Willow (2022-2023) Review

 

An unlikely group of heroes sets off on a dangerous quest to a place where they must confront their inner demons and come together to save their world.

The Willow TV series brings back some beloved characters, including Warwick Davis reprising his role as Willow and Joanne Whalley returning as Queen Sorsha. There are nods to the original movie, and the on-location scenes look fantastic. However, for the most part, it looks and feels similar to many other Disney streaming productions, with a padded storyline stretched thin that might have worked better as a high-budget film.

Joonas Suotamo as the Scourge and Ralph Ineson as Commander Ballantine, Jade's adoptive father and loyal servant of Queen Sorsha, are notable cast members. Dempsey Bryk is well cast, while Erin Kellyman, Ruby Cruz, and Ellie Bamber do their best with the material. Christian Slater aside, many characters and relationships feel shoehorned in, distracting from the plot. These forced subplots detract from the genuinely story-driven relationships and plot twists.

The show includes some impressive practical effects and interesting fantasy elements, but despite moments of fantasy charm, fun, and swashbuckling adventure, its execution feels uneven and ultimately misses the mark.

Overall, the blend of nostalgia with some fresh storytelling just isn't enough.

Land of the Dead (2005) Revisited (Review)

The living dead have taken over the world, and the last humans live in a walled city as they come to grips with the situation. But how long will it remain a safe haven? 

At the time unjustifiably panned by many George A. Romero fans and critics, horror filmmaking legend Romero’s grander-scale zombie instalment initially had a rough reception. It may lack the indie-feel roughness of his previous zombie outbreaks, especially the gritty tone and product of its time ‘78’s Dawn of the Dead. That said, it avoids Diary’s shaky cam; the late great Romero couldn’t win—every time he pandered to fans’ whims, he seemingly shot himself in the foot. 

Nevertheless, hindsight is 20/20 Romero and clearly works best when he's left to just make his movies. What Land delivers is an ominous tone, a strong story, and great performances, notably from Simon Baker, John Leguizamo, and the double-crossing Dennis Hopper, who delivers some memorable one-liners. Both Asia Argento (Dario Argento’s daughter) as "Slack" and Robert Joy as Charlie are notable. Joanne Boland's "Pretty Boy" deserves a mention along with Sasha Roiz and Krista Bridges. 

Reinhold Heil and Johnny Klimek’s excellent haunting music score is fitting. Aside from some iffy CGI blood, there some fantastic practical and visual effects. Romero ticks all the zombie boxes with this movie. There’s action, gore, jump scares on a large scale. Although some of the themes, like “putting out the trash,” could have been explored further, there are some visually striking set pieces, great zombie ideas, and more. Romero offers an abundance of memorable undead characters including Eugene Clark as Big Daddy, Boyd Banks' Butcher,  Jennifer Baxter as blonde messed up face Zombie Number 9 and Jasmin Geljo as Tambourine zombie to name a few. 

Simon Pegg, Edgar Wright and Tom Savini cameo,  Romero throws in plenty of horror nods,  including An American Werewolf in London’s Gerald Bringsley subway man (Michael Carter) lookalike. With Romero’s staple social commentary, here he offers a strong racial context and subtext relating to the debate about immigration reform, land ownership, and development. 

Overall, Land is worth watching and gets better with age —it’s dead good.

Abigail (2024) Review

 A group of kidnappers captures the daughter of a powerful underworld figure and demands $50 million for her release, unaware that something sinister is at play.

Directors Matt Bettinelli-Olpin and Tyler Gillett successfully blend horror and comedy with a novel story by Stephen Shields and Guy Busick. Tonally it gives off vibes reminiscent of From Dusk Till Dawn and echoes elements from Interview with the Vampire.

With moments of dark humour, Shields and Busick's script maintains a brisk pace, constantly keeping you on edge while allowing just enough lightness to make Bettinelli-Olpin and Gillett's visuals all the more unsettling. The backstory is a little ambiguous, which adds to the mystique and hints at possible sequel or prequel setups.

The film's eerie, atmospheric tone is set early on. Dan Stevens' nonchalant character is notable, and Melissa Barrera's feisty, sharp lead leaves a strong impression. However, the star of the show is the mysterious Abigail, played brilliantly by Alisha Weir.

The horror tension is broken by moments of well-timed levity, with much of the comic relief coming from Kathryn Newton, alongside the likeable performances of Will Catlett and a bulked-up, memorable Kevin Durand.

Although some of the action sequences are overlong, (less is sometimes more) the standout elements are the great special effects, abundance of blood, unexpected twists, and sinister reveals.

Overall, it's an atmospheric, fun, gory ride with standout performances-certainly worth checking out.

Slumber Party Massacre (1982) and Slumber Party Massacre II (1987) Review

 

Slumber Party Massacre (1982) 

When Trish throws a slumber party, an escaped killer with a power drill terrorises her friends and neighbours.

Slumber Party Massacre (1982), directed by Amy Holden Jones, offers a fresh perspective to the genre for its time.

(Not to be confused with Sorority House Massacre (1986)-Its Halloween-like atmosphere is apparent, but the decision to show the killer, Russ Thorn (played by Michael Villella), throughout takes away some tension and mystery, even if he is reminiscent of Don Calfa. While this is an interesting approach, it removes the usual whodunit suspense typical of slashers.

The editing is a bit clunky at times, and the slow-motion effects feel dated. However, the film compensates with the flow of deaths and creative driller kills, making good use of its low-budget limitations.

The female characters, particularly Michelle Michaels as Trish and the late Robin Stille as Valerie, avoid (for the most part) typical slasher tropes, thanks to writers Rita Mae Brown and Jones forward thinking. Notable is Jennifer Meyers as Courtney Bates (whose character appears in the sequel played by Crystal Bernard). Despite their limited screen time both Jean Vargas as the Telephone Repairwoman and Pamela Roylance as Coach Jana are memorable.

Overall, despite some technical flaws, Slumber Party Massacre remains a solid entry in the genre.

Slumber Party Massacre II (1987)

Courtney, still traumatised by her sister's past, faces a new horror when a guitar-wielding killer invades her weekend getaway.

Slumber Party Massacre II (1987), directed and written by Deborah Brock, takes a sharp turn from the grounded simplicity of the original, leaning into surreal, outlandish horror.

Crystal Bernard replaces Jennifer Meyers 1982's character Courtney, the younger sister of Valerie from the first film, adding a sense of continuity, but the sequel lacks the tension that made the original effective.

Accompanied by music from Richard Cox the bizarre, dream-like elements, especially rockabilly killer wielding a guitar-drill, feel like an attempt to cash in on the success of A Nightmare on Elm Street, but without the same impact. While Atanas Ilitch is entertaining as The Driller Killer his scenes are visually quirky, these surreal moments lean more into camp than fear.

Despite its shortcomings, the film is entertaining for fans of cheesy 80s horror. Bernard and Playboy's Kimberly McArthur deliver solid performances, but the experimental direction by Brock lacks the tight pacing of Amy Holden Jones' original.

Overall, it's fun but doesn't match the effectiveness of its predecessor.

Star Trek: The Motion Picture (1979) Review

 

Admiral Kirk retakes command of the USS Enterprise to confront a mysterious alien cloud that threatens Earth.

Director Robert Wise's Star Trek: The Motion Picture (1979) often falls under the radar compared to other entries in the franchise, but it offers qualities that deserve recognition, especially considering its ongoing impact.

The new cast members, Stephen Collins as Decker and Persis Khambatta as Ilia, add fresh dynamics to the story, while supporting roles from series regulars, including Grace Lee Whitney's Janice Rand, and Majel Barrett as Christine Chapel provide a sense of continuity.

Despite its sluggish pace, one of Wise's most overlooked strengths is how he reunites the original crew, giving characters like Scotty, Spock, and Bones a fitting return. Scotty's emotional attachment to the newly refitted Enterprise is palpable as he proudly shows Kirk the ship's upgrades. Spock's internal struggle between logic and emotion is on full display. Bones remains as skeptical and sharp-witted as ever. Uhura, Chekov, and Sulu are also given moments that remind us of the crew's enduring chemistry. Overlooked, Shanter, Nimoy and DeForest Kelley really offer unreserved screen presence.

Perhaps most groundbreaking is how Wise visually showcases the Enterprise. This was the first time audiences could see the ship up close, with slow, detailed shots emphasising its design and the personnel aboard. These moments help build the sense that the Enterprise is more than just a set piece-it reveals a functioning ship with hundreds of crew members at work, something the original series never fully achieved. The practical effects, while dated, retain a certain charm.

Jerry Goldsmith's score is another highlight, particularly the now-iconic theme that would go on to define Star Trek: The Next Generation. The music adds a sense of grandeur and scale to the film.

Overall, while the movie may be slower-paced, echoing 2001: A Space Odyssey rather than Star Wars, it is groundbreaking in its vision, combining thought-provoking science fiction with a respect for the characters and the world-building of the franchise.

Demons 2 (1986) Review​

 

Demons 2 (1986) brings the chaos of the demon invasion into a new, confined setting, trading the movie theatre from the first film for a hi-tech high-rise apartment block. Directed again by Lamberto Bava and produced by Dario Argento, the film follows demons breaking through into the real world via a television broadcast. 

Like many 80s sequels, it doesn't follow a strict narrative continuation of the first film. It starts with several teens who trespass into a city that was deserted and walled off due to the demon outbreak from the first film, but in reality, it's a film within a film being viewed. The result is a night of terror for the building's residents, who become bloodthirsty monsters as the demonic infection spreads.

The cast, including David Knight, Nancy Brilli, Virginia Bryant, Antonio Cantafora and a young Asia Argento in her debut film. The film includes two familiar faces from the original. Bobby Rhodes, who played Tony the pimp in the first movie, returns as Hank, a completely different character, while Lino Salemme reappears as a security guard. Coralina Cataldi-Tassoni plays Sally Day, a nod to the original, as the actress Sally Day portrayed the character of Liz in Demons (1985).

Borrowing heavily from Shivers (1975) in its apartment block setting, with visual echoes of Videodrome (1983) Bava ramps up the gore, stunts, and monster effects, with action sequences that are bigger and bloodier. However, it lacks the simplicity and raw effectiveness of its predecessor. While the first film's heavy metal soundtrack gave it a relentless edge, Simon Boswell's choice of 80s pop-rock and new wave bands provides a different atmosphere-less aggressive but more moody and frenetic. Despite these changes, the film still delivers a solid dose of 80s horror fun.

Overall, while it lacks the simplicity and effectiveness of the first (and isn't a linear sequel), Bava's offering oozes atmosphere, featuring gruesome practical effects and a sense of relentless dread that still make it an entertaining ride.

Furiosa: A Mad Max Saga (2024) Review

 

When Furiosa is kidnapped, she must survive the wasteland and its inhabitants while planning her escape and revenge.

While the trilogy retains its timeless charm, George Miller's Furiosa: A Mad Max Saga is every bit as good as Mad Max: Fury Road, delivering a visually stunning, action-packed prequel. Miller oils up the fan service with a few nods and callbacks. Both Nick Lathouris and Miller's story meets expectations while avoiding tropes (especially in the third act) and lays down some new road.

The supporting and main cast are fantastic. Anya Taylor-Joy is mesmerizing as Furiosa, bringing depth to the character and expanding her backstory. The return of familiar faces like Immortan Joe ties the film seamlessly to the Mad Max universe. Chris Hemsworth is in fine form, flexing his acting abilities with a big-screen transformation as Dementus. Notable is Tom Burke as Jack, who delivers a vibe reminiscent of both Hardy's and Gibson's portrayals of Max.

Miller's direction brings the post-apocalyptic world to life with stunning visuals, high production values, sound design, and imaginative action sequences, though there's more obvious CGI used here than in Fury Road. Nevertheless, Tom Holkenborg's powerful score heightens the tension and excitement, pulling you deeper into the chaotic world.

Overall, with its thrilling action, captivating performances, and immersive world-building, Miller delivers a powerful new chapter in the saga.

Alien Romulus (2024) Review

 

Possible Minor Spoilers.

When Rain Carradine’s work contract is unexpectedly extended by the Weyland company, she accepts an offer to visit a derelict spacecraft as a stopping point for a better life. However, it holds a horrifying and deadly secret, and she, her friends, and her synthetic companion must fight to survive.

Director Fede Álvarez delivers a terrifying and atmospheric Alien installment with fantastic special effects and a gripping music score. It pulls no punches in terms of blood, action, and suspense, offering striking visuals and intense, gory action. However, for the sake of fan service, it frustratingly uses lines of dialogue from other outings, which diminishes its own originality for no reason. Including - "Get away from her, you bitch.”

There are some dynamic setups and callbacks to the series, including references to the USCSS Nostromo and the inclusion of a familiar face as Rook, which serves as the icing on Álvarez’s cake. Benjamin Wallfisch’s score wonderfully complements the grim claustrophobic terror, also including stings from the Alien franchise.

From the busy mining planet to the confines of a ship and the research outpost space station Romulus and Remus, the young cast is great. Notable are leads Cailee Spaeny as Rain and David Jonsson as android Andy. Archie Renaux’s Tyler is memorable, but the stars of the show are the Alien, Facehuggers, and their life cycle, expertly brought to life. The fresh Big Chap Alien cocooning aspect shown in the opening, is revisited and paid off later with different Alien in a memorable Stun Baton scene. There’s zero gravity, pulse rifles, acid and cryogenic burns and more.

Produced by Scott Free Productions and Brandywine Productions, and written by Álvarez and Rodo Sayagues, it heavily borrows from the 2019 story synopsis, Alien Covenant 2: Gods and Monsters (though not credited). Nevertheless, it’s cinematic, wonderfully crafted, and there are enough new elements and frights for this installment to shine.

Overall, Álvarez’s scifi injects new life into the horror franchise. Highly recommended.

Rebel Moon - Part Two: The Scargiver (2024) Review

 

When Admiral Atticus is resurrected, Kora must face her past and, along with her villagers and new companions, stop a dangerous army and their war machines.

Like Part One, director Zack Snyder draws inspiration from ancient Rome to Old English epic poems, real-world history, and more, echoing Westerns, Seven Samurai, Tolkien, and Frank Herbert, among others. He borrows elements from Star Wars, Chronicles of Riddick, and Battle Beyond the Stars. In Rebel Moon - Chapter Two: Curse of Forgiveness (the director's cut of Rebel Moon - Part Two: The Scargiver), Snyder's directing prowess excels with a visual hard-hitting entertaining ride.

In the director's cut, the gore is debatably amplified a little too much. There are some seemingly lapses in logic, perhaps just to be subversive for subversion's sake. Additionally, there are lulls in pacing with Star Trek: The Next Generation-style rural slow-motion scenes of wheat, and the Basic Instinct-like sex scenes seem to be for Snyder's enjoyment only. Aside from the dreadnought engine, there is a lack of aliens, with no giant arachnid creatures, resulting in fewer intriguing species than in Part One.

The acting, score, special effects, and world-building are compelling and immersive. (Even with more unnecessary topless scenes) Sofia Boutella as Kora is again impressive, alongside a likable ensemble cast, all given flashback backstories. Ed Skrein, as antagonist Admiral Atticus, is a scene-stealer. Anthony Hopkins, as the voice of JC-1435 'Jimmy,' finally gets some action sequences. Fra Fee, as Balisarius, again channels his best Daniel Day-Lewis. There are surprise deaths, but you can't help but feel these could have been avoided if certain things had happened or if a character had turned up sooner.

Overall, Rebel Moon Part 2 is a recommended piece of science fiction that ushers in a cautiously welcomed third instalment.

Kingdom of the Planet of the Apes (2024) Review

 

300 years after the reign of Caesar, Noa, a young chimpanzee, embarks on a journey alongside Mae, a human woman, to find his kidnapped clan.

Directed by Wes Ball, Kingdom of the Apes is a visually stunning addition to the Planet of the Apes franchise, though it falls short of reaching the heights of its some of its predecessors including the original.

Accompanied by John Paesano's score the film's visual effects are nothing short of breathtaking, with computer-generated primates that are hyper-real and incredibly detailed, rivaling the best in modern cinema. Ball's direction ensures that the action sequences are top-notch, delivering some truly standout moments. The voice (and motion capture) acting is fantastic notably from Owen Teague (Noa), Kevin Durand (Proximus Caesar) and Peter Macon, (Raka, orangutan).

While the apes are brought to life with impressive realism and depth, the human characters feel somewhat two-dimensional, lacking the complexity or depth needed. There's no time-traveling connection to the shuttle launch teased in 'Rise'. The lack of character development, combined with the absence of the classic "fish out of water" dynamic explored in Planet of the Apes (1968) and Tim Burton's remake, makes the film feel a little flat.

Freya Allan's Mae, while central to the plot, unfortunately comes across as more of a plot device than a fully realised character. William H. Macy's Trevathan adds weight but feels like a thrown-in addition.

Writer Josh Friedman's narrative structure also seems to strain under the weight of setting up future sequels, particularly in the third act. This focus on franchise-building over storytelling diminishes the impact of what could have been a more powerful conclusion. It may not be perfect, but it's a good time for those willing to appreciate its thoughtful, if somewhat flawed, storytelling. The film's slow pace might not appeal to everyone, but Ball's visuals still manage to provide an engaging experience throughout.

Overall, with its rich visuals and compelling ape characters Kingdom of the Apes is a well-crafted traditional epic that handily justifies the continuation of the series.