Star Wars Skeleton Crew (2024-) Review

 

A group of kids accidentally find themselves lost in the galaxy, embarking on a dangerous adventure with the help of a robot and a mysterious space pirate as they try to find their way home.

Taking place in the same time frame as The Mandalorian series and after the events of the film Return of the Jedi (1983), Skeleton Crew is essentially a coming-of-age story. From the first to the last episode, Skeleton Crew strives to have a Goonies and E. T.-like vibe and still manages to feel like a fresh entry in the Star Wars universe. Andor aside, series creators Jon Watts and Christopher Ford offer one of the more rounded Disney+ shows. It delivers a visually stunning tale, blending classic space opera adventure with some character-driven focus. It has the charm and warm of The Ewok Adventures, only much better executed.

The acting is a major highlight, with Jude Law delivering a standout performance as a mysterious guide figure. Notable are the werewolf-like alien, Brutus (voiced by Fred Tatasciore and performed by Stephen Oyoung), and SM-33 (voiced by Nick Frost), a decrepit droid. The young cast as a whole is great amidst the rich visuals and action.

Composer Mick Giacchino’s score complements and gives weight to the setups. The production values are high, with some impressive effects, lush alien worlds, and plenty of nods throughout, including the Lucas-produced Captain EO. However, the pirate and Earth-like characterisations sometimes feel too on the nose, occasionally grounding the galaxy far, far away a little too close to home.

Despite minor flaws, Skeleton Crew is an engaging adventure with good performances, visuals, and a sense of fun, making it one of Disney’s stronger TV Star Wars outings.

The Bad Pack (1997) Review

 Two brothers set out to hire mercenaries to defend their small border town from militants.

Brent Huff's offering is an action throwback that predates The Expendables and channels the dynamics of The A-Team, with a dash of Three Amigos in terms of its plot and border setting.

Interestingly, Huff and Douglas L. Walton's script portrays the surge of militia activity in the United States during the 80's and 1990s, mercenaries for hire, as well as issues surrounding both legal and illegal migration, which, though shifted, remain topical and just as contentious today.

Elevated by its familiar cast ensemble, Robert Davi (Die Hard, License to Kill) leads the crew, joined by Roddy Piper (They Live), Ralf Moeller (Gladiator), Marshall Teague (Road House), and Patrick Dollaghan (Rapid Fire) along the way. Shawn Huff leaves an impression. Each brings charisma, making their mismatched team entertaining enough.

Sven-Ole Thorsen (Conan the Barbarian, Red Heat,The Running Man and the late professional wrestler Robert Swenson also appear. Veron Wells cameos.

While the budget shows, Huff compensates with some stunt work and explosive action (mostly in the third act) and 90's DTV charm.

A watchable talky action outing with familiar faces for fans of mercenary and vigilante B-flicks.

Pharaoh's Curse (1957) Review

 

Archaeologists inadvertently unleash a 3,000-year-old curse, leading to one of their crew becoming a blood-sucking mummy.

Directed by Lee Sholem, Pharaoh's Curse is a B-movie horror film that refreshingly attempts to deviate from the typical mummy narrative. Set against the backdrop of Egypt in 1902, writer Richard H. Landau introduces elements of civil unrest in the opening, adding so much needed depth, even if the ending is sadly somewhat flat.

Diane Brewster portrays Sylvia Quentin, the wife of the expedition leader, and Ziva Rodann plays Simira, a mysterious woman with a supernatural connection, both are memorable and notable. Their performances contribute to the unique narrative within the genre. Both Mark Dana as the dashing Captain Storm and George N. Neise with limited screen time as Robert Quentin are notable. However, the creepy factor, with some solid undead makeup and special effects by the crew belong to Alvaro Guillot's performance as Numar.

While the atmosphere is commendable and complemented by Les Baxter's music, William Margulies' black-and-white cinematography and set design effectively convey isolation and claustrophobia. In contrast, it does feel older than 1957 and has moments that feel like a black & white Tarzan adventure, rather than a mummy horror, despite Sholem's snappy direction.

Overall, thanks to Brewster and Rodann's presence despite its shortcomings Sholem's overlooked Pharaoh's Curse offers an engaging outing for fans of vintage horror cinema.

Phenomena (1985) Review

 

Jennifer Corvino, a young girl with the extraordinary ability to communicate with insects, uses her gift to track down a killer. 

Directed by Dario Argento, Phenomena is a dreamlike horror that combines surreal visuals, eerie atmosphere, and shocking moments to create a haunting experience. It’s the very “stuff nightmares are made of.” Set against the lush, misty landscapes of Switzerland, the day locations counterbalance its unsettling tone, while the nighttime settings complement the horror.

Jennifer Connelly shines as Corvino, capturing a perfect balance of innocence and resilience, anchoring the film’s strange and terrifying journey. Donald Pleasence adds warmth as the kindly Dr. McGregor, while limited Patrick Bauchau’s presence and Inga the chimp leave a lasting impression. The acting at times is off beat, with quirky performances from the supporting cast synonyms with Argento’s work and Italian films in general.

Argento’s shocks recall the dread of Don’t Look Now and echo elements of the likes of Friday the 13th and Bay of Blood to name a few, delivering memorable moments of tension. The pounding soundtrack, featuring Goblin/Claudio Simonetti and Iron Maiden, heightens the surreal atmosphere, complementing Argento’s unique vision.

A bold mix of fantasy and horror, Phenomena stands out for its striking visuals and chilling atmosphere, cementing its place as one of Argento’s most distinctive works.

The Ambulance (1990) Review

 

Comic book artist Josh Baker, becomes entangled in a mysterious conspiracy involving a sinister ambulance that abducts people off the streets of New York City.

The Ambulance (1990), directed by Larry Cohen, is a quirky thriller that combines suspense with dark humor. It's gripping slice a fun, with an injection of black humour, Cohen's script has an improvisational feel, with rapid-fire dialogue and wacky setups.

The on-location shooting in New York City, offers an immersive urban landscape, enhancing the gritty tone that adds atmosphere. Although released in 1990, it exudes an '80s style, complete with multiple endings and meandering twists and turns. It's not perfect, and can be clunky in the dialogue and pacing department. The subject matter isn't as grounded as the likes of Extreme Measures (1996) that followed, and doesn't have the consistency of After Hours (1985) dark humour. That said, the chases and practical stunts hold up well with Cohen’s love for uniforms and guns ever present throughout.

The off-beat performances are notably eccentric, with Eric Roberts delivering a spirited and determined protagonist Josh. Richard Bright and Megan Gallagher as Officer Sandra Malloy are memorable. Supporting actors, including James Earl Jones and Red Buttons, contribute to the unconventional charm with their distinctive characterisations. There's also an extended cameo by Marvel Comics legend Stan Lee, who appears as himself.

While Larry Cohen's offering may not appeal to everyone, its unique approach to the thriller genre makes it memorable, thanks to its inventive premise and outlandish distinctive style.

Overall, fans of paranoia-driven films, especially those set over a single night or more, will likely enjoy this quirky gem.

Merry Christmas and Thanks.

 

Hi All, 

2024 has been a wonderful year for some and turmoil for others. There’s no escaping these realities unless you turn to escapism. 

On that note, I wanted to sincerely thank everyone for your continued support of Shadows of Dismemberment. An unexpected highlight was the success of the limited hardback. 

I am as light as a feather, I am as happy as an angel, I am as merry as a schoolboy. I am as giddy as a drunken man. A merry Christmas to everybody! A happy New Year to all!

A. M.

Violent Night (2022) Review

 

When a wealthy family is taken hostage in their home, Santa Claus finds himself in the right place at the wrong time and must take on the deadly mercenaries.

Director Tommy Wirkola delivers slick action with high production values and great cinematography from Matthew Weston. It also lives up to its title with plenty of violence while incorporating thoughtful Christmas magic, thanks to a great script by Pat Casey and Josh Miller, which as well as the main plot also offers an intriguing Father Christmas origin story. It has plenty of nods to other holiday films including Home Alone, Die Hard, Die Hard 2 with a hint of 2020's The Fatman. Music by Dominic Lewis injects the right amount of Christmas spirit, along with a classic Christmas soundtrack.

Lead actor David Harbour as Santa Claus is perfect, bringing humor, physical presence, and emotion. John Leguizamo is on top bad guy form as Scrooge. The supporting cast are excellent, notable are André Eriksen as Gingerbread and Mitra Suri as Candy Cane. Leah Brady is great as Trudy and shows that, with the right director and script, she can excel as an actor. Beverly D'Angelo as Gertrude is a welcome addition, playing against her National Lampoon's Christmas Vacation character.

Overall, Violent Night delivers exactly what it promises with its entertaining concept and hard-edged holiday fun.

The Dead Don't Hurt (2023) Review

 

Set against the turbulent backdrop of 1860s frontier America during the Civil War, love, survival, conflict, and revenge ensue as two pioneers fight to protect their lives and their bond.

Written, directed, and produced by Viggo Mortensen, the film is a poignant and grounded Western oozing atmosphere. Marcel Zyskind's cinematography is stunning, giving the film a classic, high-quality feel reminiscent of older Westerns. Mortensen takes a leaf from Clint Eastwood's actor turned director career trajectory, delivering a compelling Western, with character-driven story in a nostalgic old-fashioned yet refreshing style. As well as providing the music multi talented Mortensen's offering is enhanced by some meaningful visions, dreams, and flashbacks.

The cast is outstanding. The main characters are given depth, with rich backgrounds and motivations. Mortensen is subtle yet effective as Olsen, while Vicky Krieps shines as Vivienne Le Coudy, delivering a captivating performance. Solly McLeod as Weston Jeffries and Danny Huston as Rudolph Schiller are also noteworthy, with W. Earl Brown adding gravitas as barman Alan Kendall. Although Shane Graham screen time is limited as deputy Billy Crossley, he leaves an impression along with Garret Dillahunt, Luke Reilly and John Getz.

What sets the film apart is Peder Pedersen's editing, which interweaves two timelines in a nonlinear narrative, adding depth to the story. Mortensen's focus on framing the narrative at times from a Vivienne's perspective is a unique and fresh approach for the genre.

Overall, Mortensen masterfully hits all the story beats expected of a Western while bringing something new to the table.

Ready or Not (2019) Review

 

A bride's wedding night takes a sinister turn when her eccentric new in-laws force her to play a terrifying game.

The film is a dark comedy packed with wall-to-wall tension, reminiscent of Get Out. While the humour occasionally skirts the line of bad taste, it remains enjoyable thanks to Samara Weaving's standout performance, the sharp direction by Matt Bettinelli-Olpin and Tyler Gillett, and its strong production values. Supporting performances by Adam Brody, Mark O'Brien, Elyse Levesque, Nicky Guadagni, Henry Czerny, and Andie MacDowell are also noteworthy.

As a black comedy, it can be hit or miss-largely depending on individual taste-but its unique blend of horror, humour, and social commentary makes it compelling. The majority use of the single location add a sense of claustrophobia. It delivers sharp humour, bold anti-marriage themes, and a mix of revenge-driven action with a subversive critique of privilege and arrogance.

Overall, it's a briskly paced, well-crafted production with stellar acting and striking direction.

Deadliest Prey (2013) Review ​

 

War veteran Mike Danton, now living a peaceful family life, is ambushed while taking out the trash and finds himself once again fighting for survival in the wilderness.

The late David A. Prior's long-awaited sequel, Deadliest Prey, brings the same chaotic energy as its predecessor, but with a new revenge-driven twist. Deadly Prey remains a cult classic of low-budget action filmmaking done right, blending over-the-top acting, a pulsating synth-rock score, and Ted Prior's iconic mullet.

With the same pounding score the story picks up 27 years after the original. Col. Hogan (David Campbell), now released from prison, has spent his incarceration plotting revenge against Mike Danton (Ted Prior), minus the mullet. The film is more or less a remake, mirroring Deadly Prey as Danton eliminates Hogan's soldiers one by one using improvised weapons, traps, and sheer ingenuity. Prior's follow-up stays true to its roots, maintaining the original's spirit while adding modern touches, such as an Internet-streaming subplot complete with hacker characters.

The cast shines in traditional B-movie fashion. Ted Prior reprises his iconic role with his usual fine form. David Campbell delivers an even more unhinged portrayal of Hogan this time around. Fritz Matthews returns as Thornton's twin brother, bringing his own vengeful motivations to the party. Prior's Danton balances heroism with moments of reflection, while Tara Kleinpeter impresses as Sophia, evoking a similar standout presence as Dawn Abraham's character in the original. With Danton's first wife killed in the earlier film, Cat Tomeny steps in as his new wife, Allison, and Hogan gleefully riffs on this for the audience's amusement.

Practical effects, including pyrotechnics, elevate the action sequences, keeping them engaging and fun. The film's strength lies in its unapologetic embrace of the absurd. From callbacks to Danton's eating habits, to inventive kills involving knives and explosions, it honors its cult origins. The climactic scene, where Hogan inadvertently severs Thornton's arm-mirroring the first film-and Danton uses it as a weapon, epitomizes the film's outlandish spirit.

Overall, while it doesn't quite reach the original's iconic cult status, Deadliest Prey comes close. It's David's and his brother Ted's poignant "getting the band back together" before passing away in 2015. Fans will appreciate its nostalgic nods and relentless action.