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 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.
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.
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.
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.
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.
Director Mark L. Lester delivers an excellent science fiction thriller, echoing elements from Mad Max, The Warriors and Escape from New York to name a few. Class of 1999 Is a loose follow-up to his 1982 film Class of 1984. It’s on location shoot adds weight and the exciting action sets-ups are extremely entertaining.
With its delayed 1990 release, the film retains an '80s charm, enhanced by Eric Allard's practical effects and practical stunts. With reprogrammed military robots-turned-teachers manipulating rival gangs it borrows from The Terminator (1984), Yojimbo and by default A Fistful of Dollars. Despite its high-concept premise, with plenty of atmosphere the film rises above Roger Corman-style low-budget fare, thanks to Mark Irwin's cinematography, Lester's slick direction, and Scott Conrad's sharp editing. The inclusion of Midge Ure's theme song "Come the Day" and Michael Hoenig's score perfectly complements the robotic and gang mayhem.
Arguably over the top at times the cast features a strong lineup of familiar faces. The teachers, portrayed by legendary Pam Grier, oozing screen presence John P. Ryan, and character actor Patrick Kilpatrick, offer standout performances. Bradley Gregg and Traci Lind are likable leads, while veteran actors Stacy Keach and Malcolm McDowell play against type, adding depth and delivering twists.
Overall, Lester combines teenage angst and killer robots to create more than just a B-movie gem packed with thrills.
A yachtswoman whose trip to Grenada goes awry when a storm leads her to rescue drug traffickers from a sinking boat. Forced to retrieve cocaine from a wreck, she faces a deadly battle against man-eating sharks and must use her wits to survive.
Director Marcus Adams delivers a clunky modern shark thriller in the vein of The Deep (1977). Deep Fear writers Robert Capelli Jr. And Sophia Eptamenitis attempt to justify the characters’ presence in shark-infested waters, incorporating flashbacks and added character weight. However, these elements feel unnecessary for what is essentially a shark thriller with a drug-smuggling twist. Macarena Gomez commands attention, Ed Westwick is notable, and Madalina Ghenea (Naomi) leaves an impression as indelible as her makeup. It’s clearly a career vehicle. The cast overall does a solid job.
Once again, Malta stands in for the Caribbean in another shark film. Like Mako and Deep Fear, the underwater dive sequences are well-executed, and while the effects aren’t groundbreaking, they surpass those of most low-budget shark movies.
Overall, like The Black Demon, it attempts something different while borrowing from 1970s shark adventure films
Set at the dawn of history, a tribe's discovery of iron weapons sparks a struggle for survival and control over this newfound power.
Director Umberto Lenzi crafts a raw, prehistoric adventure that tries to cash-in on Quest for Fire (1981) with its sparse landscapes and gritty tone.It leans more toward Thor the Conqueror (1983), Sword of the Barbarians (1982) (with Peter McCoy AKA Pietro Torrisi) and Conquest (1983) rather than Conan the Barbarian (1982).
The Invincible Barbarian (1982) and Throne of Fire (1983) star Torrisi secretly body doubles for lead Sam Pasco. George Eastman commands the screen with his intense presence. The score, partly recycled from Slave of the Cannibal God (1978), adds to its exploitation charm.
Lenzi's resourceful direction gives the film a grander feel than expected, with clever use of matte paintings, puppetry, and forced perspective.
Overall, of course the poster art is cooler than the movie, still, it's a solid mix of survival drama and tribal power plays, Ironmaster is a primal treat for fans of Lenzi and the genre.
