Pumpkinhead III: Ashes to Ashes (2006) Review:

While upon its release Ray Winston's directorial debut with Pumpkinhead (1988) didn't gather the praise it may have wanted, it has managed to maintain its cult status. Despite that, studios are always looking to make a quick buck and manage to further nothing that made the original so memorable. Jeff Burr's Pumpkinhead II: Blood Wings (1994) was by no means a good film but there were things about it that made it funny to watch. There were all kinds of wrong with how the studio messed around with the final product. From a creative standpoint though, the story tried to do something different with the vengeance demon, which deserves kudos. Unfortunately, it was its continuity that was hard to figure out. Here though, this sequel is the opposite.

Ioana Ginghina

Taking place in a small community (presumably from the first film), a bunch of town locals discover that their mortician, Doc Fraser (Doug Bradley) has been doing malpractice on fellow family members. The person to first realize this is Molly Sue (Tess Panzer) and finds Haggis (Lynne Verrall) the witch who has the power to summon Pumpkinhead for vengeance. Meanwhile her partner Oliver (Emanuel Parvu) begins his own investigation and meets Bunt Wallace (Douglas Roberts) who continues to have hallucinations of Ed Harley (Lance Henriksen). Written by John & Barbara Werner, the plot behind this feature is truly a dud. Viewers will be very much familiar with this setup as it is a direct copy from the original film.

Unlike Pumpkinhead II: Blood Wings (1994), which tried a different narrative, nothing's changed here. The only interesting aspect to this sequel is that viewers will be given the clear indication that this indeed takes place after Pumpkinhead (1988). The fact that the writers included Haggis, Bunt and Ed Harley again was appreciative, but that's where it ends. The use of these characters is far and few between as to how they should've been addressed. Instead, fans see goofy acting among many thespians who just truly show that this is a TV film. Actors like Lisa McAllister, Tess Panzer and Ioana Ginghina are just boring. The only unknown actor who stands out more is Emanuel Parvu, although his voice doesn't match his look.

Jake West’s skill as a director wasn't that impressive either. His filmography has been more relegated to documentaries. He's only directed a few films like Razor Blade Smile (1998), Evil Aliens (2005) and most recently Doghouse (2009). As for the recognizable stars, not even they're truly safe. Doug Bradley and Lance Henriksen are both credible actors, but here they feel awfully unenthusiastic. If anything, Lynne Verrall and Douglas Roberts try harder. The violence and special effects for this feature were barely passable as well. The prosthetic Pumpkinhead is okay in some places but other times not as much. At least the first sequel had the decency to stick to practical effects. When you see a CGI Pumpkinhead, that's when you know it's bad.

"Ummm,....I thought you were taller?"

Gore is pretty much in the same bag. Not a lot of it is shown and when it is, it's not the best. Cinematography wasn't excusable either. Erik Wilson as the cinematographer was average with what he was given. Much of the shots are dimly lit and from an interior standpoint, the scenes look even cheaper. Only do the outer sets actually look okay. Wilson also worked on a film called The 13th Sign (2000) and would surprisingly go on to Paddington (2014). Lastly, one of the few redeeming qualities to this entry was the music composed by Rob Lord. While not having a ton of recognizable credits to his name, Lord at least managed to make the music sound sort of like the original although not exactly. A movie he worked on before was Slipstream (2005).

Trying for a second time, this second sequel matches the first but for other reasons. While the screenwriters resurrect old characters from the first film, it isn't much because the plot is all too familiar. The music is the only additional plus. Everything else from effects, acting and camerawork is iffy at best.

Points Earned --> 4:10

Rambo: First Blood Part II (1985) Review:

When Sylvester Stallone first entered the scene as John Rambo, viewers may not have been expecting such an explosive turn out in the character he played. Aside from Rocky Balboa, Stallone didn't have many tent pole characters he could create a franchise off of. By 1985, Stallone was already up to Rocky IV (1985), and there was only First Blood (1982). Thankfully Stallone's first outing as Rambo secured him enough to start another line up of films. And while the first film was able to make a clear point about life as a war veteran and the hardships that came with it, Stallone had way more control over the story in this sequel. This is also because Rambo was not supposed to live after the first film.

Julia Nickson as Co

After the events of First Blood (1982), Colonel Trautman (Richard Crenna) picks up John Rambo (Sylvester Stallone) again for a new assignment. Wanting to determine whether there are any surviving POWs left in a Vietnamese camp, Rambo is assigned by Major Marshall Murdock (Charles Napier) to spy and take photographs (only) if any POWs exist. But things don't go as planned when Rambo discovers POWs do exist with the help of an inside informant named Co (Julia Nickson), who's also looking to flee the country. The screenplay says it was written by Stallone and James Cameron believe it or not. Although, much of what Cameron drafted originally was later changed by Stallone. The usual tropes Stallone includes in his scripts can sort of be picked out here too.

Instead of further exploring John Rambo's tortured psyche, Stallone's approach for this entry was looking more at people in his situation and the political drama that happens behind the scenes. The only individuals Rambo trusts are Co & Trautman. Unfortunately, Co's history with Rambo isn't so clear, the plot is basically a reverse of the Rambo's. He came home from war in First Blood (1982). Now he's returning to war in the sequel. Much of the story works because of the social commentary on whose really in control of international affairs, such as adding Steven Berkoff to the cast as Colonel Podovsky. But the other side characters like Co, or Ericson (Martin Kove) don't add a whole lot because of how little development they receive. The fates of their characters are quite obvious.

For how those characters are handled, it could also be in part to how the director worked with Stallone. Then again, George P. Cosmatos would also later go on to direct Cobra (1986), Leviathan (1989) and Tombstone (1993), arguably his best work to most. What Cosmatos was certainly capable of directing were the action set pieces. Throughout this film, again mainly due to Stallone's rewrites, the action is cranked up far higher than it was in the last film. There's a ton more explosions, gunfire, stabbings and arrows being shot. If there's one thing that was missed from the first film it was the survival aspects Rambo used for himself while all alone. If anything, that should have been used more, even though there were some aspects of it shown like the utilization of natural backgrounds for camouflage.

"I never wanted your party invite!"

The cinematography also changed hands for this sequel. Replacing Andrew Laszlo from the initial film is Jack Cardiff, another cameraman from the classic era of filmmaking. Unlike the first movie where Laszlo was filming areas of the western hemisphere, Cardiff was to make the film feel much more eastern. Making sure that the scenery looked as foreign as possible to the domestic viewer. Cardiff also filmed on Stephen King's Cat's Eye (1985). Lastly for music, Jerry Goldsmith returns to score the film and he too amps up his work. Originally, his first score to First Blood (1982) did not highlight the motif of John Rambo as much. That's a one eighty turn for this entry; where Goldsmith makes sure Rambo's theme is played in as many places as possible and it sounds great.

Part II is a decent sequel to the original even though it drops the whole PTSD angle for more carnage and political commentary. However, it's still great entertainment as it pits the main character at unbelievable odds as much as the outcome seems highly improbable. The cinematography and music only further make it that much fun.

Points Earned --> 7:10

Gretel & Hansel (2020) Review:

Re-imaging of classic tales are not uncommon practices, especially in the film making industry. Whether it be based on a pre-existing literary work or if it was completely original, Hollywood is bound to have someone remake or reboot a film that resonated with viewers. The story of Hansel and Gretel are very much a well-known story from the brothers Grim. Having all kinds of their stories adapted to different movies like Cinderella, Rapunzel or Little Red Riding Hood, the brothers Grim were able to make a number of their fairy tales stick with their readers. Up until this point though, much of the movies that depicted Hansel & Gretel were not as true to the written work. Here though, this feature seems to make it it's mission. It probably could have used a tad more tweaking.

Sophia Lillis

The story follows the basic backbone of the classic tale. In order to survive what seems to be a famine, two siblings by the name of Gretel (Sophia Lillis) and Hansel (Samuel Leakey) head out into the dark forest where they encounter a suspicious kind lady (Alice Krige) who takes them in. Written by Rob Hayes (East Meets Barry West (2009)) and directed by Anthony Perkins' son Osgood (Oz) Perkins, the executions to this adaptation has a number effective things, but still has some hurdles to overcome. The struggle that viewers might have with this film is trying to understanding the time setting. While it looks very much like viewers are being transported to the olden days, there are things that make it feel out of place. Such as Hansel's hat; it's a baseball cap. Not sure that sport was around for people to know.

There's also an aspect to the story that involves supernatural elements for certain characters. However, this isn't fully rounded out as the screenplay does not give context to its viewers. And overall, the film just isn't scary. While having a PG-13 rating usually is a bad sign, that's not even it. It's just won't make its audience scared, as the story itself is not enough to win desensitized horror fanatics. However, this does not mean the film doesn't have merit. While the film isn't scary, it definitely is creepy. Assuming Osgood Perkins inherited some of his father's horror genes, it seems the direction had the right intentions behind it. There really aren't any lively colors, which help further drive home just how bleak the setting is for the protagonists. While Osgood Perkins hasn't direct many films so far, he has had his fair share of work in other places.

The actors cast for this film also do a great job. Both Sophia Lillis & Samuel Leakey are believable as siblings and viewers should be able to care for them. Lillis was also a part of It (2017) and It: Chapter 2 (2019). However, the actress who has a more interesting presence goes to Alice Krige as the suspicious old lady the siblings happen to stumble upon. Sporting a full black cloak and speaking in a very soft tone. Krige makes sure people pay attention and it should definitely give people goosebumps. Not to mention the fact that Krige has participated in other films involving unsettling situations like Ghost Story (1981), Sleepwalkers (1992) and most notably as the borg queen from Star Trek: First Contact (1996). There's also brief appearances from some younger actors like Charles Babalola and Jessica De Gouw.

"Trust me,...I don't bite,....maybe"

The visuals, as stated before do favor the experience when watching this film. For newcomer Galo Olivares, working the camera for his first feature film seemed to come only naturally. Majority of the time, the camera is steady and is able to capture exactly what the story needs to tell the right way. Nothing is overly used nor poorly setup like other amateur horror films. Practically no horror stings. As for music, the score was composed by Robin Coudert also known as ROB. Having worked on other horror films like Horns (2013) and Maniac (2012), the sound is a surprising listening experience. Not only does Coudert include a main theme, but also mixes organic orchestra with more contemporary sounding synthesizers. Yet, it fits the film well as much as the setting takes place in what seems a different era completely.

From a narrative perspective, the script covers almost everything except for some key components that lead to the end. It's also not scary, just creepy. Which means the film still deserves a watch because the actors do their part, the camerawork is handled competently and the music is a nice listen.

Points Earned --> 6:10

Superman IV: The Quest for Peace (1987) Review:

When franchise movies get long on the tooth, it become disheartening to see how far it can go with such bad qualities. Among all the films related to the man of steel up until this film, this entry was considered by far the worst in the filmography. The fact that some actually considered Supergirl (1984) to be better than this film spoke to many that something was not right with the direction of the films. However, when revisiting the film, it turns out what people may not like may not make this sequel as terrible as some other films go. Sure, it still doesn't match up to the original or the second film, but it is definitely not unwatchable. Surprisingly, as much as the cast was not getting along, it's very hard to tell that people were not enjoying themselves in the making of this feature.

"Here yee,....here yee,...for I am more powerful than thee"

The plot revolving around this feature takes place when the arms race continues to escalate between super powered countries. Feeling a need to do something after a young boy sends him a letter, Superman AKA Clark Kent (Christopher Reeve) looks to find a solution. Seeing the opportunity in Superman's involvement, the ever scheming Lex Luthor (Gene Hackman) breaks out of prison with the help of his nephew Lenny (Jon Cryer). Luthor's plan is to create a being just as strong as Superman. Meanwhile the daily planet is being taken over by David Warfield (Sam Wanamaker) and his daughter Lacy (Mariel Hemingway), who ends up developing feelings for Clark.

The script was written by Lawrence Konner and Mark Rosenthal who both wrote for The Legend of Billie Jean (1985) and The Jewel of the Nile (1985) prior to this. Seeing that part of the film's production problems came from the budget, it could be said that they both had to work with whatever they could. However, there are parts to the story that don't make any sense in continuity. Such as people breathing in space aside from Superman or Luthor having the know-how of creating another superhuman. There's also meaningless supporting characters such as Lenny and Lacy. Both of them do not contribute anything to the overall story and neither of them have a purpose other than hijinks.

If anything, the worst offender is the big baddie, Nuclear Man played by Mark Pillow. Not only does Pillow give a rather goofy over the top performance, but his weapon of choice is very lame. Fingernails,....that's right fingernails. This not only makes the action between him and Superman laughable but almost embarrassing. Forget all the mediocre special effects the production used,...they could have at least thrown their fists at one another. That's one thing Superman III (1983) got right. Thankfully, most of the other fun characters return like Perry White (Jackie Cooper), Jimmy Olsen (Marc McClure), Lois Lane (Margot Kidder) and even William Hootkins as an arms dealer.

Nuclear Man

While the effects are not always on par with prior films, at least they feel closer to the first two superman films than that of the third film. Director Sidney J. Furie did his best to keep it that way along with his cinematographer Ernest Day. Furie was the director of Iron Eagle (1986), while Day had worked on Running Scared (1972). All shots are kept steady and have a good number of shots that capture the large scope of the setting. The best component to this feature though was the score composed by Alexander Courage. While not having the same grab as John Williams, Courage uses Williams' theme for Superman to a great extent making it sound almost like Williams was there. Not only is the score fully fleshed out but matches in tone as well to the rest of the films.

Saying this is the worst film in the series is a bit hard to say. Superman III (1983) got several things wrong as well. At least here it felt more like the first two. Yes the effects are not as polished and continuity issues are vast, however the music, camerawork and returning actors put in one more performance that still retains the Superman feel.

Points Earned --> 6:10

The Nutty Professor (1996) Review:

Hollywood is bound to the cycle of remakes and reboots no matter how much they try to avoid it. There are too many examples to get into, but when new actors rise to stardom, some studios feel as time goes on it is best to introduce their classic properties to fresh audiences. More than thirty years ago, Jerry Lewis starred in The Nutty Professor (1963) and it's no surprise the thought was brought up again to re-imagine it. This time, the star to take over the main lead was none other than Eddie Murphy, a solidified stand-up comic who would break the boundary. And as a remake to the original, it proves to be an entertaining one. Even though it stars Eddie Murphy, it still has its problems.

Professor Sherman Klump

The screenplay written by David Sheffield, Barry W. Blaustein and Steve Oedekerk help work in new material regarding the dynamic behind the main character. Professor Sherman Klump (Eddie Murphy) is a lonely overweight fellow who's on a breakthrough in biotechnology. But after going on a date with a promising young woman by the name of Carla Purty (Jada Pinkett Smith) where he's made fun of for his appearance by comedian (Dave Chappelle), he becomes rash and tries his new formula on himself. Thus, resulting in his new persona Buddy Love (also Murphy) and sets to woo Carla without realizing the consequences of his actions. The film was directed by Tom Shadyac also known for his work on Ace Ventura: Pet Detective (1994).

While the script has several writers attached, the comedy works. Just like the original, the story has a similar resemblance to Dr. Jekyll and Mr. Hyde. One character is good hearted and mild mannered, while the alternate personality is the total opposite. This of course puts the protagonist in a difficult situation. Klump wants look like Love, but Love no longer has the same personality. Meanwhile, the more he tries to win Carla's affection, the dean (Larry Miller) notices Klump's beginning to miss class. On top of that, the dean needs Klump to maintain the funding of the college by convincing a special donor named Harlan Hartley (James Coburn) his research is credible. The characters is what splits down the middle here.

While Eddie Murphy is funny no doubt, the characters that make the laughs are the protagonists only. Murphy as Sherman and the rest of his family have the best interactions with each other. Jada Pinkett Smith as Carla Purty is very attractive and also has her moments to shine. Even Sherman's assistant Jason (John Ales) has some good lines. However all the other characters that stand in Sherman's way are not that funny at all. This would be the dean, Hartley and especially Eddie Murphy as Buddy Love. They are surprisingly mean spirited; more than some may be comfortable with. When someone directly threatens to kill you,....that's not something to take lightly. Also Buddy Love is very over the top and obnoxious.

"Does this tuxedo make me look bloated?"

Even more shocking is that some racial slurs are used for comical purposes. That's not exactly a great thing to have. The CGI effects that were used also look out of date which is unfortunate, but the exact opposite goes for the practical ones provided by Rick Baker. The cinematography handled by Julio Macat looked good. Macat also worked on Home Alone (1990) and Ace Ventura: Pet Detective (1994). As for musical score, David Newman worked on the composition. While an official release has never been seen, the score itself is very effective. There are big orchestral cues and also very soft motifs used for Klumps more emotional scenes. Newman also revisits a theme for Klump which makes the experience more enjoyable.

The digital effects and antagonist are probably the things viewers will find the least entertaining. But that doesn't stop the protagonists from looking bad thanks to the story, the practical effects, the camerawork and musical score.

Points Earned --> 7:10

The Boondock Saints II: All Saints Day (2009) Review:

Cult films are some of the most phenomenal things about movies. When a film reaches a cult status, that means it has transcended the odds of becoming something more than just a movie from a certain year. It has managed to leave an impact on a set group of viewers who hold it in high regard. No matter what its initial reviews were when it first came out. This could very well be said about The Boondock Saints (1999), which was dismissed by several, only to arise with significantly large approval. On Rotten Tomatoes, the film has a 91% audience rating. That's extremely high. Unfortunately its sequel would not fare as well, although that was kind of expected. However, some may not be aware of just how bland this sequel is to the original.

Julie Benz

Written and directed again by Troy Duffy, the Boondock Saint brothers Connor (Sean Patrick Flanery) and Murphy MacManus (Norman Reedus) are summoned back to Boston after they learn of one of their priests being killed by someone trying to frame them. The assassin (Daniel DeSanto) framing them is hired by Concezio Yakavetta (Judd Nelson), the son of "Papa Joe" Yakavetta from the original film. All the while FBI Agent Bloom (Julie Benz) now replacing Smecker leads the investigation with characters Greenly (Bob Marley), Duffy (Brian Mahoney) and Dolly (David Ferry) returning. Aside from a few extra new faces, the plot is practically the same to that of the first. This sequel is an exercise in regurgitation and not much more than that.

Sure, other characters return like II Duce "Poppa" (Billy Connolly) and Rocco (David Della Rocco - for a flashback) but this doesn't mean a whole lot. There's even an appearance from Peter Fonda, who quite honestly does a great job not sounding like his usual self. Unfortunately this is not enough to propel this sequel to a decent entertainment value. The Irish brothers even pickup a new side kick to help them in their "righteous" mission by the name of Romeo (Clifton Collins Jr.). While Collins' character is supposed to add comical elements to the picture, a lot of those moments fall flat. And while Julie Benz displays a convincing southern accent, her purpose is no different from that of Smecker. This isn't the end to the issues though.

From an entertainment perspective, the scenes and dialog put to film are just boring. The conversations held between crime bosses, their cronies or the protagonists themselves is just disengaging. Everyone's screaming and hollering at each other like it's some kind of competition. Much of the dialog itself isn't that diverse either. There's nothing wrong with having cusses thrown in, but to have them take up more than 75% of every sentence said by every character is little much. On top of that, the characters in general are just unappealing to look at. There are multiple faces on screen that just wouldn't make a viewer want to continue to keep their eyes on the screen. Making it worse is the number of slow motion shots used for all the action sequences.

"I knew I never was good at the limbo!"

The action sequences themselves aren't bad, but the fact that they are majority slow motion really pads out the timing on this already long film. For action, the shoot outs and ritual prayers are fun, but they are very small tidbits to the rest of the film. The cinematography was also competently shot thanks to Miroslaw Baszak, who makes the movie look very much like Adam Kane's work from the first film. Baszak also worked on Land of the Dead (2005). As for music, Jeff Danna returns to compose for the score, who incorporates the same kind of musical elements from the original. Whether it be opera, electronic synthesizers or regular orchestra, the music is wildly all over the place. Just like the film, so good luck enjoying it.

The original film may have captivated its audience by somehow capturing lightning in a bottle, but that is not this film. The film may be professionally made, but all the components that make it up from the dialog, cardboard cutout characters, overly drawn out action and messy music make it a very tiresome viewing experience.

Points Earned --> 3:10

The Brave Little Toaster Goes to Mars (1998) Review:

The Brave Little Toaster (1987) may have not been a realistic family film with living appliances, but it did have something special about it. The characters and scenes that were created using them were all memorable. While it's typically not associated with the Disney renaissance period, it is has a strong following behind it. But like many tent pole starters, the studio took advantage of it years later by creating direct-to-video sequels. While The Brave Little Toaster to the Rescue (1997) was by no means a match to the original, it did manage to remain fairly faithful to the universe that it was built upon. However, it was surprising to learn that much of the original voice cast did not return for the follow up. When it came to this entry, it's no longer surprising.

Rob & Chris' Baby

Once again written by Willard Carroll, the title to this sequel is by no means lying about its premise. The brave little toaster and friends indeed go to mars. All because of one tired hearing aid (Fyvush Finkel) who was planning to leave everyone else behind and it just so happens, Rob & Chris' child somehow gets entangled into the tractor beam that was supposed to take hearing aid. The story has gone full out wacky. Direction hasn't changed either with Robert C. Ramirez in charge. The plot here is just so outlandish that it mostly rejects any kind of sense the first two stories had. The characters actually make it to mars by riding a fan driven laundry basket powered by a microwave. Sorry what? There are just too many questions to ask related to this.

How does the microwave create enough power for the whole crew to break earth's gravity? What's the microwave even powered by? The first film had the sense to know that a battery was at least needed. Not to mention, Chris & Rob's baby is kept alive in space via a bubble. It's this kind of writing that really says the to the viewer that this is really a young kids film. Sure, the first film had some very adult themes, but this a complete departure from that entirely. That's not to say everything's bad,...but the story itself is. It's remarkably unrealistic to that of the what the original set up. Not to mention the execution of this story takes place in less than a day. In order to accomplish this, going from earth to mars round trip means the team must have been traveling super fast.

For voices, the cast from the second film return with some additions. Deanna Oliver, Thurl Ravenscroft and Timothy Stack all return for a third time as their respective characters. Eric Lloyd, Roger Kable, Andy Milder, Jessica Tuck, Chris Young and Brian Doyle-Murray all return from the second film for their roles. Lastly, extras to the story are Calculator (Stephen Tobolowsky), Microwave (Wayne Knight), Faucet (Farrah Fawcett), Fanny (Carol Channing) and Tinselina (Kath Soucie). All whom voice their characters well, some of which viewers may not recognize initially until the credits roll. It's just unfortunate that these talented actors are participating in such an average sequel. Thankfully, they at least know how to act.

"I'll have you know I was once Emperor Zurg"....

The visuals to this entry are decent. Paul Lin who was animation director for this and the second film made the film look okay. For what the film had budget wise, this is passable animation. It's not expected to be anything blockbuster worthy. Music on the other hand was mixed this time. The songs created by William Finn are rather bland and don't contribute to any character development. This includes the lyrics written by Ellen Fitzhugh, which is just very boring. The only saving grace is that Jim Cummings sings one of those songs. As for the score, Alexander Janko returns to compose and while it isn't outstanding, he does have a reoccurring theme, which is appreciated. The music does fit the scene it is used for.

This third sequel is not a terrible film, but it certainly ignores practically all the setting up the original film made. The voice actors do well and the animation is still fair for the film that it is. However, the music is middling at best and the plot is just very silly.

Points Earned --> 5:10

The Thief and the Cobbler (1993) Review:

Animation has been proven time again that cartoons can be just as engaging as regular live action films. It's also known that animation gives filmmakers the power to create anything they want that the real world may be too hard to try and materialize. One person who knew this well was animator Richard Williams, a man who really knew the profession inside out. Whether it be creating fun title sequences to the Pink Panther films, or helping to create Who Framed Roger Rabbit (1988) one of the most memorable live-action cartoon films to date, Williams had the hand for eye catching animation. Sadly, he never achieved his lifelong dream, of finishing this film. As well respected as he was, this has remained never fully completed the way he wanted it to be done.

"Ohhh,...how did we ever knock-off Aladdin?!"

Co-written by Williams, Margaret French and a slew of other ghost writers from over the years, the story is about a cobbler by the name of Tack (Matthew Broderick) who happens to be wound into a crazy adventure because of a bumbling thief (Jonathan Winters). The thief wants to steal three golden spheres from the kingdom of Nod (Clive Revill) that provide protection from the evil one eye army. Scheming behind the king's back is ZigZag (Vincent Price), hoping to not only rule the kingdom but also marry King Nod's daughter Princess YumYum (Jennifer Beals). Overall the story is okay, but because the final cut of the film suffered from so much meddling, there's a lot to be desired.

The Miramax re-edit has enough dialog throughout the film, but much of it feels to be in the wrong places. Both Tack and the thief say very little of anything outside of their heads. This leads to very little interactions between the essential characters and ultimately a lack of development within the story. Princess YumYum & Tack have scenes where they are together, yet there's only a couple where they share an actual conversation. Much of the time, audiences will hear more of Jonathan Winters' dialog for the thief's inner monologue. By no means can the characters be criticized for not having distinct personalities, but as a whole they're level of investment is low.

The voice acting is enjoyable though. Matthew Broderick and Jennifer Beals from Flashdance (1983) and Vampire's Kiss (1988) have acceptable chemistry. And as much of Jonathan Winters' dialog adds nothing to the plot, his moments are comical too. Of course, the best though goes to Vincent Price for his performance as ZigZag, the every other line rhyming antagonist. All the words recorded from Price are so entertaining to listen to. There's also other characters like Mighty One-Eye (Kevin Dorsey), Chief Roofless (Windsor Davies) and Phido the Vulture (Eric Bogosian). All who have interesting dialog as well.

Princess Yum Yum & the Cobbler

As mentioned before the character designs themselves are very unique and captivating to look at because of the way they were animated. John Leatherbarrow was credited as cinematographer to this picture, although it's unclear as to what he contributed since this is an animated feature. Either way, the animation is still a dazzling array of sequences and colors that only Williams could conjure up. The film score and songs were composed by Robert Folk. Having experience working with scores focused more on comedies and or militaristic settings, hearing his music to this feature was a nice surprise. Not only did it fit the film well, but was very pretty, as were the songs sung by Bobby Page.

It's unfortunate that Richard Williams did not receive the proper treatment for his dream goal film, but his memory will live on in the separate cuts of each film. While the Miramax cut is certainly not the best, it isn't the worst either. Sadly, the dialog used doesn't really develop its characters well, which is a big problem. But the characters do have charm, there are funny moments, the music is wonderful and the animation is mesmerizing.

Points Earned --> 6:10

Jaws 2 (1978) Review:

It's been agreed upon many times that people should not mess with the classics. No matter what the genre, some original films do not require a story to continue further. While the occasional sequel lands on its feet and strikes a memorable chord, very few do and don't live up to the hype. Steven Spielberg's Jaws (1975) revolutionized the way people went out to see movies. But what also made the film successful was just how close to home the film hit viewers. The reason for this was that the villain (the shark) was depicted like any other shark in natural wild life, mostly. As the story neared its end, it did become increasingly strange how the ferocious meat eater was able to have such a complex memory bank. Aside from this though, the story felt grounded and quiet realistic in its intent making people all the more scared to venture into the sea.

Roy Scheider returns

For the sequel, the story continues with Martin Brody (Roy Scheider) patrolling the beaches of Amity Island several years later. After a bunch strange occurrences where people end up missing, Brody begins to suspect a new shark has arrived in town. Meanwhile, his wife Ellen (Lorraine Gary), Mayor Vaughn (Murray Hamilton) and Len Peterson (Joseph Mascolo) try to keep things under control to the public. Also Brody's son Mike (Mark Gruner), who frequently uses his own sail boat is tempted to keep going out to sea thanks to peer pressure from his friends. Written by Carl Gottlieb (from the first film) and Howard Sackler (The Great White Hope (1970)), the script does a fairly decent job continuing the story. There are still parts though that make it not as effective as the original. Direction was headed by Jeannot Szwarc who would later direct the average spin-off Supergirl (1984).

The execution of the story is fine, because there are several scenes that viewers will genuinely care for with the characters on screen. Seeing Roy Scheider (even though he regretted) and other cast members return was an appreciated welcome. It helps give the fans of the original, characters they can get behind. It also seems that Ellen Brody and Jeff Hendricks (Jeffrey Kramer) are stepping up in the public spotlight. There's even a reference to Matt Hooper from the original film. Instead, this time Collin Wilcox Paxton comes in as Dr. Elkins, to help Brody identify the shark. The parts the screenplay suffers from the most though are moments involving the shark's motivations. The actions are more out of character than the last beast. However, that does not mean it doesn't entertain. The other flaw is that some subplots are just left unfinished, just like the original in some ways.

As for horror elements though, the scares are still there to some degree. Because this story is set in what is very much the real world, the peril certain individuals endure can be quite the experience and the acting from them is good too. Most of this goes to Mark Gruner and his other cast mates like Gary Springer, Donna Wilkes, Gary Dubin and Ann Dusenberry. Coming across a shark as big as the one from this or the original film would be very scary indeed. While there isn't as much dismemberment as the first film depicted, there's still blood and mangled corpses lying around. The effects were also just as great as the original. The shark no longer has that weird cheek flap over the bottom half of its mouth. There's also an easter egg to that of the Orca of the first film and a couple of pyrotechnic sequences for other visual flares.

"HAIIII GUYS"

As for camerawork, Michael C. Butler worked to provide the look of this film. While he was in no relation to Bill Butler from the first film, the cinematography is practically equal to that of original. The underwater scenes are shot competently, showing the viewer all kinds of angles. And so is any scene above water with or without the shark, Music was also another great component to the entry. Composed once more by John Williams, the score revisits it's very familiar thumping tune as well as adding in new motifs for the sailing scenes and underwater ones. It's its own score in a way and again equally matches the original composition created years before. Even luckier for collectors was the fact that the score was re-released completely with all other tracks. A very nice set to have.

Mostly, this sequel very much continues the intensity to that of its predecessor. The actors and the situations they get involved in are believable. The music is another classic addition and the camerawork is spot on to the original. The only problem this entry suffers from is more preposterous scenarios and maintaining the trend of not completing subplots.

Points Earned --> 7:10

Jumanji: Welcome to the Jungle (2017) Review:

The original Jumanji (1995) back in the mid 1990s was a phenomenon in itself. It may have not smashed records like that of Terminator 2: Judgment Day (1991) or Jurassic Park (1993), but it was also no underground film that went totally under the radar. Many fans remember it fondly for not only having likable characters and an interesting story, but also because of the lasting impression it left. While Jumanji was marketed as a family film, it definitely had some rather intense moments. When a sequel was announced to this film, somehow the reaction wasn't as largely lambasted. Probably majority of people were curious as to how such a feat could be pulled off. To everyone's surprise, things went better than expected, especially with respect to other game to movie adaptations.

Wolff, Blain, Turner & Iseman

Directed by Jake Kasdan (Bad Teacher (2011) and Sex Tape (2014)) and writers Chris McKenna and Erik Sommers (The Lego Batman Movie (2017)), Scott Rosenberg (Gone in 60 Seconds (2000)) and Jeff Pinkner (The Amazing Spider-Man 2 (2014)) all penning the script put together a sequel that remarkably matches up the original. Spencer (Alex Wolff), Fridge (Ser'Darius Blain), Bethany (Madison Iseman) and Martha (Morgan Turner) are all everyday high school students. Spencer's a nerd, Fridge is an athlete, Bethany is the popular girl and Martha is not. After they all receive detention for disobeying their teachers, they discover the Jumanji game in the form of a video game in the room they sit. It is there they discover there's more to the game than just something to use their time. Once inside the game, is when things get uniquely comical.

Spencer becomes the macho Dr. "Smolder" Bravestone (Dwayne Johnson), Fridge turns into Franklin "Mouse" Finbar (Kevin Hart), Martha becomes Ruby Roundhouse (Karen Gillan) and Bethany, to her shock is now Professor Sheldon "Shelly" Oberon (Jack Black). And what makes the plot to this sequel a worthy follow-up is because of how it changes the scenario for everyone involved. Unlike the original where the game turned its surrounding environment into the jungle, here the people playing the game get transported into the game (which is a jungle). On top of that, the four main stars are also not turning in performances they usually fit the mold too. Johnson, Black, Gillan and Hart all have to play the younger actors' personalities and not their own. While some mannerisms are kept the same, seeing the veteran actors act like teenagers is very different.

This leads to some very comedic scenes revolving around their situation. It's all opposites as to how they looked in real life. However aside from the physical aspect, the characters also have other moments to develop and learn to work as a team. There's also appearances from Nick Jonas and Bobby Cannavale who plays Van Pelt (the villain from the original movie). Most of the time replacing an already existing character would constitute as bad continuity, but here there's a justifiable reason as to why Van Pelt is being played by another actor, so it's okay. However one thing that does need to be addressed, is more use of the lesser known stars. Yes, having Jack Black, Dwayne Johnson, Karen Gillan and Kevin Hart star does help, but it would be nice to see more attention given to the younger actors. There's also the whole thing about how the story continues after this....it is rather definitive.

"So I ditched, the mustache and went with this weird eye thing"

As for visuals, the cinematography was handled by Gyula Pados. For what's shown, it looks great. The backgrounds are lush green and the inside scope of Jumanji looks vast and wide. Pados seems to know how to handle this based on the fact that he also shot for other big landscape films like Predators (2010) and Maze Runner: The Scorch Trials (2015). Lastly, the film score composed by Henry Jackman was well done too. Jackman has lent his talents to all genres like Monsters Vs. Aliens (2009), Kick-Ass (2010) and Winnie the Pooh (2011), so it shows that he can handle not only more tender moments but also lively action sequences too. While he doesn't reprise the creepy theme of James Horner's score, he does create a new one that fits the tone and it is repeated throughout.

While the younger actors don't get as much time to shine, nor does this sequel really leave it open to more stories, this sequel is definitely on point with its predecessor. The action/comedy mix well, the scenario has the main leads challenge their performance skills, the cinematography is lit fantastically and the music is a welcome addition to franchise.

Points Earned --> 7:10

Freddy's Dead: The Final Nightmare (1991) Review:

Six installments in a film franchise can become pretty laborious depending on the crew handling the project. After subsequent sequels, stories can lose their supporting basis for why they began to begin with. Just like the Halloween, Hellraiser and Friday the 13th franchises, the writers attached make their best attempt to connect films together but there's always something that gets lost among the string of stories. This film is no different and unfortunately is a bit of a set back from past entries. Since his creation, Freddy Krueger has been quite the demon. Over time, his persona has changed which has affected his film image. However, this has been a gradual evolution. What was once more mysterious and dangerous, became more silly and over the top.

Lezlie Deane, Ricky Dean Logan & Breckin Meyer

The plot to this entry revolves around a character by the name of John Doe (Shon Greenblatt), after waking up on the outskirts of Springwood, the last surviving teenager. Amazingly Freddy Krueger was able to kill off all teenagers in Springwood and now he's off to a new place to do the same. After being picked up by the police, Doe is brought to Maggie Burroughs (Lisa Zane) and Doc (Yaphet Kotto) who are looking after other troubled teenagers. The others consist of Tracy (Lezlie Deane), Carlos (Ricky Dean Logan) and Spencer (Breckin Meyer). All whom have had parent issues. The screenplay was written by Michael De Luca, who would later become the producer to other hit films like The Mask (1994), Blade (1998) and Ghost Rider (2007) and directed by Rachel Talalay.

For a story, it does have points that work. The focus of characters change evenly and the backstory of Freddy Krueger is further explained. This helps give the audience a greater understanding behind Freddy's motivation to do harm. Shon Greenblatt as John Doe has his moments but Lisa Zane is best of the protagonists. Yaphet Kotto as Doc is a nice supporting character but nothing's really explained as to how he understands dreams more than anyone else. The rest of the cast though is rather forgettable. Lezlie Deane, Ricky Dean Logan and Breckin Meyer all play characters who bicker with each other. None of their dialog would make any viewer want to cheer them on. There's also cameos from Johnny Depp and Roseanne Barr.

As for Robert Englund, there's no doubt that he's puts in a performance he was enjoying. Unlike all other entries, Englund hams up Krueger to the fullest extent. Not only is Krueger spewing out one-liners left and right, but he's also breaking the fourth wall. He even makes an unlicensed Nintendo slogan and references the endings to the past films. While his quips are comical, it's rather sad to see how terrifying the character once was, only to be playing video games to kill his victims. The gore effects are still there though. There's blood and other amputations that occur and the practical effects look realistic. This doesn't add to the scare factor though. It's just there for visual appeal. The digital effects though are another thing completely.

"Nintendo anyone?"

While CGI had more or less been integrated at this time thanks to Terminator 2: Judgement Day (1991), the CGI effects in this film do look out of date. Most likely due to the budget, the filmmakers should have just stuck with the practical effects. Cinematography handled by Declan Quinn was rather uninspired. Being that he would later make most of his career filming for musicians, the look of this entry isn't anything noteworthy. The dream sequences aren't that unique nor do anything creative with their surroundings. Thankfully, the music was a little more entertaining thanks to composer Brian May's score. While it may not sound as creepy due to scenes filmed, he still replicates Charles Bernstein's original theme which is important. Thanks for that.

Freddy's closure in this installment is certainly a nice conclusion, story wise. The practical effects are still top notch, the music and backstory to Krueger being explained is much welcomed and Krueger has a formidable foe. However, the camerawork is nothing praiseworthy, the story is no longer scary and the majority of the main leads are boring.

Points Earned --> 5:10

The VVitch: A New-England Folktale (2015) Review:

Any genre has all kinds of avenues to explore when it comes to storytelling. The setting alone can be a factor as to how a story will play out. Specifically period pieces. These types of tales can be a bit tricky to handle based on the accuracy the picture and the direction the narrative heads in. If there was a time though to focus on that was one of the scariest, it would be when witches were a big deal. Witch trials were a serious thing during their medieval times and onward. As soon as a witch was even spoken of, things would go south pretty quickly. People would begin having fanatic fits of hysteria and meltdowns, all to be sure such creature was never present. This is more or less what happens here in this uniquely horrifying film.

Anya Taylor-Joy & Harvey Scrimshaw

The story to this film is about a family in the 1600s who is banished from their plantation after a religious dispute. After moving out and settling elsewhere, the family's newborn son is snatched away as to what was surmised as a witch. Fearing the worst, the family begins to suspect everything around them, including themselves. Writing and directing this was Robert Eggers, in his first feature film debut. Accomplishing this is not an easy task to begin with, which already is an impressive start. The script is simplistic yet effective in its story to show just how little is needed to make it good. One of the contributing factors to this experience is the atmosphere that is felt. Much of it is unsettling and ominous looking because of how secluded the location is.

The cast are believable in their roles. Thomasin (Anya Taylor-Joy), the first born daughter who witnesses her youngest sibling's vanishing gives a memorable performance. That and her chemistry with her father William (Ralph Ineson) and mother Katherine (Kate Dickie) are quite the struggle. Thomasin's other siblings Caleb (Harvey Scrimshaw), Mercy (Ellie Grainger) and Jonas (Lucas Dawson) are also perform well. Caleb comes in second to that of Thomasin for length of screen time. Both Ralph Ineson and Kate Dickie were in the HBO series Game of Thrones. While Anya Taylor-Joy was in Split (2016) and Glass (2019). Bathsheba Garnett and Sarah Stephens who play the witches are quite unnerving to say the least and are very convincing.

The minor issues in the story are the parts that are not explained. Some characters' fates go unresolved. Nothing is shown what might have happened to them. This is critical when it comes to showing closure in a story. The other flaw was the cause of the whole plot. As the narrative is executed, the thought of someone being a witch begins to surface. Yet it is never explained as to who was the witch, if at all. Understandably so there will be confusion, but also clarity should be brought to light on the inquiry. As for horror, there's only one jump scare and it doesn't even involve a sting which is great. The rest is unrelenting dread that is displayed. There is blood and gore but not much. It's more of the sense of being left alone that is more horrifying.

Cinematography was well shot too. Handled by Jarin Blaschke, the camera remains steady and focused. Many times, the lens is aimed strategically at one place in order to cause unrest with the viewer. Blaschke also filmed for Blood Night: The Legend of Mary Hatchet (2009) and Fray (2012). Lastly there's the film score composed Mark Korven. The music heard is a mix of ethereal female chants, minimal strings and very light percussion. All of which present this story in such a disturbing way, it will make the audience feel like there really is something among them that is not right. Korven also scored films like White Room (1990), Cube (1997) and Cruel & Unusual (2014). Either way, it is simple for all the right reasons.

Minor points like character resolutions and definite cause of plot is the only issue here. The actors give solid performances, the visuals are quite discomforting (in a good way) and the music is creepily memorable.

Points Earned --> 7:10

Halloween with the New Addams Family (1977) Review:

When Charles Addams' cartoon of a family who was too far into Halloween than most families were, he probably wasn't sure what a success it would be. When his creation was adapted into the 1964 show, the characters became larger than life with their unique personalities and interests. While the show itself only lasted two seasons, it made a lasting impression on several viewers. For couples, Gomez and Morticia are popular choices for costume Halloween parties. And although the look of the characters weren't an exact match to that of Charles Addams' original drawings, the look was iconic nonetheless. Amazingly several years later, most of the original cast returned for a TV movie special revolving around the season of Halloween.

Morticia & Pancho

The focus of the plot is around the holiday where the Addams will be celebrating all hallows eve. To them, it's their Christmas time. Before the end of the night, a legend by the name of Cousin Shy comes to give gifts and carve pumpkins. Meanwhile, a group of crooks lead by the boss (Parley Baer) want to infiltrate the Addams' home to steal their family fortune by luring Gomez to a lodge meeting far away. Simultaneously, Gomez (John Astin) is worried about his brother Pancho (Henry Darrow) having feelings for Morticia (Carolyn Jones). For a TV movie, it very much feels like an extended episode to the show but all in good fun. It's rather shocking considering the director, David Steinmetz, had no experience prior or after this event. Was he even directing?

Writing the script was George Tibbles, who also wrote for Dennis the Menace and Leave It to Beaver. As mentioned before the execution feels much like an extended episode and nothing more. The subplots about Gomez's brother Pancho and his advances on Morticia are bit out of place. Henry Darrow as Pancho looks very much like Gomez Addams and acts very similar, which has some comedic timing. But the point of having him being there is only because of the fake trip Gomez is going on. As for the crooks who want to break into the Addams' household, it could have very well been left out. Parley Baer, Patrick Campbell and Vito Scotti add comedic moments but they play random characters; not returning ones of such. There's even impostors who stand in as Gomez and Morticia.

In spite of all this though, this special is still watchable for the original cast themselves. Not only has time passed, but Morticia and Gomez have added children Pugsley Jr. (Ken Marquis) and Wednesday Jr. (Jennifer Surprenant). Ken Weatherwax and Lisa Loring who played the original Pugsley and Wednesday are now grown and also return to the family household. Ted Cassidy returns as the lumbering Lurch and still has his funny moments. Jackie Coogan also returns as Uncle Fester and still doesn't understand anyone outside the house. Felix Silla even has his moments as cousin It going back and forth with Gomez Addams. And of course, as if it had to be mentioned; Carolyn Jones and John Astin as the classic Addams couple still have their same comedic delivery.

"I still look better than my brother right?"

For what's on screen, the visual gags are still funny too. Filmed by Jacques R. Marquette, the cinematographer to Attack of the 50 Foot Woman (1958), the camera angles used here make use of the entire set. Thing's appearances between rooms always provides a good laugh. There's even props used that have pyrotechnics. Lastly, the music was supported by original composer Vic Mizzy, who also composed the original theme for the show. Since it was a special, the intro is a tad different but still remains as lively and memorable as the original. The cues used from transitions and other doodads all works appropriately to the situation occurring at the time.

Following the success of the show, majority of the original cast return for this Halloween themed TV movie special, and it could have been worse. While the subplots going on around the main characters don't amount to much, it's still fun seeing the same chemistry return for one more extended period of time.

Points Earned --> 6:10

Bullet to the Head (2012) Review:

Action films have come a long way from what they used to be. Violence would only contain so much graphic details and the length at which action scenes would be were for shorter periods. This all changed though when the 1980s rolled around and the opposite happened. The actors who in part influenced this were people like Sylvester Stallone and Arnold Schwarzenegger. Coinciding with them were their directors for their various films. What's interesting is when those traits are attempted to be replicated in films nowadays. Sometimes, what worked in the past doesn't produce the same result later on which is more than likely what happened with this film. Originally being headed by Wayne Kramer, the story and direction was intended to be darker. But due to disagreements between him and Stallone, it can be assumed the type of film this was supposed to be changed.

Sarah Shahi & Sylvester Stallone

The story is about hitman James Bonomo (Sylvester Stallone) and detective Taylor Kwon (Sung Kang) being forced together to take out a common enemy. The reason for this is both their partners were killed by the same person. That person is Robert Morel (Adewale Akinnuoye-Agbaje) a wealthy business man who is in cahoots with Marcus Baptiste (Christian Slater). The person doing the killing is Keegan (Jason Momoa). That's really all that this film is, one big revenge action film with nothing deeper than that. The script was written and adapted by Alessandro Camon (The Messenger (2009)) from a graphic novel by Alexis Nolent and Colin Wilson. That is it though, aside from director Walter Hill taking over instead of Wayne Kramer. Realistically, this film is just another call back to buddy cop films of the 1980s and nothing more.

When it comes to plot, there isn't much for the audience to get behind. Stallone plays his usual grizzled self and Kang plays the inexperienced foil to that of Stallone. Scene after scene the actors go around interrogating and killing and the cycle continues. It's not a bad film if a viewer is into that, but it offers nothing new. The narrative is as generic as it comes. The way Jimmy Bobo and Taylor Kwon are connected to a single person and how that person is connected to others is beyond bland. All the supporting characters are cardboard cutouts of some high powered authority who has "all kinds" of connections. Christian Slater and Adewale Akinnuoye-Agbaje are just there to look big, but mostly they amount to very little. It's rather unfortunate.

The other supporting cast members try too, but again are not that intriguing. Marcus Lyle Brown plays Kwon's backup and Sarah Shahi plays Lisa, Jimmy Bobo's daughter, a tattoo artist. Her history is explained a little, but not given much else. However even with all these critiques that doesn't the mean the actors don't have chemistry. Stallone and Kang work well off each other. Shahi is one tough actress and the person who looked like he had the most fun was Jason Momoa as Keegan. While this was before his Arthur Curry / Aquaman days, Momoa was known for other roles like in HBO's Game of Thrones. For what it's worth though, the action in this film is entertaining. Stallone still has the moves as well as Kang, Momoa and Shahi.

"Take it easy,.....I didn't know you were Stallone's daughter"

Being that Walter Hill began his career with action films like 48 Hrs. (1982) and later on like Undisputed (2002), it's no surprise that the action is a strong component to this feature. The cinematography was taken care of by Lloyd Ahern II who also worked on Last Man Standing (1996), the god awful Turbulence (1997) and also Undisputed (2002). Here, Ahern's camerawork is nice and steady though and works well with the action. More surprisingly was the film score composed by Steve Mazzaro. Being that this was his first feature film, the sound is unlike the usual action cues. Since this takes place down south, Mazzaro includes lots of guitar and harmonica which suits the setting. While he has composed additional music for other composers, his first outing here is a nice welcome.

Unfortunately, this is  a bare bones action film that doesn't require much to keep the brain engaged. Something more could have been done, but instead it's just mindless fun, the actors work well and the music is nicely composed.

Points Earned --> 6:10