Comedy sequel takes place 29 years after Bill & Ted’s (Alex Winter and Keanu Reeves) last cinematic adventure and finds the two wannabe rockers married to their princesses and fathers of their own kids. The jobless duo are still struggling to write that one song that will fulfill their destiny and their refusal to act like responsible adults may cost them their marriages. Worst of all, Rufus’ daughter Kelly (Kristen Schaal) arrives to take them to the future where they find if they don’t write the song in a matter of hours, time and space will unravel.
Nostalgic flick is directed by Dean Parisot from a script by Cameron Burns and Ed Solomon. It has a lot of fun moments and tries hard to carry the spirit of the original flicks by having Bill & Ted decide to travel to the future and steal the song from their future selves, who have already written it. In the meantime, their daughters Thea (Samara Weaving) and Billie (Brigette Lundy-Paine) decide to travel back in time and assemble the ultimate band from famous musicians of the past, like Louis Armstrong (Jeremiah Craft) and Jimi Hendrix (DazMann Still). There is a most heinous robot assassin (Anthony Carrigan) out to stop the dudes and it wouldn’t be complete without a visit to Hell with the Grim Reaper (WIlliam Sadler), who still resents the guys for throwing him out of their band. Sure, it could have been funnier and a few of the bits fall flat, but if you are a fan of this series, there are still some good laughs and amusing new additions, such as the two daughters who are apples that haven’t fallen far from the tree. Features a really nice cameo by the late, great George Carlin as Rufus, appearing via hologram by use of previously unused footage.
Chadwick Boseman November 29, 1976-August 28, 2020
Horrible news tonight as word has broken that versitile Black Panther star Chadwick Boseman has lost a battle with cancer and has died at only 43 years-old. His performance of the classic Marvel character alone made him a household name all around the world and his loss is a sad blow to movies and the Marvel Cinematic Universe and it’s fans. Farewell and RIP to a talent gone far too soon! Heartfelt condolences to his family and friends.
Korean horror/thriller is a fun, if not extremely derivative, sequel to the 2016 zombie outbreak flick Train To Busan. This installment takes place four years later with the Korean Peninsula abandoned and quarantined by the rest of the world. A barren, zombie infested wasteland. Ex-soldier Jung-seok (Gang Dong-won) now lives in Hong Kong, with his brother in-law Chul-min (Kim Do-yoon) and the two relocated Koreans are treated like outcasts and live in squalor. A local mobster offers the duo a chance to make enough money to get themselves out of the gutter. They and some other expatriated Koreans are tasked with going back into the quarantine zone and retrieving a truck filled with $20 million in American dollars. The heist goes awry and Jung-seok finds to his horror that there are two groups of survivors still living there, a family he’s encountered before and an ex-military unit who may be more dangerous than the hordes of flesh eating undead. Can Jung-seok, Chul-min and their new allies get out alive against both hungry zombies and crazed soldiers?
Yeon Sang-ho again directs with a script from he and Park Joo-suk. This sequel isn’t quite as much of a roller coaster ride as Train, but is still entertaining. While Train put a fresh coat of paint on the well-worn zombie sub-genre, Peninsula seems content to spin a yarn that is parts of Romero’s Day and Land of the Dead, a large portion of the Governor story arc from The Walking Dead and part Road Warrior with a last act truck chase. The film is more concerned with the drama between the human factions and while there are plenty of zombie’s, they do take a back seat to Jung-seok and pretty survivor Min-jun (Lee Jung-hyun) trying to get the truck and Chul-min back from the Unit 631 compound, which is run by the vicious Sergeant Hwang (Kim Min-jae) and demented Captain Seo. It’s entertaining, yes, but seems far less fresh and far less energetic than the previous flick. Train was nothing new, but Peninsula seems to make less of an effort to revitalize it’s familiar tale. Another thing that holds it back is a heavy use of only moderately effective CGI. A lot of the zombie action and the truck chase at the end are obvious CGI effects and it takes away it’s effectiveness. The truck chase looks like a video game at times and it keeps us from being too drawn in like Road Warrior‘s intense chase finale. In between we get innocents forced to battle zombies for entertainment and a preconscious child who always outsmarts and saves the adults. There is a lot of bloody violence, but nothing too gory and Yeon Sang-ho does paint an impressive apocalyptic picture of the abandoned and zombie infested South Korea. The movie adds the appropriate melodrama with Jung-seok haunted by his past, and his link to Min-jun and her daughters. This gives the film a little emotional content and at the end we are entertained, but it is far less memorable than it’s predecessor.
The cast are all solid. Gang Dong-won makes a good hero as the guilt-ridden, ex- soldier Jung-seok. He plays his inner turmoil well and he is a good action hero. Lee Jung-hyun is a solid heroine as mother and survivor Min-jun. She’s tough and quite the fighter, but still has her humanity. Lee Ye-Won is cute and thankfully avoids being annoying, in the precocious child role of younger daughter Yoo-Jin and Lee Re is likable as her tough teen sister Jooni. Kim Do-yoon is also fine as the embattled Chul-min, who is captured by Unit 631. Rounding out are Kim Min-jae as the cruel and vicious Sergeant Hwang, who is Sang-ho’s equivalent of Day of the Dead’s Captain Rhodes, and Koo Kyo-hwan as the desperate and deceptive Captain Seo. A good cast.
So, in conclusion, while it’s not an equal, Peninsula is still an action packed and entertaining sequel to Train To Busan. While it’s predecessor also reused a lot of ideas from past zombie epics, it seemed far fresher than the recycled ideas do here in this second installment. At almost two hours long this is still a fast paced and sometimes bloody adventure, though not quite as energetic and intense as Train To Busan. Familiar, not quite as energized, but still fun.
Rated 3 (out of 4) bullets, which a lot of fly in this movie.
Horror/western has the outlaw Dalton Gang robbing a heavily armed train with youngest Dalton Jake (Devin Druid) on his first job. After a bloody shoot out, the gang secure the cash box only to find out it holds no money or gold, but a bound pretty young girl. Pearl (Natasha Bassett) begs the gang take her home and there will be a reward for their troubles. This brings them to a ghost town where the only occupants there are the women of the local brothel. Soon to their horror, they find the brothel is a coven of evil witches and the gang now must fight for their lives.
Flick is directed by Aaron B. Koontz (Camera Obscura) from his script with Cameron Burns and Keith Lansdale. It’s an entertaining little movie that doesn’t try to be more than it is. The witches are after the virginal Jake, who has also yet to kill anyone, and will decimate the gang to get to him. The make-up and gore are abundant and very well done and the witches are fearsome creatures, though seem to be easily gunned down by the dwindling numbers of the gang. There are a few moments when the action stops dead for characters to bear their souls, but otherwise this is an amusing 90+ minutes of blood and bullets. Pale Door also gets extra points for effort, with Koontz’s effective visuals and settings being impressive on a small budget. An entertaining little movie now streaming on Amazon. Also stars low budget horror vets Noah Segan and Pat Healy as Dalton Gang members.
Todd Walkley (Jesse Williams from Cabin in the Woods) is the creator of the popular Slasherman comic book that is based on a real-life serial killer. To get inspiration for the final issue, he goes on a road trip to the area of the original murders with girlfriend, Kathy (Jordana Brewster), assistant Aurora (Niamh Wilson) and friend/publisher Ezra (Jay Baruchel). There is already some tension, as Todd comes under fire for sensationalizing a real life killing spree and Kathy is writing a true crime book about the actual murders. Those are the least of his worries, however, as someone is making cryptic phone calls to him and people start dying around him in recreations of his gruesome comic book pages.
This is a brutal and vicious slasher flick as directed by co-star Jay Baruchel from his script with Jesse Chabot, based on the comic of the same name by Justin Gray and Jimmy Palmiotti. There are some very effective and impactful kills and despite being renown for his comic roles, Baruchel creates a very intense and chilling tale of life imitating art and vice-versa. The Canadian actor/director gives the film some depth by having Todd finding himself right in the middle of the age-old arguments about the media sensationalizing violence, violence as entertainment and killers that get more attention than their innocent victims. As it causes friction between Todd and Kathy, it gives some emotional depth to the characters as the two lovers have different points of view on these issues. So, or course, there is conflict between them. Some surprise reveals in the last act also makes things a lot more personal, as we discover the details on who this fiend is, why they are doing what they are doing and why Todd has been targeted. It makes for a gruesome last act that really cranks up the intensity. Baruchel’s directing here evoked the 2014 The Town That Dreaded Sundown remake and his visual style is impressive with the use of comic book style coloring and animated comic book frames being used to tell the disturbing story. A bit of a familiar story, but one done very well here. The violence is very effective and nasty when it comes, though it’s just enough to not desensitize or numb you to the gruesome goings on. It remains quite unsettling. A very intense and effective movie about horror as entertainment, that is both an effective slasher and yet commentary on the line between inspiration and exploitation. Baruchel doesn’t preach and let’s you drawn you own conclusions.
The cast is small but really good. Jesse Williams makes an interesting character as Todd. We like Todd and his is never vilified, but we do question whether his use of a real-life serial killer as a basis for a comic book character was the right thing to do. WIlliams gives Todd a heart and he is not without inner turmoil as bodies start to fall and he feels scared and, more so, responsible. When the big reveals come, we understand him all the more. Brewster is good as Kathy. A strong independent woman who loves Jesse, but has her own feelings about his comic and it’s use of the death of real innocents for entertainment purposes. Her real crime book causes issues between them and the two actors portray that very well. The scenes of their confrontations on the subject are also well written. Baruchel is good in the supporting role of Todd’s friend and publisher Ezra. Ezra is one of the first to start freaking out over what’s going on, as is Aurora. As Aurora, Niamh Wilson creates an endearing character and while she is the least focused on, she makes her on-screen time count and we like this emotional and slightly eccentric girl. A good cast.
Despite making a name for himself with comic roles and stand-up, Jay Baruchel directs a very strong, atmospheric and unapologetically violent slasher film that is in itself a commentary on violence as entertainment and the possible responsibilities of those who make it. We get a likable character who is himself conflicted over the effects of what he has created, especially when it inspires someone to act out the horrors from it’s very pages. There are some intense and brutal kills and some unsettling last act reveals that really work well in keeping this film tense and disturbing. A very impressive horror from Jay Baruchel and a recommended watch that can be found on Shudder.
Recently widowed Emma (Katia WInter) moves into a new home with her young daughter Isla (Ashley Jones) to start a new life. Strange things begin to occur and it seems there may be someone…or something, living in the house with them.
Extremely routine horror is directed by Eduardo Rodriguez (2013’s Fright Night 2) from an uninspired script by Andrew Wong. At first is seems to be leaning towards some kind of haunting and thusly rolls out all the clichéd tropes, but takes us in a different direction in the last act that is also cliché and underdeveloped. By having it switch gears, a lot of what happened earlier now makes no sense if there is nothing supernatural behind it. Having Emma also pursued by stalker Mark (Zach Avery) adds nothing to the plot and only seems to exist to be part of a last scene twist. The massive house Emma and Isla move into seems way too big and expensive for a single mother who works as a waitress, to be believable. Even if her deceased hubby did leave her a nice insurance policy settlement, the taxes alone would bankrupt her. Characters do really stupid things to put themselves in harm’s way, like a neighbor (Lane Bradbury) breaking and entering into Emma’s house just to look for her lost cat. Even entitled rich folks aren’t that stupid. They try to add some depth by having Emma haunted by her own past decisions, but the characters and story still wind up being very stereotypical. Beyond all that, it isn’t particularly scary or suspenseful and is kinda dull even for a flick just slightly over 90 minutes. Also stars Emmy James as Isla’s cute, goth babysitter Ashley, who was the most interesting and sadly underused of the film’s characters.
This installment of MonsterZero NJ’s Saturday Night Double Feature pairs two flicks which tell spooky stories about troubled teens up against malevolent supernatural entities in rural settings. These two films were also lensed not too far apart from each other with Pyewacket in Sault Ste. Marie, Ontario, Canada and The Wretched about 115 miles across the border in Omena and Northport Village, Michigan! Grab some brews and enjoy this spooky double bill!
Creepy supernatural thriller finds teen Leah (Nicole Muñoz) drawn into the occult after the death of her father. She and her mom (Laurie Holden) aren’t getting along, especially when her mother decides to sell the family house and move them out and away from Leah’s school and Goth friends. When at their new woods-set home, her mother lashes out at her during an argument and an angry Leah conducts an occult ritual evoking the dark spirit, Pyewacket, to kill her mom. Soon a regretful Leah learns the meaning of “be careful what you wish for” as something dark and evil has entered their home with malevolent intent.
This is a subtle and spooky as hell flick and certainly one of the best horrors of the year. Written and directed by Adam MacDonald (Backcountry) this is a chilling tale that shows that you don’t need jump scares or over-the-top gore to make an effective horror film. MacDonald bathes his film in atmosphere and uses his camera to evoke a pervading sense of dread, even in broad daylight. He creates an already tense situation as both Leah and her mom, are each handling the death of Leah’s dad in different ways and not very well. There is friction and while Leah turns to dark music and an interest in the occult, her mom wants to have a ‘fresh start’ away from anything connected to him. This leads to some harsh words in their remote new home and Leah to dabble in something she isn’t prepared to deal with. Soon there are dark shadows lurking about the house and a visit from Leah’s tough, Goth girlfriend, Janice (Hellion’s Chloe Rose) has the girl leaving the house a terrified mess. As creepy as it is thus far, MacDonald saves the best for last with a truly unnerving final act as Leah attempts to send back what she’s conjured and let’s just say the malevolent spirit has other plans. MacDonald doesn’t resort to hokey FX or overused tropes, he simply serves up some nerve wracking moments with simple skilled camera work and some wonderful emoting from leading lady Muñoz. MacDonald, as with Backcountry , also knows how to make woods look ominous which adds to the atmosphere. And while ultimately we know where this story is headed, it’s still a shocking and unsettling finale that perfectly punctuates a very creepy film.
The small cast is very effective. As stated, Nicole Muñoz is very good as the emotionally wounded Leah. She creates a likable yet, troubled young woman who tries to sate her grief with death related interests. The only person she should be able to turn to for support is the one she is having the most problems with. Once she performs the ritual and awakens something, she gives us a very scared young girl with nowhere to run. Laurie Holden (The Walking Dead) is excellent as her equally troubled mom. She lashes out at Leah one minute, for simply reminding her of her husband and tries to be there for her daughter the next. The two actresses work well together creating a very dysfunctional dynamic between the two that makes this flick work. Rounding out the small cast is Chloe Rose as her friend Janice who has a traumatic sleepover at Leah’s new home and Eric Osbourne as Aaron, a boy interested in Leah.
Adam MacDonald has gone back to basics and made a very spooky, unnerving, yet down to earth horror movie. He wisely makes his scares very grounded and the fact that they are not presented in a theatrical and over-the-top manner makes them more realistic and thus more frightening. His leading ladies work well together in creating a fractured and troubled relationship between the mother and daughter, based on two completely different methods of mourning. Add to that a young girl delving into dark forces she doesn’t completely understand and certainly can’t control and you have a supernatural bone chiller that is refreshingly driven on what really makes a true horror film work…fear. This one will be on my best of the year list for sure.
Latest horror from IFC Midnight opens 35 year in the past, where a babysitter (Sydne Mikelle) walks into something horrible, thus setting the mood for what is to come. The film then brings us to the present where teen Ben (John-Paul Howard from 14 Cameras and Snatchers) is going to live with his father Liam (Jamison Jones) in a remote lakeside town for the summer. His parents are separated and dad even has a new girlfriend, Sara (Azie Tesfai). His parent’s impending divorce is the least of his problems, though, as a witch has taken the form of the neighbor next door (Zarah Mahler) and she is not happy that she’s gotten Ben’s attention…but, who’ll believe him?
The Wretched is written and directed by The Pierce Brothers, Drew and Brett, and if it sounds like Fright Night meets The Witch, that’s not necessarily a bad thing. As with Charlie Brewster’s situation, we know from the start that there really is a witch, or Wretch (Madelynn Stuenkel) as she is listed in the credits, and a creepy wretch she is. Her true form is unsettling and much like her fairy tale counterparts, she likes to eat children and influences those around her to hide her creepy activities. Obviously, Ben is having a hard time convincing anyone his neighbor is a supernatural creature, even cute teen Mallory (Piper Curda), who has caught his eye, is highly skeptical. Ben’s behavior, as of late, hasn’t been exemplary and this is just seen as another bad reaction to his parents separation. There are some spooky moments, as The Wretch stalks her prey and closes in on Ben, and there is some very effective gore and make-up FX throughout. If there is anything on the downside here, it’s that the film never gets really scary or intense till the last act, when Ben is forced to confront his nemesis head on. It’s still a fun horror movie and not without some chills in the meantime. It also has a couple of nice twists, some unselling atmosphere and the Pierce’s have a great visual eye for horror aesthetics. We may have seen the twig and bone sculptures before, but they are still effective here. The occasional violence is equally effective, because it is used sparingly and has impact when it does occur. The film looks great. The Pierces are Michigan natives and utilize the Omena and Northport Village, Michigan locations very well to give the film a refreshing look as to it’s settings. The cinematography by Conor Murphy is excellent, especially in the supernatural scenes and the score by Devin Burrows suits the film very well.
The film is very well cast. John-Paul Howard is really good as our lead. He’s a likable teen and even if he is troubled and his parents separation is getting the best of him, we sympathize and still like him. A good performance, as Howard carries a lot of the film. Piper Curda is cute and spunky as Mallory. She’s sweet, but has a nice sarcastic sense of humor. Jamison Jones is solid as Ben’s dad. He’s trying to be understanding to Ben’s behavior, but at the same time, wants him to accept the way things are and adjust. Zarah Mahler is very good as hot mom next door turned witch Abbie. She’s sexy and and a little eccentric before The Wretch wears her skin, and can crank up the spooky once she does. Rounding out the main players, Azie Tesfai is good as the girlfriend caught in the middle of family drama, Sara, and one must mention Madelynn Stuenkel, who effectively performs under SPFX make-up as The Wretch in true form. The supporting cast including the kids are all good, here. A good cast.
This flick may not be quite as scary as we wanted and we have seen this story before, but there is still a lot to entertain here. It’s a fun horror, has some very spooky sequences and The Pierces know the tropes and aesthetics of this type of flick and use them well. The make-up and gore FX are very effective and the cast all perform their parts nicely. Add to that a spooky visual style and some great, fresh locations and The Wretched is a fun and recommended horror flick from directors to keep an eye on.
Rated 3 (out of 4) candles, which no witch alter would be complete without.
Fascinating and amusing documentary focuses on the rare book world in New York City and the people who collect and sell them. The documentary by D. W. Young is narrated by indie film queen Parker Posey and takes us on a tour of, not only a variety of rare book shops, but an array of eccentric and interesting people who collect and sell rare and out of print books. It does a good job of capturing these people’s passion for the printed page and gives us a nice sense of the history behind rare book collecting. It also touches on the effect of corporate chains like Barnes and Noble on the mom and pop book store, as well as, the expansion of this overlooked sub-society with the inclusion today of more women and minority collectors.
It’s not for everyone, it’s a bit slow moving and maybe ten, or so, minutes too long, but for those interested in underground and off the beaten path sub-cultures, this is a very entertaining look at at world the exists within one of the greatest cities on Earth. If you like documentaries and are always looking for a new and interesting subject, this now streaming on Amazon documentary might be worth your time. If you do check it out, watch through the credits for a funny post credits anecdote.