jumpscare horror that doesn’t find much to do with its based-on-a-true-story premise, so settles for a few boos and no eews. Disappointing, given the talent involved.
Venom (2018, Dir. Ruben Fleischer)
Another comic adaptation from Marvel as space symbiote Venom merges with a troubled Tom Hardy to fight the greater good. A misfire, that can’t measure its comedy and lacks cohesion. It’s neither funny nor likeable.
Lowlife (2017, dir. Ryan Prows)
A masked failure tries to live up to the fabled reputation of his father. LA-set black comedy crime drama, involving human organ theft, kidnapping, Luchadors and gun-toting motel owners. Not for everyone, but a confident and at times affecting violent entertainment.
Rogue One [AKA Rogue One: A Star Wars Story] (2016, dir. Gareth Edwards)
A small group of rebels try to steal the plans to the Death Star. Superior side mission from the Star Wars universe, answering a small plot question from the 1977 movie. By no means essential, but nevertheless rousing space opera fun, and lovingly designed.
Want another view? Here’s Xussia’s tuppenceworth.
Safe (2012, dir. Boaz Yakin)
A hunted ex-cop and a young girl with mob secrets go on the run together. Terrific New York chase thriller, balancing stunts, action and rock-solid fight choreography together to make a daft but supremely entertaining package. For genre fans, but highly recommended nevertheless.
Angelica (2015, dir. Mitchell Lichtenstein)
In late-Victorian London, a young mother is troubled by what might be a poltergeist. Handsome but odd cod-Freudian drama which flirts with fantasy, Jekyll & Hyde-isms, and unlocked sexuality in all kinds of ways.
Miracle on 34th Street (1994, dir. Les Mayfield)
A department store Santa may just be the real thing. Saccharine remake of the 1947 original. Okay if you’re indulgent, and there’s strength in depth in the casting (JT Walsh!) but this is no classic.
Psycho (1998, dir. Gus Van Sant)
Almost shot-for-shot remake of the 1960 Hitchcock classic of the same name. An odd thing to attempt, and one which flags up the uniqueness of the original, despite (and maybe because of) a solid cast and respectful treatment of the first movie.
Looking Glass (2018, dir. Tim Hunter)
A recently-bereaved couple find their newly-acquired motel has a dark side. Slow voyeuristic thriller with decent performances, but no sense of urgency until its too late to care.