geraldohanna Reviews

The Ticket (I) (2016)

The Ticket Review -

[7/10 · 11 April 2017]

We all ask ourselves if given the chance would we reach out and grab that lottery ticket if given to us? The idea of everything being handed to us after enduring for so long. Ido Fluk and Sharon Mashihi understand this and perhaps manipulate this into greed and lust - Perhaps? "The Ticket" presents this question, but like most thought provoking questions - This film has no answer for you.

Directed Ido Fluk, from a script written by Fluk and Sharon Mashihi. "The Ticket" stars Dan Stevens (The Guest) as James, a man blind from youth, with a comfortable life with his wife Sam (Malin Åkerman) and son Jonah (Skylar Gaertner). One day he regains his vision discovering he's not happy or contempt with his life - grabbing a promotion at work, leaves his wife for Jessica (Kerry Bishé) an employee where he works, and mistreating his friend Bob (Oliver Platt) one of James's blind co- workers.

Dan Stevens as always is fierce and enigmatic as James. Stevens is careful not to have you sympathize with James and the choices he makes along the way - But to ponder on each choice and wonder what's driving him. See, like each character in "The Ticket" (And there aren't many) they all have something driving them - something they want. Sam is fine and happy with going dancing, rather than an eloquent restaurant. She's also tired and Malin shows this beautifully. James, however, wants more, and Stevens never slows down giving us a moment to blame James for his choices.

Director Ido Flunk beautifully directs, with a unique visual flare centering around James's point of view. Where the film falls would be the predictability of its plot and lack of motivation for its characters.

"The Ticket" is a well made film with a deeply moving performance from Stevens.

Aftermath (IV) (2017)

Aftermath Review -

[6/10 · 11 April 2017]

Unlike most emotions we face, Grief is perhaps the one rational emotion we can't control or fathom. Hollywood at times understands this - "The Babadook", "Things we lost in the Fire", "Solaris" are all extremely well-written examples of this - But with "Aftermath" it remains unclear at times.

Directed by Elliott Lester (Nightingale) and written by Javier Gullón (Enemy) "Aftermath" tells the story of Roman (Arnold Schwarzenegger) who upon arrival at the airport to greet his wife and pregnant daughter; is told of their passing in a plane crash. Roman understandably unstable and frustrated blames Jake (Scoot McNairy), the air traffic controller on duty the night of the crash.

Schwarzenegger and McNairy are great in their respected roles, carrying the weight of this already dire and often downbeat film. And yet that's all that can be said for the two - Screenwriter Javier Gullón never truly breathes life into these characters, we only know what he wants us to see. And for that "Aftermath" suffers, it tries to balance too much without providing any real substance or weight for us to feel. We see the turmoil and isolation McNairy feels, we feel for him, even more, when he has to change his name just to protect himself and his family. Director Elliott Lester captures this beautifully in an opening introduction into James's life, just before the crash - And it's terrifying to see how quickly life can change for you an instant.

And not only McNairy, but his wife played by Maggie Grace, and Schwarzenegger are exceptional and propel the story when it sometimes stumbles behind lazy camera frames or decent cinematography by Pieter Vermeer. Edited with bizarre and untimely transitions by Nicholas Wayman-Harris, "Aftermath" fails to give us a story worth of the real- life event it's based on.

Get the Girl (2017)

Get the Girl Review

[6/10 · 9 April 2017]

There are so many movie's today that rely heavily on a gimmick to impress - As an audience we want something new, and from time to time we'll gladly take something old as long as it inventive in some form. With Director Eric England's (Contracted) "Get the Girl", we may not get anything new - but we do get a fun paced thriller packed with twists you might see coming and characters that even Tarantino himself might take a nod.

"Get the Girl" starts with a simple premise - A wealthy young man (Justin Dobies) falls in love with a girl (Elizabeth Whitson). Love at first sight, allegedly. Only thing is - she doesn't know he exist, despite the fact that he comes each night during her shift - Just to see her! He's then manipulated by Patrick (Noah Segan) into a fake kidnapping in order to win her affection. Of course things go horribly wrong all around the board.

Eric England crafts a fun story with a few thrills and perhaps a few unseen twists and turns along the way to keep you busy. Our proposed hero - Clarence is rather dull and timid, with constant voice overs that remind you of Jessie Eisenberg's "Zombieland". The real hero of this story and perhaps fun character to stay with throughout the 1h 27 mark is Adi Shankar as KJ - Adi Shankar is hilariously brilliant in every scene he's in, you'll probably wish he had more to do though. Noah Segan (Looper) is also very good.

Overall this is a movie worth watching, despite a formula you've probably seen one to many times before.

The Assignment (I) (2016)

The Assignment Review

[9 April 2017]

"I wouldn't make a movie that would hurt transgender people," Some of them have had a tough time of it, and the last thing I want to do is make anyone's road harder. But look, I understand the concern. Is it lurid? Yes. Is it lowbrow? Well, maybe. Is it offensive? No. I'm just trying to honor the B movies that we grew up with."

Perhaps Walter Hill thought when making "The Assignment" that this would be his recovery road - after the disastrous results of his last film (which was in 2012) "Bullet to the Head". A movie that at least attempted to be a B action thriller. Here with his latest film, Hill makes the mistake of creating an argument, rather than a point for all of it.

Dr. Rachel Kay (Sigourney Weaver) is a rogue doctor with a weird vision of a better world after losing her brother to a contract killer Frank Kitchen (Michelle Rodriguez). In an experiment to assess how much physical identity matters, Kay performs a sex-change operation on Kitchen to have him start over. And thus a revenge thriller is reputedly thrust in motion - but even that it fails to maintain. Hill and co-writer Denis Hamill understand the eccentricity of this story. Never once do they try to render Frank a human being, involuntarily subjected to gender reassignment surgery. Perhaps this is one of many unabashed flaws with "The Assignment". It tries to justify itself by saying it has nothing to do with gender reassignment, giving us a shoddy plot doused incomparably with poor direction, but that still can't make up for the disrespect it shows to the transgender community.

Frank (Rodriguez), never fully regards this or gives it a thought. Instead of giving us a thought provoking scene or moment of lucidity - Hill and Hamill evade this with lazy writing and poor dialogue. Michelle Rodriguez is fine. But that's all that can be said when viewing her performance, A scene in which she removes the bandages to see... ta-da! Michelle, beautiful and radiant. No scars or bruises. The film even tries to prove to us that she's a man by showing her wear a fake genital.

Did I mention this film has a villain? Yes, in the likes of Sigourney Weaver - "The Doctor", another character whose personality is also complex. She wants to change the world, one patient at a time while condescendingly ridiculing others with her knowledge of Shakespeare and Edgar Allan Poe - the only two credits that boost her intellect by this movie's standards. Her belief behind doing this is simple - She believes Frank will be liberated from his crimes, that living in the body of a woman is perhaps enough punishment as it for her - having spent much of her life scorned by men, now to be unmannerly asked by her doctor (Tony Shalhoub) a man, if the cause for this behavior is lack of sex. Not only does this demonstrate the cause for her actions, but gives a message of Misogyny.

Cinematographer James Liston acting probably on behalf of Hill, provides little to look at. Each scene feels like were in the same room with perhaps little work done to distract us. Hill, directs with mediocre use of the camera, never fully utilizing it. Editor Phil Norden once again probably acting on Hill's request gives us a cheap comic book gimmick ripped straight from "Sin City" and "Kick Ass".

I don't speak for anyone nor could I, but in my personal opinion "The Assignment" is an offensive, trans-phobic, insulting and idiotic movie. This film not only exploits the transgender community but also shines light on derogatory beliefs.

A Cure for Wellness (2016)

'A Cure for Wellness' Review: An ambitious take on society's health care plan.

[6/10 · 20 February 2017]

An ambitious young executive is sent to retrieve his company's CEO from an idyllic but mysterious "wellness center" at a remote location in the Swiss Alps but soon suspects that the spa's treatments are not what they seem. This is perhaps all you need to know about "A Cure for Wellness", Director Gore Verbinski ("Rango", "The Lone Ranger") and Screenwriter Justin Haythe, ("Snitch") enshroud this original idea in so much secrecy, that even the marketing behind this film ask the very question we're all dying to know - What's the cure for wellness?

Dane DeHaan stars as Lockhart (whose first name is never revealed) a cold and morally ambiguous character dealing with childhood trauma. Lockhart, who is insufferable to watch for a run time of 146 minutes, is meant to be unlikable to us. With each decision he makes, we take two steps back behind him knowing the lingering danger that awaits him. And to be fair, it's not like the movie doesn't attempt to warn him - On the way to the Swiss Alps, he is told by his driver the story of the "wellness center" and it's origins, again he is later told the same story but with a few more details sprinkled in for good measure. Verbinski and Haythe keenly leave clues within each scene for us to follow, even if it gets muddled along the way.

Perhaps, this is one of the film's biggest flaws. Although handsomely made and crafted, it falters when it's time to scare or shock us. Each scene feels like a foreboding puzzle, trying to connect with very little help from its central players, leading to a third act twist that while maybe surprising, will leave others unsatisfied.

The score by Benjamin Wallfisch hauntingly ushers in the ambiance of the film, with lurid and gray Cinematography thanks to Bojan Bazelli. "A Cure for Wellness" is not a perfect film, but it's a film you should admire and respect for what it tried to do. Verbinski and Haythe pushed limits with this story that although not entirely original (see: "Shutter Island" or "The Shinning") challenged us with a disquieting and thought-provoking story. "A Cure for Wellness might just be destined for cult status in the following years.

Split (IX) (2016)

Split

[8/10 · 30 January 2017]

Alfred Hitchcock has being cited today as the "Master of Suspense". A creative genius and tour de force within Hollywood. With a 50-year legacy under his belt, he inadvertently pioneered the way for filmmakers like M. Night Shyamalan - Although imagine if "Split" was released in 1960, the year of another classic "twist", the year of "Psycho".

See, during the release of "Psycho", Hitchcock made a lot of shocking requests - forcing his crew, and actors into secrecy, creating faking promotional posters citing "heart attacks" upon watching, he even went as far as instructing theater owners not to let people in after the film began, which was strongly enforced. If "Split" had this marketing behind it, it could have potentially become the year's most talked about film, perhaps decade. Although I feel I must say "Split" is truly one of Shyamalan's best in a long time, and certainly movie fans and critics alike will leave the theater "Split" - Pun intended.

Three girls (Anya Taylor-Joy, Haley Lu Richardson, and Jessica Sula) are kidnapped by a man named Kevin (James McAvoy) with dissociative identity disorder, who has 23 prominent personalities, each with peculiar or dangerous idiosyncrasies, who intends to prepare the girls for the arrival of "The Beast".

Anya Taylor-Joy ("The Witch") plays Casey Cooke. Once again captivating in a role that doesn't require much of her. Now I should be honest and say, unlike the other two victims, Casey is strong willed and smart with the choices she makes. But her overall arc is something of a mystery until the final act. Stoic and timid, for the first two acts of the film, her eyes speak volumes, holding her own against McAvoy's Kevin. A creative choice on Shyamalan's part, as Anya plays her with caution, allowing you to perhaps doubt her intentions in the end game.

Haley Lu Richardson ("The Edge of Seventeen" and Jessica Sula ("Recovery Road") portray Claire and Marcia, who unlike Casey, impulsively plot their escape within each scene. Both actresses are fine in their respected roles but like "Marion Crane" in "Psycho", Shyamalan chooses not to flesh them out or focus the story on them.

Betty Buckley ("The Happening") returning for another go-around with Shyamalan playing Dr. Karen Fletcher, a psychologist who attempts to help Kevin. Her devotion and love to her patients, Kevin, in particular, is earnest and loving, as she truly wants nothing more than to help and understand (D.I.D.).

James McAvoy ("X-Men: Apocalypse") as Kevin is perhaps given the best role of his career (If you count "Filth", "Atonement", and "Trance") as the Scottish actor not only manipulates 23 different voices, four whom in particular are fully developed, he vigorously changes and manipulates his body - Distinguishing all 23 personalities, including the arrival of a "24th personality".

Shyamalan who wrote and directed has cited this as one of the hardest films to make in his career. With 2015's "The Visit", Shyamalan has expressed interest in focusing on movies he wants to make, with a smaller budget and shroud of secrecy Shyamalan may be back in his wheelhouse.

Despite the success of the film, it has received backlash and criticism for Shyamalan's beliefs in (D.I.D.) "Split" unlike his previous movies will raise intentional questions, forming more theories for Shyamalan to embrace over time.

The Autopsy of Jane Doe (2016)

The Autopsy of Jane Doe

[7/10 · 20 December 2016]

After the police discover a corpse in a shallow grave, they take it to father-and-son coroners Austin and Tommy Tilden. During their invasive examination, the duo comes into realization that they are dealing with something supernatural.

The Autopsy of Jane Doe - Was a visual treat to enjoy. I think if you are a fan of well paced films you will enjoy this one. Although it's being treated as a horror film - Which is not a problem unless you generalize this as the overall genre for this movie - Its more of a Suspense Thriller/Drama/Horror. This is not something I feel needs to be clarified, but understood as the film envelops all three entities.

Emile Hirsch and Brian Cox are excellent as father-and-son coroners Austin and Tommy Tilden. One particular moment in the film allows the actors to reflect and truly shine in their respected roles.

André Øvredal (Trollhunter) directs this close quartered film with limited room for our actors to breathe once the tension unfolds - He makes great use of this tension by placing the camera in dark areas allowing us to truly feel the weight of the actors.

Screenwriters Ian Goldberg and Richard Naing craft a smart and well paced story with a few false scares, and flat third act leaving us yearning for more.

Overall, this is a movie that deserves and requires your time :)

Dog Eat Dog (I) (2016)

Dog Eat Dog

[3/10 · 14 November 2016]

Paul Schrader: 'I've made some important films. 'Dog Eat Dog is not one of them'. Sad but true for Director/Writer Paul Schrader - A man with a career of 20 films, among them Taxi and Raging Bull - His career as a director remains unseen by his work as a screenwriter for Martin Scorsese - A legacy we will always remember him for - With Dog Eat Dog, Schrader tries to remind us that he is still relevant in the world - Ignoring one small fact - Everyone in this day and age can and will judge you harshly, no matter the reputation. Stylized as a low-budget Neo-noir crime caper with the talents of Nicolas Cage, Willem Dafoe and Schrader himself taking on a role, respectfully making comparisons to Quentin Tarantino's earlier films - With heavy-handed dialogue, harsh and senseless barbarity and a convoluted plot not worth following to its third act - Which is based on the novel of the same name by Edward Bunker.

Troy (Nicolas Cage), Mad Dog (Willem Dafoe), and Diesel (Christopher Matthew Cook) are a couple of goofball criminals, all with clichéd traits - Troy (The Straight-Man), Mad Dog (The Loose Cannon), and Diesel (The Muscle), tired of small end jobs they decide to pull off one last big score - Which involves kidnapping the baby of a rival mobster. But like most crime caper films, this goes awry and they are forced to fend for themselves - From the mob and now police following an anonymous tip.

On first glance, one can say that Schrader relates to the author himself - Edward Bunker. Both men looking for redemption, seeking a story that will ignite the spark they once had - For Schrader Dog Eat Dog should've been that story - After the disastrous events of his previous film, also starring Cage - 'Dying of the Light', unhappy with the film's re-cut, Schrader, and Cage publicly dismissed the film.

A similar theme about loss and redemption - A recurring theme for Schrader as he demonstrates it throughout his career as-a screenwriter.

Screenwriter, Matthew Wilder (Your Name Here) writes from a jarring and lurid place - depicting a dark Americana - Which is fine if used effectively. The idea of Troy, Cage's character - A movie buff with delusions of being a Humphrey Bogart lookalike is a small moment that stands out, adding more layers to a none the less complicated character.

In part, Nicolas Cage as Troy is subdued and less comical as we'd expect from a Nicolas Cage performance - Willem Dafoe as Mad Dog is fine and yet misunderstood - A man yearning for love and friendship, yet afraid to admit it. Christopher Matthew Cook as Diesel is less intriguing, as he stumbles with stoic and apprehensive tendencies.

Cinematographer Alexander Dynan never really shows us anything new to take in or marvel at besides the story itself - Perhaps in part to the editing by Ben Rodriguez Jr., who provides quick and fast paced editing.

Dog Eat Dog may inspire some with its unique flare or visuals - Fast and quick insert cuts - Or its simplistic story, whatever the reason only time will tell if we remember this as Paul Schrader film.

The Monster (2016)

The Monster

[6/10 · 12 November 2016]

As children, we often have irrational fears of things we have not being given a proper introduction to - We are told numerous stories, some still ignoring the lingering question we harbor deep within - Our Monsters Real? - Or an allegory of our very existence? This idea is effectively used in recent films such as, 'The Babadook', 'It Follows', 'The Witch' and 'Under the Shadow'. Director Bryan Bertino ('The Strangers') shares a similar notion of this with 'The Monster'.

Kathy (Zoe Kazan) a divorced alcoholic and inexperienced mother is taking her young and mature of age daughter, Lizzy (Ella Ballentine), to permanently relocate with Lizzy's father. While driving at night through a remote, rain-lashed forest, Kathy crashes into a wolf, which wrecks their car leaving them stranded for help - Waiting for a tow truck and ambulance. From here on, questions are raised - Where did the wolf come from? What was it running from? Where'd it get those deep cuts on its body? Or where did the body disappear too? Strangely these questions are not justifiably asked by Kathy, but by Lizzy.

The only voice of reason!

Ella Ballentine is the standout here - reminiscent of a young Reese Witherspoon. Inquisitive, timid, fearful and courageously carrying the weight of 'The Monster', as she has spent much of her youth taking care of herself - and her mother - Through flashbacks provided. One in particular truly showing her acting chops. Zoe Kazan also great as Kathy tries to maintain her sobriety while navigating and understanding the needs of her daughter - Yes an overused device in Hollywood - But effective still none the less.

Scott Speedman shows us halfway through the movie with little to say or do, perhaps a favor to Bertino, whom he directed in 'The Strangers'.

Cinematographer Julie Kirkwood offers very little to appreciate here - With Bertino not fully utilizing her until the third act - With a beautiful shot of the enclosed woods. The monster itself plays a minor role - As the full look of it seems rather cheap.

Overall 'The Monster' may not hold up well with most allegory horror films, but it will stand on its own merit for Ella Ballentine - As she comes face to face with the monster - Or are understanding of what it means to let go and grow up - Afterall monsters are only what we make of them.

King Cobra (2016)

King Cobra: The unvaried sequel to Boogie Nights

[7/10 · 22 October 2016]

"I like to think that I'm gay in my art and straight in my life - James Franco.

In another recent missed opportunity James Franco proves once more that he is talented but highly pretentious when it comes to his craft. With recent films like - Milk, Howl, Wild Horses and most recently I am Michael; Franco again argues that he is shaping his view of what he considers art - His directorial work is more of the same, contemporary period literature that sometimes never translates well to the screen. In King Cobra, we see the same results all too familiar by now.

Sean Lockhart (Garrett Clayton) decides to meet with gay porn producer Stephen (Christian Slater) in the hopes of becoming a star within the industry. Stephen instantly believes Sean has the makings of a star and soon begin to work together producing videos under the pseudonym "Brent Corrigan" - Quickly rising to fame Stephen takes complete ownership of Sean not allowing to him to leave or work freely with others - Or raise his pay.

Meanwhile, two aspiring porn producers Joe (James Franco) and Harlow (Keegan Allen) in debt try to produce a film with the rising Bret Corrigan, only to be stopped by Stephen; who wants 80% of the profits made.

Director Justin Kelly (I am Michael) once again struggles on two themes - who is this movie for ? - And what this movie is about ? - with a similar theme related back to I am Michael about the struggles of homosexuality and what it means to be a gay man - or how it feels to find acceptance from your loved ones - this is briefly touched on, but not strong enough to make us care or connect with anyone in this film.

To his credit, Kelly who also wrote the screenplay tries to craft a story leading to the incident we already know is coming - Establishing the motives and reasoning behind Sean's decision to later venture off on his own - the end of his partnership with King Cobra - and perhaps a message about the industry itself. With all this juggled, King Cobra falls under the weight of being just another "based on a true story".

For his role, Garret Clayton plays it slow and naive. A deer in headlights unsure of his prospects and goals. Christian Slater also good does his own interpretation of his character, playing him with aggression and lust. James Franco is fine in his role, but ultimately feels and still looks like James Franco playing a part - with Keegan Allen being the standout of the film.

King Cobra is a darkly entertaining exploit that although retains the true story element - would rather have style over substance.

The Girl on the Train (2016)

'The Girl on the Train' - A shocking exploit.

[5/10 · 16 October 2016]

It's been two years now since David Fincher and Gillian Flynn gave us "Gone Girl" - An unconventional; lured and surprisingly entertaining thriller - Based on the best-selling novel. The hopes were probably raised a bit too high with The Girl on the Train - A new thriller by Tate Taylor (Get on Up ), written by Erin Cressida Wilson (Men, Women & Children) based also on the best-selling novel of the same name by Paula Hawkins.

Rachael (Emily Blunt) is an alcoholic with depression who divorced her husband Tom (Justin Theroux), after catching him cheating on her with their real estate agent, a beautiful blonde named Anna (Rebecca Ferguson) whom he later marries and moves into the home Rachael decorated.

Free-Fall two years later and Rachael now spends her days commuting on a train; where she often stalks Tom, Anna, and their new-born daughter Evie. During her trips, Rachael becomes fascinated with Tom's neighbors, Scott (Luke Evans) and Megan (Haley Bennett), a young couple Rachael believes to have the perfect marriage. A marriage she tries to live vicariously.

Also - Megan coincidentally happens to be Evie's nanny. Another one of the films McGuffins.

In reality, what Rachael believes to be a perfect marriage is not - Scott is aggressive and controlling, while Megan is detached and unfaithful, maintaining affairs between numerous men, including her psychiatrist, Dr. Kamal Abdic (Édgar Ramírez).

Director Tate Taylor tries to break new territory with this yawn of a movie but often fails with lurid cinematography and slow-paced editing that feels as if he watched Marc Foster's "Stay" a thousand times. Perhaps this was a movie out of his depth - given his recent credentials - "Pretty Ugly People", and "The Help"; this feels like a miscast.

Emily Blunt gives a fine performance while maintaining a balance of emotional insecurity and fear. Blunt being the titled star is virtually given more to do than her female counterparts. Frequent collaborator Allison Janney shows up when needed, but leaves us yearning for more of her disbelief of Blunt. Rebecca Ferguson coming strong off of "Mission Impossible: Rogue Nation" is given little to do or say - as the clichéd housewife.

Justin Theroux, Luke Evans and Édgar Ramírez are all fine actors; and yet they themselves play unvaried and overstated characters.

Screenwriter - Erin Cressida Wilson never gives us a moment to fully embrace or regard how or what these characters are feeling - Wilson writes them as if they were palpable to us - Providing us with a purposeful unstructured narrative - Flashing back to different times within each character's arc - This never becomes hard to follow or comprehend, as the film feels like a novel itself cutting between Rachael, Anna, and Megan's point of view - Providing us with enough information pertaining to the plot - We never fully care or feel anything, even after the inciting incident occurs. Ludicrous plot plots begin to kick in - As Rachael tries to find worth in her life by solving Megan's case on her own - Involving a scene where she visits Megan's psychiatrist.

The Girl on the Train tries to heavily to be original and shock you with its too many twists and turns; and unreliable red herrings. But by the time we reach the dramatic reveal - We either care or don't for the resolution - Which in the end leaves us asking more questions - And wondering is this 112-minute movie should be featured as a Lifetime movie instead.

Marauders (2016)

"How Do Movies Like This Get Made?"

[5/10 · 31 July 2016]

It's 1:30 A.M. and I am searching for my follow up movie after watching one already. I have no selected movie or genre in mind. Just a movie that will hopefully entertain and leave me with something to talk about. Well after watching "Marauders" I found that I have little to say, unfortunately. To quote a line from critic Brian Tallerico of the Roger Ebert.com - How do movies like "Marauders" get made? How I wished I read this review before I embarked on a 1 hour & 47-minute movie about an elite group of untraceable bank robbers who are pursued by a headstrong and grief-stricken FBI Agent, Who uncovers a hidden agenda behind the robberies.

Directed by Steven C. Miller, Never heard of him well he has quite the list of films you will also probably hate. Not to mention he gave us another Bruce Wills film from last year "Extraction". His direction is muddled and flashy with slow montage shots of people walking in the rain, running or fighting. We also have an updated version of "Heat" with bank robbers who have Siri-like gadgets with prerecorded messages that speak for them - Smart but ineffective in pacing. The robbery scenes are so pretentious and over the top, it's practically begging for you to look at what it has to offer. In some small way Miller believed this would astound us; seeing a robber use an app to rob a bank.

The Cinematography by Brandon Cox is also flashy at times when dealing with different set locations. It feels as if this were story-boarded heavily so we could no the difference within each scene. Ryan Dodson does a decent job with the score of the film. But the truth frustration should go to screenwriters Michael Cody & Chris Sivertson (Sivertson wrote "All Cheerleaders Die"). The pacing is rushed along with the dialogue that feels as if they watched "Heat" along with "Takers" for inspiration. What starts as a simple bank robbery undergoes a political agenda with intricate details that require you to care about the process it takes to solve it, But that's just it - Once you get to the third act where it all comes together you could care less considering you probably stopped thirty minutes in.

Bruce Wills who is underutilized here gives nothing to his performance but a smug smile and a few sharp remarks towards our lead actor - Christopher Meloni. Meloni shrugging off "I am Wrath" tries to deliver the role of a still grieving husband; while trying to walk the path of a good man, Is boggled down by his overacting in each scene. His grief never resonates with me even after knowing what caused it, due to the fact how quick and unabashed it's thrown in. Dave Bautista ("Spectre") is the comic relief of the film, and you will welcome it. Adrian Grenier ("Entourage") and Johnathon Schaech ("Vice") are fine in their roles.

Upon writing this I realized it all goes back to a simple question -

"How do movies like this get made?"

Viral (I) (2016)

Welcome to "Viral"

[6/10 · 30 July 2016]

It has come to my attention that Hollywood loves a good epidemic to shake us at our core. With recent film like "Blindness", "Contagion", "Maggie" and "The Bay" being just a small few to name, they really allow us to fantasize and view what could become of earth if an epidemic overtook us.

"Viral" is another film to add to your collection of "Disease Outbreak Films".

Emma (Sofia Black D'Elia, "The Night Of") is a new fish in a small pond. Starting a new school and moving to a new house all at once makes her shy and nervous, unlike her big sister Stacey (Analeigh Tipton, "Two Night Stand") who rather live freely and outspoken. When a virus mysteriously breaks out, trapping their mother at the airport. Their father (Michael Kelly, "Secret in Their Eyes") is forced to go get her; trapping himself in the progress. Emma and Stacey must now deal with fending for themselves and surviving this unknown virus.

Screenwriters Christopher B. Landon ("Scouts Guide to the Zombie Apocalypse") and Barbara Marshall craft a small and tight knit script that offers some scares at times but overall lacks in momentum and storytelling unlike its aforementioned "Disease Outbreak Films". This would rather focus on the characters of the story than the disease itself, Which is fine if and only if you balance the two. Landon and Marshall would rather us pay attention to Emma and how she is affected by the virus that is rapidly changing those around her. But with Emma not being a strong character, to begin with, or lacking emotional gravitas I found myself not caring about the difficult choices she had to make throughout the film. Now don't get me wrong, she is a very confident, smart and likable character. It's just her actions make less sense as the film progress leaving us - the audience to wonder what we might have done differently in her situation.

And this is the real reason why this film suffers its setbacks. If it had been released first before any outbreak film or tried to adapt or acquire new details to this ever growing genre we would have embraced and welcomed it. But because we've seen this countless times, Nothing is new to us. Which is why I found myself wanting the film to pick a side to land on. Landon and Marshall are not so much at fault here - They do create interesting and likable characters and establish a backstory that shapes the reason why our two leads find themselves in this predicament.

Directors Henry Joost & Ariel Schulman ("Catfish" and "Nerve") feed off tension and unease as they follow the little details of this virus. After the success of "Catfish", "Paranormal Activity 3", and "Paranormal Activity 4", coincidentally both written by Landon. They have an eye for found footage horror, which maybe this could have been - I think we're all happy it's not.

"Viral" is a new addition to our list of "Disease Outbreak Films", Sadly I don't think it will make our list of "Best Outbreak Films".

Nerve (I) (2016)

Emma Roberts and Dave Franco play an updated version of "Simon Says"

[7/10 · 29 July 2016]

Simon Says (or Simple Simon Says) is a child's game issuing simple instructions. Harmless and fun at first, but as the game progresses one player might dare you to do the unthinkable and of course the choice would be up to you to accept or decline it. Life was simple then when we had games like this or board games children enjoyed wanting to play. Now in this day and age technology is our newest friend. This and much more are the overall themes behind "Nerve." High school senior Venus Delmonico "Vee" feels withdrawn and cautious about her choices in life. It doesn't help that she got accepted to go to CalArts but after the unexpected death of her older brother she has become her mother's (Juliette Lewis, offering little to the story) top priority, afraid of her venturing out. Once dared by her best friend Sydney (Emily Meade of "Money Monster") to try Nerve: an online reality video game of objective-focused "truth or dare" where people either enlist online as "players" or pay to watch as "watchers". Vee along with fellow player Ian (Dave Franco of "Now You See Me 2"), are caught into deadly objectives, with their identity taken and victory being the escape. Directed by Henry Joost and Ariel Schulman ("Catfish") "Nerve" paints a picture of the world we live in now, from the film's opening montage showing Vee's daily schedule from "Spotify to Facebook", Joost and Schulman raise questions on Privacy concerns, Illegal downloading, Unnecessary apps and more. But sadly that's all it manages to achieve; questions we are ourselves already have answers to or want answers to. Especially during the third act where the hidden agenda is revealed. Screenwriter Jessica Sharzer ("American Horror Story", adapting from a novel written by Jeanne Ryan) weaves together an interesting story with two likable leads. The chemistry between Roberts and Franco really carry the movie for its runtime, as Roberts fragile and cautious nature sub comes to Franco's alluring and charismatic appeal. Cinematographer Michael Simmonds illuminates the city with vibrant and lush neon lights taking a chapter from "The Neon Demon". A scene in particular in which Vee has to help be Ian's eyes as he drives at 60 Mbps blindfolded is frightening and yet beautiful thanks in addition to music by Rob Simonsen. "Nerve" might not be the best example of how the technology we use influences our daily lives, but it certainly will entertain with each dare.

Jason Bourne (I) (2016)

Bourne tackles his biggest challenge yet...Global Espionage.

[7/10 · 29 July 2016]

In what seems like a decade has passed, The man with eponymous past has returned to the big screen. As the title card suggests, "You know his name," "You know his past". This should bring excitement to any fan of the series. With a moderately established world revolving around Jason Bourne and his co-conspirators; there is nothing new on the horizon that we haven't seen or frankly not know about Jason Bourne. Or So we thought as each movie cleverly created new information different but vital to what we last saw, With each movie following a basic formula diverging from its source material when needed, feeding us enough history of Bourne to extend three movies and perhaps a bigger universe. As Bourne coldly and confidently tells us "He Remembers Everything", his famous line at the end of Ultimatum. One could wonder where would the story go next with our troubled hero. Well, the answer is nowhere really! In the fourth installment excluding (2012's The Bourne Legacy), Following a decade after his disappearance at the conclusion of The Bourne Ultimatum, Bourne has isolated himself from the world, staying alive through means of illegal fighting. Punishing himself for his past he is lured out by Nicky Parsons (Julia Stiles) with information regarding his past and a new shadowy organization hoping to rebuild what he thought was once behind him. With Matt Damon reprising his role as Jason Bourne, we are also introduced to a new batch of characters. Alicia Vikander (The Danish Girl) as the career-driven and headstrong Heather Lee, who possess ulterior motives when it comes to Bourne and his past. Tommy Lee Jones (Criminal) as our resident antagonists and CIA director, Robert Dewey. Like "Criminal" Jones is sadly not given much to work with here; although he does do a fantastic job of making us forget "Brian Cox", not present this time around. Director Paul Greengrass (The Bourne Supremacy, The Bourne Ultimatum) is back again with a screen writing credit to his name for co-writing the script with Christopher Rouse, and with Tony Gilroy (The Bourne Legacy) not involved in the writer's room, his absence is noticed heavily throughout as Bourne not only struggles to make sense of his newfound knowledge but a plot involving espionage surround an app called Deep Dream created by Riz Ahmed (The Night Of) Cinematographer Barry Ackroyd re-teaming with Greengrass (Captain Phillips) guides us beautifully from different locations, particularly a car chase through Greece and Las Vegas leaving us gasping and anticipating more. The Shaky Cam technique Greengrass loves to use can at times become a little nauseating after ten years of Bourne's absence. When trying to compare Jason Bourne to its predecessor's; One should not judge it harshly. Yes, the groundwork created for the three previous films should have given us a much better movie and spy-induced thriller. But Jason Bourne is a film in the series that is meant to stand on its own merit. A way to breathe life back into the franchise and hopefully give us more stories of Bourne to come. With a collection of 13 novels at hand, I'm sure there is enough source material to go around. If you are a fan of the Bourne Franchise; Then you will love and definitely remember his name.

Criminal (2016)

Face/Off and Self/Less had a lovechild and its name is...

[6/10 · 23 June 2016]

In a failed attempt to retrieve a CIA agent (Ryan Reynolds, "Deadpool") who has intel on an industrialist-turned-anarchist Heimdahl (Jordi Mollà) The CIA are forced to implant the memories of the now deceased agent into Jericho Stewart (Kevin Costner, "McFarland, USA") who in turn struggles with the memories and complexities of being a good man. This is the second collaboration between Tommy Lee Jones, Kevin Costner, and Gary Oldman following the 1991 film JFK. Hard to believe that it took us 26 years to put these three talented actors together again, and although I would have like to have seen them in a film like JFK; Criminal does hold its own in some merit. Director, Ariel Vromen made his English directorial debut with 2012's The Iceman. With this film, he showed us that he could handle a little budget thriller with a talented lead (Michael Shannon) and shape it into a watchable thriller that whether critics loved it or hated it - It would definitely make him a household name to talk about. Again he works his magic here with Criminal, under the writing talents of Douglas S. Cook & David Weisberg ("The Rock", "Double Jeopardy") who borrow the shared plot device from "Face/Off" & "Self/Less." If you hated those films then maybe you will hate this film as well, although it does differ in some way adding an anarchist for the baddie. Ryan Reynolds is a pleasure to see for the time spent with him, who coincidentally previously starred in last year's "Self/Less." Gal Gadot taking a break from "Dawn of Justice" is captivating as a now single mother forced to handle this new found information. Oldman and Jones rarely have much to do which is sad considering their talent. But the real star would be Costner although he does nothing special in the film. It's fun to see him play a character different from what we are normally subjected to among the lines of ("3 Days to Kill") While Criminal does have enough star talent to break the bank and send people rushing to the theaters - You'll have to determine if the film if worth remembering the minute you leave.

Demolition (2015)

Gyllenhaal muddle's through his own version of American Beauty.

[6/10 · 23 June 2016]

After the unexpected loss of his wife (Heather Lind, "Turn") Davis (Jake Gyllenhaal, "Nightcrawler") a successful investment banker tries to understand the nature of his grief while unraveling dangerously, especially to those around him. He befriends Karen (Naomi Watts, "While We're Young") a customer service rep. whose own personal problems strike a cord with Davis and her son (Judah Lewis) At first glance, one might find Demolition to be a film based on a real-life thesis, a guide to loss and seeking self-help in a time of awareness. With an intriguing premise and an engaging cast and director, this should have been and could have very well been all of those things - Except it's not, although it will try heavily to make you think through all its profundity and idealism that it is all of these things. At its core, screenwriter Bryan Sipe gives us enough meat to swallow in fear of us choking on whatever truths he feels we can't handle. The story is driven rather fast with enough dramatic tension to fill its runtime. Gyllenhaal whose previous credits include ("South Paw") understands Davis and embodies him both physically and mentally never truly picking a mood to land on. His emotions and mental state are constantly unraveling as he desperately tries to feel and understand the world he thought he once knew. Gyllenhaal and Sipe play this tone well without Davis coming off as mentally unbalanced. Watts, adds charm and likability to her minor role, a role that although any actress could have portrayed - Watts understands inner turmoil and regret. And she shows us that within each scene she's in. Newcomer Judah Lewis is truly the star of this film besting wits with Gyllenhaal, while also trying to understand what it means to be homosexual at a young age. Cinematographer Yves Bélanger also deserves credit for an eloquent and melancholic scenery for when Davis is sad; and a vibrant and loud scenery for when happy. Director, Jean-Marc Vallée ("Wild") guides his cast as if it were a ballad being played slowly and cautiously. Unlike his previous film, Demolition tries to reach higher than it needs too, while asking questions that we are ourselves have probably never had the time to think on. But that's all it does, ask questions and ask questions, and expect us to answer them with some sort of resolution on what the film was trying to say. American Beauty had Kevin Spacey trying to understand the meaning of his life and what it was worth - Demolition has Gyllenhaal trying to find a climax worth understanding.

Cut Snake (2014)

Aussie Brokeback Mountain...

[4/10 · 11 June 2016]

Cut Snake is one of those rare films you find one night while searching through an endless list of films you have yet to see. You've looked over it numerously, thought about watching, even pressed played and quickly stopped... Why? I have no clue... Maybe because it's a little film with a cast and director i have no previous knowledge of... But Cut Snake is a good film... Just flawed with a sprinkle of Cliché undertones.

Merv (Alex Russell, "Chronicle") has a good life going with his girlfriend Paula (Jessica De Gouw, "Underground") but with the unexpected arrival of James (Sullivan Stapleton, "Blindspot") a friend from his shadowy past, he is forced to revisit closed doors. From here we enter a character study of these two men and how they both interactive and somehow fit together. With Merv, we see quiet and fragile; but a temper hidden deep within. James, anger, sadness and neglect. Blake Ayshford and Tony Ayres ("The Slap") do a wonderful job of dissecting both men and yet showing how they fit together or most importantly what brought them together. But because we've already seen a movie like this before... (Brookeback Mountain) the emotional gravitas of this film falls flat. It feels as we are getting the same movie only with a slightly different plot and characters. Swapping the late Ledger for Russell, and Gyllenhaal for Stapleton; who unlike Gyllenhaal is a closeted homosexual but unsure why he resents his feelings. We even having the awe-struck girlfriend who is saddened by what she sees. But the real star of this film is Stapleton, who honestly carries the burden of coming home to find your love one has moved on. He affectedly shows us anger and yet humorously makes jokes about the situation with each step. Cut Snake is an entertaining film if your in the mood for another Brookeback Mountain.

The Blackcoat's Daughter (I) (2015)

Well Done Mr. Perkins!

[6/10 · 11 June 2016]

The Blackcoat's Daughter, or originally titled February is the first feature film from Oz Perkins, and it's warmly welcomed and loved if you love a slow- build horror in the likes of It Follows, The Babdook, The Tall Man, or recently surprise hit The Witch. This film follows the same beat, while not necessarily executing it in a lively fashion it does deserve to stand on it's own merit.

Winter break is approaching so the students of Bradford Academy are all leaving to rejoin their parents over the two weeks... Expect for the exception of Kat (Kiernan Shipka) truly haunting each time on screen; and Rose (Lucy Boynton) who are forced to await the arrival of their parents who mysteriously fail to retrieve them. With their time spent there, we also meet Joan (Emma Roberts) another kindred soul trudging her way to the unknown. And thus, begins our film... A look at three different woman bound by a constant fear, ever present throughout the film.

For a first time director, Oz gracefully masters the camera as he glides slowly across the scenery meticulously acknowledging every shot... From a long tracking shot down a dark hallway to the swinging of a door in the wind. Every detail cleverly puts you on ease as you await the next scene. Kiernan Shipka controls the screen as she chillingly embodies the physical turmoil of an adolescent girl confused and unsure of herself... The rest of this little cast are also good... with the exception of Emma Roberts showing us that she can also do more than American Horror Story or Scream Queens. While good, the film does fall in structure during it's second act and end as we never truly understand the intentions of our characters or simply where the movie is headed... while the tone stays the same... haunting and melancholy. The film can loose you if you are not truly invested during it's final two acts.

Overall, The Blackcoat's Daughter is a well crafted horror that cleverly cuts between three characters while still juggling the fact that it is indeed a slow-burn horror well worth your time and money.

The Final Girls (2015)

What "Scream" could have been....

[7/10 · 9 October 2015]

I have to say that this movie surprised me in every way imaginable. My expectations were not very high when first viewing the trailer, but after watching the film i couldn't help but laugh, cry, cringe, laugh and cry all within the first three acts of this film. This is truly a fun homage to 70's to 90's horror/comedy films... A lot better in my opinion than the "Scream" franchise. The plot of this movie if you haven't seen the trailer or heard much buzz about the film is simple... A group of kids are accidentally pulled into a horror/teen slasher comedy. That is all i will say about this film... I feel you'll have more fun watching with less information. Please watch and enjoy!!!!!

Knock Knock (I) (2015)

Another Eli Roth Film :(

[2/10 · 9 October 2015]

Where should i even begin with this review. I swear there is so much to say about this film and Roth's films in general. The film begins with an establishing shot of a beautiful home, the only character in this film that Roth choose to give development or depth to. From there we view Our main protagonist and his family. Cozy, loving idyllic, a happy family. And from there are movie begins... We are introduced to the femme fatals. Our antagonists. Or are they simply are voice of reason... The films conscious. This is the way Roth presents it... He allows us to view and justly decide if our protagonists is guilty or deserving of the torture he endures throughout the film. As someone who really does not care much for Eli Roth or his films... I feel i am being a little harsh with my rating. If you are a fan of his work and style of writing then you will have a much better time with this film than i did. My problems with Roth lie in storytelling. Visually he can create and guide us through an eerie hallway or cannibalistic rain forest. But when it comes to character development or dialogue he fails utterly in that department. Overall, Knock, Knock was a film i was eager to see after first glance of the trailer... Now its a movie i'm eagerly trying to forget.