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

Overboard (1987) Review:

The wealthy and the middle class have always been too different worlds. A rich person's concerns are on a separate scale to that of someone of lesser financial status. Yet the two distinguished classes live among each other for the most part without bothering one another. However, when the factions clash, they tend to clash hard. There are also times where the mixing of the two work out, but it’s usually a tossup. Which is kind of how this movie plays out. Stories that rely on such improbable events to happen can be a real stretch at times and this film tries hard to convince its audience that it couldn’t. Luckily, there are redeeming qualities, but its best to keep in mind how unlikely this story is.

Goldie Hawn & Roddy McDowall

The plot is about average widower carpenter Dean Proffitt (Kurt Russell) trying to make ends meet by working for a living. His four sons, Charlie, (Jared Rushton), Joey (Jeffrey Wiseman), Travis (Brian Price) and Greg (Jamie Wild) are rowdy, need proper parenting and education. Making matters worse is when Proffitt is called to a job for rich snob Joanna Stayton (Goldie Hawn) and is then fired after doing the job not according to her standards. Shortly after though, Joanna accidentally falls off her yacht and when recovered, suffers from amnesia. This gives Proffitt the idea for payback by claiming her as his wife. Directed by Garry Marshall and written by Leslie Dixon, this movie is an okay comedy for its time. What helps in this story is its cute narrative and characters, but there are still issues with it.

First of all, wrongfully claiming someone as your own is kidnapping. Dean Proffitt is already making a bad move. Also what kind of name is that? I would expect a little better naming convention for our protagonist coming from the future writer of Mrs. Doubtfire (1993), Pay It Forward (2000), Freaky Friday (2003) and Limitless (2011). The direction is also generic. Viewers can see from a mile away how events will play out, which makes this a very clichéd story. Again, coming from a director who would later helm Pretty Woman (1990) and The Princess Diaries (2001), seems strange they would be at this level to start. Aside from the initial misstep on Proffitt's behalf, the story is cute because the development of the Joanna and Dean are likable. Kurt Russell and Goldie Hawn have the required chemistry to make it work. It's just the surrounding Proffitt family that make it feel not as special.

There's several scenes with inappropriate dialog spoken by Dean's kids. Whether they're looking at playboy magazines, spouting out curses or making rude remarks about other women just feels wrong. Fine, the audience is supposed to see how uncontrollable Dean's kids are, but visuals are enough. On top of that, some of those lines are meant for laughs, which they do not produce one. That's not to say this film isn't funny, but the child actors are not the highlight. However, the performances from Edward Hermann as Joanna's original husband, Katherine Helmond as Joanna's mother, and Roddy McDowall as Joanna's butler all give funny showings. Even Mike Hagerty and Hector Elizondo have small roles.

"Watch,....she and I will be together forever after this...."

The cinematography was adequate for the film. John A. Alonzo who handled the cameras has various shots that cover interiors of the yacht Joanna lives on, to the utter squalor that is Dean Proffitt's house. Considering Alonzo's best known work was for Chinatown (1974), it's good that he maintains the right look for this film. There's a bunch of neat visual gags involving little contraptions that do things in the Proffitt household too. Cheesy but again, cute. Lastly there's an early film score from Alan Silvestri who makes the most of the music even with only a couple synthesizer instruments. The main theme is catchy and the more sentimental scenes that use piano are also easy on the ears. For an early work, it is still a great listen.

Story wise, it is fairly predictable in every way possible no thanks to the direction. The script also includes scenes that are rather in bad taste involving the protagonist's offspring. However, the overall execution is cute, the main leads are credible and the music is catchy.

Points Earned --> 6:10

Come, Said the Night (2019) Review:

Horror films that revolve around spiritual entities can be a gamble sometimes. Presentation is everything when it comes to the viewer's perception of the beast in question. However, it also depends on where these apparitions fall in line with the narrative being told. Creatures like these exist in all sorts of cultures and have been depicted in a number of ways. The frustrating part is that many people don't know whether they are foreshadowing upcoming good or bad events. This seems to be the struggle for this one family who is going through a tough time. It's hard to know what's really the cause of these mysterious events, but religion is a path people take in order to try and make a justification for said moments. Which is exactly how this story begins.

Tate Birchmore & Nicole Moorea Sherman

The premise is about the Grady family, made up of Roy (Lew Temple), a widower, Sprout (Nicole Moorea Sherman) and Percy (Tate Birchmore) who recently lost another family member Magda (Daniela Leon). Together they move to a remote location where they strive to bond with one another and learn to let go of the past, holding true to their beliefs in Greek mythology. Soon after though, Sprout and Roy begin having strange dreams at night, being visited by ghostly figures. The script and direction was headed by Andres Rovira, in his first feature length film. With that said, this a very strong first outing of his. Being a screenwriter and director at the same time is not always the easiest of tasks to handle. What works best in the screenplay for this film is it's disturbing coming of age plot. Viewers follow Sprout on a journey of self-discovery and growth, not all of which is pleasant.

There are certain rules she is required to abide by, like giving an hour of silence to the gods or not mingling with the opposite gender. Such as in the case for the local park ranger Stella Woodhouse (Danielle Harris) and her son Max (Max Page). Stella enjoys visiting Roy, while Roy wants Max to befriend Percy. Yet, Stella thinks Max should get to know Sprout since they have something in common. Both their parents' partners passed away. Things only get more ominous the more Sprout begins to grow out of her comfort zone. Performance wise, the actors all do a great job. Nicole Moorea Sherman as the main lead is very convincing and its entertaining to see her character develop. Sherman was also in The Queen's Corgi (2019), but this really should be her breakout acting role. Her chemistry with the other actors is well matched too.

Tate Birchmore who has also been in other movies like Peppermint (2018) is believable in his role as a little brother. The only thing that doesn't make sense is his affinity for covering his hands. Whether it be plastic wrap or oven mitts, his hands are covered. Not sure what that's all about. Lew Temple as Roy Grady certainly does his best to be a caring father as well as showing his massive flaws. His interest in pagan religion however, would have been nice to get more background on. Having played in other movies like The Devil's Rejects (2005), Unstoppable (2010) and The Lone Ranger (2013), Temple is competent in his role. The same could be said for Danielle Harris who rose to fame from her days in Halloween 4: The Return of Michael Myers (1988) and Halloween 5: The Revenge of Michael Myers (1989). Harris as Stella Woodhouse plays her roll with sass and is somewhat of a sister figure to that of Sprout.

"You know Michael Myers is my uncle right?"

The visuals to this feature are a decent spectacle too. Being that the horror elements to this feature are more ghostly and psychological, there's very little blood spilled and that's okay. Thankfully there are no jump scares. The camerawork handled by Madeline Kate Kann was well done too. Seeing that this is also her first feature length film, this is great. There are several shots from a bird's eye view and when it comes to the nightmarish creatures, Kann uses the camera to keep what viewers want to see right out of focus to keep their attention. Smart. However, there is a specific location that felt rather random. Almost like there was more to it. A scene being left out maybe? Lastly, the musical score composed by Diego Rojas is fair for what was heard. Much of his music consists of light piano with an occasional string draw. It's simple and that's all that was really needed.

Usually, coming of age films are dramas. This one though. combines family drama with a much darker twist. While there are occasional areas that could have used more explanation, the story of a family struggling to seek emotional closure is definitely an intriguing watch. The cast of actors work well, the music is elementary but effective, and the visuals are competently crafted.

Points Earned --> 7:10

The Crow: City of Angels (1996) Review:

When original films go down as a classic of its own, it is usually, if not always very hard for a sequel to ever reach the same status. The Crow (1994) was a special project for many who worked on it, mostly because of the unfortunate death of star Brandon Lee from a fatal gunshot. While the film did make enough money and gained quite the following, studios wanted to continue making films about the character. Thankfully, they decided to focus on a new character who obtains the supernatural powers instead of trying to continue the original. In some ways, this works out. In other ways, not so much. This kind of uphill battle should be expected, but for what was done, it's obvious effort was put in. Viewers just have to remember that.

Do I look like Eric Draven?

The story is about a new unlikely hero by the name of Ash Corven (Vincent Perez), a father who is killed along with his son after they witness a gang murder. Only to be revived by the mystical crow, and then seek revenge on the gang who ruined his life. The person who stumbles upon Corven is Sarah (Mia Kirshner), a local tattoo artist who's been having dreams about him. The script was written by up and coming comic book writer David S. Goyer. While the film itself had much studio interference by the time it was released, what was left of Goyer's script is doable to some degree. What doesn't make sense however is the backgrounds to the characters aside from Corven. The film was directed by Tim Pope, who would have this theatrical film only to his credit.

Supporting characters to this feature more or less get the ax here. Sarah's dreams are not explained nor is she given much of a backstory and how she connects to Corven. The gang who murder Corven, is led by Judah Earl (Richard Brooks) and consists of Curve (Iggy Pop), Nemo (Thomas Jane), Spider Monkey (Vincent Castellanos) and Kali (Thuy Trang). They too don't receive much development aside from being shown that they killed Corven and his son. Judah's motives especially aren't the clearest. He wants to have the crow's powers, but it's not explained as to why he developed such a goal. Along with that, the lore and how the rules for the crow work seem to not be as transparent this time. It's understood that the crow is the weak point of the powers, however that doesn't explain if this power exists only in one crow or all of them. The acting for the most part is acceptable.

Vincent Perez as the new crow is fairly believable. His attitude towards his enemies is about as likeable as Brandon Lee's performance and his looks aren't too far off either. Perez for the most part has remained in the foreign film industry. Mia Kirshner is alright, but without her backstory it's not as strong. Kirshner would go on to star in films like Cowboys and Angels (2000) and The Black Dahlia (2006). Richard Brooks is interesting to watch, mainly because he goes from rather soft spoken to over the top energetic, it's off putting but kind of funny. Brooks has remained more a TV actor since. Iggy Pop is,...well Iggy Pop, known for his musical career. Thomas Jane is well known for what he would go onto to play in Marvel's second attempt in The Punisher (2004) and other films. Vincent Castellanos stopped acting no long after and Thuy Trang unfortunately died shortly after. There's even an appearance from Beverley Mitchell.

Mia Kirshner

As for visuals go, the action is fairly entertaining. While much of the film is in this monochrome sepia tone tint, it works in its favor. There's several shoot outs and fist fights. Some of which can get rather bloody and it entertains. The cinematography was handled by Jean-Yves Escoffier, who also worked on Dream Lover (1993) and 15 Minutes (2001). For what Escoffier shows, it captures several areas of the urban landscape involving buildings and rooms. Never has so much trash been a part of a city. Lastly, Graeme Revell returns as the composer to this and he mostly keeps all the feeling intact. While Revell does resurrect a theme from the original film, the rest features beating drums and spiritual sounding music. That's a great thing.

The story is not as emotionally hard hitting like the original, but the actors try. The problem lies in the script with very little backstory to the supporting characters and the lore behind the crow. However, the music, cinematography and action still entertains. It's a watchable sequel.

Points Earned --> 6:10

9 (2009) Review:

Animated films are no small industry as it once was. After Pixar and Dreamworks hit it big with their films in the late 1990s, several more studios jumped in to try and compete. The thing was though, many were competing for the same demographic. That demographic was more family friendly than anything else. Only recently has the film industry seen an interest in making more adult related animated features for theaters to distribute. A film that would come to mind would be Sausage Party (2016). That though was in the genre of comedy, which needed an R rating. However not all adult films need to be rated R. A perfect example would be this feature film.

Rag doll # 9

The story here is about a rag doll labeled number 9 (Elijah Wood), who wakes up in a strange setting. His surroundings consist of a massive wasteland, only to discover other rag dolls like him with other numbers. Number 8 (Fred Tatasciore), 7 (Jennifer Connelly), 6 (Crispin Glover), 5 (John C. Reilly), 4 & 3 are silent twins and 2 (Martin Landau), all led by 1 (Christopher Plummer). Even Alan Oppenheimer has a small role. The difference is, 9 found a green glowing piece that seems to be important. Unfortunately, none of them know what its purpose is for. To their dismay, this isn't their only problem. The dolls are also being hunted by mechanical predators made from animal parts that are seeking though take their lives.

The script was penned by Pamela Pettler, the same writer from Tim Burton's Corpse Bride (2005) and Monster House (2006). Seeing that, it is quite obvious where the darker elements to the film came from. For an animated film, the premise to this is far grimmer than some may think. The post-apocalyptic setting is refreshing and horrifying (in a good way) at the same time because how unexpected things are depicted. There is death shown and it's not exactly hidden from the viewers' eyes. Credit needs to be given for Shane Acker who has only directed this film. Since then he has been a previsualization artist for other projects like Total Recall (2012) and 47 Ronin (2013).

What doesn't work in the script's favor is the logic behind it. There's a kind of science that is used in this film that doesn't go into great depth. Sure, this film is a fantasy, but even so the idea behind the plot is bizarre. The time at which this takes place doesn't seem anywhere near the current day. The same could also be said for the purpose of the plot. The dolls have a reason for being there, but once it is revealed, it's questionable as to how it'll help. It's really not clear at all, but the voice actors behind the characters make up for that. All of them have moments that feature them in a way so the audience gets a chance to relate and understand the dolls.

"Noppppe......doesn't look dark enough for me....."

The animation to this film was well done. While it is unclear how cinematography assisted in this project, Kevin R. Adams was the director of photography. Aside from this, he has remained in the art department. The animators behind the film though did a great job. The rag dolls are expressive and the antagonists they come across are also quite intriguing to watch in their movements. The music however was even greater with its sound. Composed by Deborah Lurie, the score has fantastic sounding music that works well with the action, horror and more emotional moments. She has also composed for Dear John (2010) and Footloose (2011). Luckily for her, a score was released to show just how good she is.

While the details in the plot itself and the logic behind it isn't all that believable, that doesn't mean the film doesn't entertain. The voice cast, animation, dark storytelling and the music all help in making this a mature animated film fun to revisit.

Points Earned --> 7:10