Tag: Film Review

REVIEW: Renfield (2023)

Nicolas Cage as Count Dracula in Chris McKay’s RENFIELD — PHOTO: Universal Pictures.

Directed by Chris McKay (The LEGO Batman Movie) — Screenplay by Ryan Ridley — Story by Robert Kirkman (The Walking Dead).

In Chris McKay’s Renfield, we follow R. M. Renfield (played by Nicholas Hoult) who, a long, long time ago, became the most trusted servant of Count Dracula (played by Nicolas Cage) and thus was granted immortality and the ability to be super powerful if he eats bugs. However, in the present day, Renfield has grown tired of serving his abusive master. In an attempt to find a way to deal with these feelings of exhaustion and depression, Renfield has sought out a self-help group for people in co-dependent relationships. And because he still needs to feed his master, Renfield has decided that he should only feed Dracula the abusive partners that the people in his self-help group complain about. Meanwhile, Renfield is also trying to build a life for himself without considering his master’s needs. When Renfield inadvertently comes into the crosshairs of a significant crime family, Dracula is made aware of his servant’s betrayal and decides to come out of hiding.

Continue reading “REVIEW: Renfield (2023)” →

REVIEW: Dungeons and Dragons: Honor Among Thieves (2023)

(L-R) Justice Smith, Sophia Lillis, Chris Pine, and Michelle Rodriguez in DUNGEONS AND DRAGONS: HONOR AMONG THIEVES — PHOTO: Paramount Pictures.

Directed by Jonathan Goldstein and John Francis Daley (Game Night) — Screenplay/Story by Jonathan Goldstein, John Francis Daley, Michael Gilio, and Chris McKay.

It was only a matter of time before Hollywood was going to give Dungeons and Dragons another try as a major motion picture given the massive success of Stranger Things, which, I feel, has helped to popularize the tabletop role-playing game yet again. That’s right, I do remember watching the woeful 2000s Courtney Solomon film Dungeons and Dragons a couple of times way back when (it’s crazy to think that The Fellowship of the Ring was released only a single year later). The 2000s D&D film is as bad as its reputation would have you believe, but it does have Jeremy Irons and Marlon Wayans, so I guess that’s something. The difference between the film from 2000 and this year’s Dungeons and Dragons: Honor Among Thieves from John Francis Daley and Jonathan M. Goldstein is night and day. Honor Among Thieves genuinely is a great time at the movies. 

Continue reading “REVIEW: Dungeons and Dragons: Honor Among Thieves (2023)” →

REVIEW: Boston Strangler (2023)

Keira Knightley in Matt Ruskin’s BOSTON STRANGLER — PHOTO: 20th Century Studios.

Directed by Matt Ruskin — Screenplay by Matt Ruskin.

Boston Strangler is based on the true story of the investigation into the 1960s serial killer known as the ‘Boston Strangler.’ The film primarily follows Boston Record American reporters Loretta McLaughlin (played by Keira Knightley) and Jean Cole (played by Carrie Coon) as they try to investigate the story and break through small cracks in their profession’s glass ceiling.

Continue reading “REVIEW: Boston Strangler (2023)” →

REVIEW: 65 (2023)

Adam Driver and Ariana Greenblatt star in ’65’ — PHOTO: Patti Perret / Sony Pictures.

Directed by Scott Beck and Bryan Woods — Screenplay by Scott Beck and Bryan Woods.

The first time I saw the trailer for 65, I was immediately hooked. Here was a sci-fi film, with an excellent leading man, that appeared to dare to do something else with dinosaurs than the Jurassic Park sequels did. ‘Dinosaurs versus Adam Driver with sci-fi weapons’ was a concept that was always right up my alley. I was curious to find out what novel sci-fi twist or spin that writer-directors Scott Beck and Bryan Woods (the duo who wrote A Quiet Place) had hidden up their sleeves. However, 65 didn’t have all that much hidden in the final film that wasn’t already apparent from the trailer and this was a massive disappointment to me. 

Continue reading “REVIEW: 65 (2023)” →

REVIEW: Luther: The Fallen Sun (2023)

Idris Elba as John Luther in LUTHER: THE FALLEN SUN — PHOTO: NETFLIX.

Directed by Jamie Payne — Screenplay by Neil Cross.

The British crime drama series Luther has been on my watchlist for quite some time. Recently, with the release of Luther: The Fallen Sun on the horizon, I decided to finally check it out, and, so, I’ve spent the better part of a week binge-watching the British series that proved to be a successful star vehicle for Idris Elba whose magnetic screen presence elevated the series above lesser genre fare. I liked the series quite a bit, but, admittedly, the show started to lose me around series four, and the show didn’t hold my attention or interest as well in series four and five as it had done earlier. This did make me nervous about the film, as it was written by the series’ writer and creator and directed by the man who directed the fifth series. While The Fallen Sun is not without faults (it’s incredibly obvious what it’s trying to be), I must admit that I found it to be more arresting, gripping, and watchable than both series four and five. 

Continue reading “REVIEW: Luther: The Fallen Sun (2023)” →

REVIEW: Knock at the Cabin (2023)

Dave Bautista (left) in M. Night Shyamalan’s KNOCK AT THE CABIN — PHOTO. Universal Pictures.

Directed by M. Night Shyamalan — Screenplay by M. Night Shyamalan, Steve Desmond, and Michael Sherman.

Like you may have read previously elsewhere, M. Night Shyamalan was once dubbed ‘the next Spielberg.’ It was meant as a great honor but became a bit of a challenge to live up to. After four or five disappointments in a row between the mid-2000s to the early 2010s, Shyamalan was no longer being compared to Spielberg but rather known for his reliance on twists and his cameo appearances, as well as for his kind of unconvincing dialogue. With The Visit and Split, fans of his — and I consider myself a fan — started to believe that he was making a return to form with simpler premises and genuinely strong films. Then Glass was released — the conclusion to his Unbreakable trilogy — and it was another crushing disappointment — a cruel twist on his supposed ‘return to form’ for fans of his. He’s not done, though. In 2021, he released Old to mixed reviews, and, this year, he’s got Knock at the Cabin to showcase his talents with. Unfortunately, neither of those films fully worked for me. They aren’t outright disasters like some of the works that derailed his career, but even though they indicate that Shyamalan is on his way back, they also show that he still has a ways to go before being back ‘in form.’

Continue reading “REVIEW: Knock at the Cabin (2023)” →

REVIEW: Missing (2023)

Storm Reid in MISSING — PHOTO: SONY PICTURES.

Directed by Will Merrick and Nick Johnson — Screenplay by Will Merrick and Nick Johnson.

The filmmaking medium is constantly in a state of development and reinvention with artists seeking to find new ways to tell audiovisual stories. The found-footage genre was a huge trend that still pops up every now and again nowadays, and the latest found-footage-esque trend is the screenlife, or screencast, genre where the entire story is told by showing computer screens, smartphone screens, or the like. The Unfriended films are solid horror examples of this (as is Rob Savage’s Host, a terrific COVID-set horror film about Zoom video calls), and Aneesh Chaganty’s Searching starring John Cho is probably the best film of its kind. Searching followed a scared father searching for his missing daughter. The editors of Searching Nick Johnson and Will Merrick have ‘graduated’ and now serve as directors of its ‘standalone sequel’ titled Missing. On the whole, Missing is a really solid feature directorial debut, but it also feels really familiar and isn’t quite as good as the film it is following up on. 

Continue reading “REVIEW: Missing (2023)” →

REVIEW: Creed III (2023)

Jonathan Majors as ‘Diamond’ Damian Anderson in CREED III — PHOTO: Metro-Goldwyn-Mayer / Warner Bros. Pictures / United Artists Releasing.

Directed by Michael B. Jordan — Screenplay by Keenan Coogler and Zach Baylin.

It would be fair to say that Michael B. Jordan is, to a certain extent, following in the footsteps of Sylvester Stallone. Not only has he taken over as the lead of the Rocky franchise, which is now spearheaded by Apollo Creed’s son, Adonis “Donnie” Creed, but his films have followed similar patterns as Stallone’s Rocky films. With Creed III, the extent to which Jordan is following in his footsteps has reached a new level with Jordan taking on directing duties just as Stallone eventually did for one of his most beloved franchises, which he appeared to exit at the end of Creed II (I thought it was a sweet ending to his story, though it sounds like he isn’t happy about the series moving on without him). Ryan Coogler’s Creed was a beautiful and moving knockout blow, Steven Caple, Jr.’s Creed II was solid but formulaic (and felt too much like a sequel to Rocky IV), and, now, Michael B. Jordan’s Creed III is similarly formulaic but it is also a strong and satisfying response to some of the reservations that I had about Creed II. 

Continue reading “REVIEW: Creed III (2023)” →

REVIEW: We Have A Ghost (2023)

David Harbour and Anthony Mackie in WE HAVE A GHOST — PHOTO: NETFLIX.

Directed by Christopher Landon — Screenplay by Christopher Landon.

Christopher Landon is a rather interesting up-and-coming horror filmmaker. Reportedly scheduled to remake Frank Marshall’s Arachnophobia, Landon has made a career off taking well-trod genre fare and giving it a modern feel and often with a comedic slant. Among other things, he co-wrote D. J. Caruso’s Disturbia (a thriller that is so close to Alfred Hitchcock’s Rear Window in the concept that it led to a lawsuit) and several Paranormal Activity films, before he became a household name for horror film fans by writing and directing his Happy Death Day films (slasher comedies that runs with the time-loop concept from Harold Ramis’ Groundhog Day) and Freaky, 2020s horror comedy reinterpretation of the classic body swap story Freaky Friday. His latest film, We Have A Ghost, is similarly placed squarely in the horror-comedy genre-blend and it, too, wears its inspirations on its sleeves. Most of Landon’s previous films as a director have been decent-to-good, and although We Have A Ghost doesn’t reach its full potential, it’s still a pretty decent but derivative little family film. 

Continue reading “REVIEW: We Have A Ghost (2023)” →

REVIEW: Ant-Man and the Wasp: Quantumania (2023)

Kathryn Newton as ‘Cassie Lang’ and Paul Rudd as ‘Scott Lang’ in Ant-Man and the Wasp: Quantumania — PHOTO: Marvel Studios / Walt Disney Studios Motion Pictures.

Directed by Peyton Reed — Screenplay by Jeff Loveness.

Trilogies in the Marvel Cinematic Universe aren’t really trilogies. You can’t watch the Iron Man or Captain America trilogies without knowing what happens in the Avengers films. Or, of course, you can, but it would be a strange exercise as those trilogy films eventually reference other films, are reliant on those other films’ setup, or are direct continuations of a film that isn’t technically in that very trilogy. This has also been true of the Ant-Man trilogy. If you just watch Ant-Man and Ant-Man and the Wasp (both directed by Peyton Reed), you’ll definitely have some questions about why Paul Rudd’s Scott Lang is under house arrest and about what the hell happened in the 2018 sequel’s mid-credits scene, in which most of the cast suddenly disappeared (thus stranding Scott Lang in the so-called Quantum Realm). Similarly, those who have decided to live under a rock (or simply ignore every other Marvel movie — including two of the biggest films of all time) would probably be really confused as to what happened between the 2018 sequel and this 2023 sequel. I suspect very few people would find themselves in that situation, but I mention all of this because the interconnected nature of the incredible achievement that is the Marvel Cinematic Universe (MCU) can be both very exciting and confusing depending on who you ask.

Continue reading “REVIEW: Ant-Man and the Wasp: Quantumania (2023)” →