Basket Case 3: The Progeny (1991) Review:

Frank Henenlotter's feature film debut in Basket Case (1982) is certainly what he's best known for. While it was by no means a good looking film, it served its purpose in creating an underground horror icon. As bad as the film was. When Basket Case 2 (1990) was created, not only did it have better production quality, but it also had a concept worth getting behind. Sadly, the sequel fell short of this leaving ideas half-baked that could've progressed the story much further than the original could have realized. And just like that entry, the second sequel very much follows the same footsteps. As a rushed sequel, Henenlotter wasn't even happy with it...but it still has some credit to its name. This final film though proves it just wasn't a really good franchise.

 Written and directed by Henenlotter for the third time, along with co-writing partner Robert Martin (Frankenhooker (1990)), this sequel picks up just like the last entry with recalling the events of Basket Case 2 (1990). After Duane Bradley (Kevin Van Hentenryck) kills Granny Ruth's (Annie Ross) daughter, Bradley has been in solitary confinement for several months. Only to be brought out to see that his brother Belial is going to be a father after mating with Eve (Denise Coop) the other lump of flesh living at Granny Ruth's. But in order to have a safe delivery, Granny Ruth wants everyone at Uncle Hal's (Dan Biggers) where he and Granny Ruth's son Little Hal (Jim O'Doherty) live. After Duane is freed from his cell, he escapes causing more damage.

 It's interesting because as this series has progressed, Henenlotter has exposed just how much of a screw up Duane really is. Belial is no golden boy either, but at least he tries to settle down and live a normal life. This just shows how much little development Duane really gets in this franchise. Duane is the one who escalates other character viewpoints on certain situations retracting their development as well. When Duane escapes, he comes across the local sheriff (Gil Roper) and his daughter Opal (Tina Louise Hilbert), who he only entangles them into his issues too. But even then, things get strange between Duane and Opal where it goes from Opal seeming sane enough, only to have strange sexual desires. What is going on?

 The more engaging characters viewers might want to see more of is Little Hal as he has the ability to make mechanical contraptions. Yet, he has very little screen time. Even Uncle Hal falls off the story not long after he's introduced. Much of the characters in general are just unlikable or are too strange to care for. Even Beverly Bonner returns (not as Casey from the last two films) as a cashier. The cast in general do their job, it's just the choices in direction of the story that don't really make sense. Visually, the film went all out on that. The gore may not be as abundant as the other two films, but when it's on screen it's still gruesome. This coincides with the practical effects used, which for 1991 looks good for its budget.

 Cinematography was competently handled too, this time by Robert Paone. Starting his career as a second camera assistant in Saturday Night Fever (1977), Paone keeps the camera steady for what is shown, as well as hiding various elements that get revealed later. The film score was composed once again by Joe Renzetti and sadly it still doesn't get featured as much as it should. The music certainly fits the tone, having ethereal and strange sounding tracks, but it doesn't have recognizable traits making it hard to recall on its own. There are hints of melodic themes, but Renzetti doesn't utilize it enough. Thankfully there is a score to hear in case it was difficult to make out in the film itself.

 As the final film in this franchise, Frank Henenlotter's trilogy about a deformed Siamese twin is average at best. The final entry is still better than the original, narrative wise, but not by a lot since much of script shoots itself in the foot before it even gets started. The visuals are fine and the actors do their okay, but there's still very little character development, they’re not likable and the music is sorely unhighlighted.

Points Earned --> 5:10

Runaway Train (1985) Review:

Railroads have been an important industry for quite a while. Ever since they were designed, they have helped mankind traverse the land with strength and speed unlike many had never seen before in the modern age. And while it has enamored people from all walks of life about the career paths of working on the railroad, it is very much a dangerous job. Probably one of the biggest fears for anyone in this profession is the exact situation that happens in this film; a runaway engine. With amount force, momentum and weight behind such a mass clocking in above a recommended speed limit, these behemoths can become quite an instrument of destruction. The way it's portrayed here for the time is commendable...but the story is where it's lacking. Which is surprising considering the lead actor won a Golden Globe for it.

 The concept was originally penned by Akira Kurosawa, who directed Seven Samurai (1954) and would later have that adapted into The Magnificent Seven (1960). The screenplay was adapted by Djordje Milicevic, Paul Zindel and Edward Bunker, where two convicts Manny (Jon Voight) and Buck (Eric Roberts) escape a maximum security prison ran by Ranken (John P. Ryan). Together they hide on a freight train where they discover no driver is controlling the now runaway engine. They also discover a crew member by the name of Sara (Rebecca De Mornay) who was asleep when the runaway took off. Together she looks to stop the train while simultaneously the convicts try to avoid being captured. This was also director Andrey Konchalovskiy's first action drama in North America. The same person who went onto to director Tango & Cash (1989).

 This film from a filmmaking viewpoint very well crafted. The problem is its script and acting. Viewers will have a hard time to connecting with the main characters. Rebecca De Mornay perhaps plays a character more relatable only because anyone would be scared in that situation. However, for Voight and Roberts' roles there is no indication as to what there is to sympathize with these two criminals. Manny is a high profile bank robber and Buck is convicted of sexual assault. The story shows it's not Manny or Buck's fault for the runaway train.... nor do they kill anyone when they escape the prison. But they did break out of prison, so they're still in the wrong. In certain ways, the movie seems like it tries to impress upon its viewers that we are to care for them...when really how could we? It just the Sara character that's forced into this uncomfortable situation who seems to be the only likeable one.

 Not even John P. Ryan as Ranken is likeable. The acting is questionable at times too specifically with Voight. At times he goes from reserved to completely outlandish. There are also appearances from Kyle T. Heffner, T.K. Carter, Kenneth McMillan, Danny Trejo, Tommy 'Tiny' Lister and Carmen Filpi. Aside from these points, one cannot ignore the technical prowess of this film and how it was filmed. When the diesel locomotive leaves the railyard is when things get intense. It's actually quite peculiar how similar this film is to Unstoppable (2010). Because this was 1985, viewers can be sure all effects used were practical. Everything from the sound design of the rails hissing before the train coming, to the clanking of couplings is very realistic feeling and treacherous.

 Credit should be given to Alan Hume for being such a competent director of photographer. The angles at which are filmed for this feature can be quite dizzying being that of how the viewer will feel while watching. The shots are made to look like the viewer is riding this megaton engine flying down a rail at 90 miles an hour. It's scary. Hume also filmed for Star Wars: Episode VI - Return of the Jedi (1983) and Supergirl (1984). Sadly, the music was disappointing. Composed by the underrated Trevor Jones, the score is an interesting mix of synthesizers and orchestra. Unfortunately, it's not highlighted enough to truly be recognized. Thankfully a score does exist to purchase, but it would've been helpful in the film too.

 From a film tech perspective, it should be praised for how it was filmed. The tracking and internal shots of this chase is quite unique, as are all the practical effects. But this doesn't take away that viewers may not have compassion for the two lead characters, Voight's uneven acting and hidden musical score that should've been featured more.

Points Earned --> 5:10

Highlander III: The Final Dimension (1994) Review:

The original Highlander (1986) is a film that truly has earned its cult following. Sadly, the story was made in such a way that trying to continue it in further installments would be downright mind boggling. Highlander II: The Quickening (1991) was reviled by fans due to its departure from the original story. Maybe that blunder would talk sense to the producers right? Wrong. Instead another sequel was made, this time further following original story. Initially...this could be promising, but why bother? Once Connor MacLeod won the prize, that was it. Yet somehow, he ends up not being the only one, completely undermining the story from the original. I think continuing the concept is fine...but the original seems to have made the story too perfect.

With a screenplay written by Paul Ohl, his first credit and directed by Andrew Morahan in his first film credit, this sequel is no better than Highlander II: The Quickening (1991). It's nice that everyone tried to approach this entry more faithfully than the last but even then, clearly bad decisions were made. Fans learn that before MacLeod (Christopher Lambert) moved to America but sometime after Ramirez's death, he was in Japan learning skills from another master by the name of Nakano (Makoto Iwamatsu) to fight against the deadly swordsman Kane (Mario Van Peebles), who happens to get frozen in a mountain. Now present day, long after MacLeod has "won" the prize, Kane awakes to finish what he started.

The writing is what really drags this potentially redeeming sequel through the mud. Ohl, deserves credit for at least trying to come up with a way to continue the original. But again, the original story seemed too perfect to continue to begin with. A vast majority of this feature is retreading familiar ground that happened in the original and even some of the first sequel. With Kane on the loose, MacLeod returns to New York where not only does he get pursued by a new cop Lt. John Stenn (Martin Neufeld) who is looking to jail him under his pseudo name of Russell Nash, MacLeod also crosses paths with another woman named Alex Johnson (Deborah Kara Unger) who's interested MacLeod's backstory. Also not to mention, he has an adopted son now too in the middle east named John (Gabriel Kakon).

There are parts of the script that acknowledge the past, like mentions of the first cops who were on MacLeod's tail and MacLeod’s first American love interest Brenda Wyatt, but that's it. Everything else is more or less repeated, including the line "there can only be one". Got it, thanks. This leads audiences to believe though character development doesn't really exist here if similar ideas are revisited. It really makes no sense. Continuity while ok in some places, is another issue in others. Characters are able to find one another with almost no issue....even if they're countries apart. How? As for action, it's slightly better than before, but not by much. For 1994, the special effects are about the same as the last sequel. It's nice to see a different cast of actors alongside Lambert but that's about it. Acting is just average due to the script.

Visually speaking, the camerawork and set design was an improvement. Mainly because the setting took place either in the mountain ranges of different countries or the urbanized streets of the city. The director of photography this time was Steven Chivers, better known for his start with Richard Stanley's Hardware (1990) and Dust Devil (1992). At least the shots filmed look distinguishable from each other, unlike the first sequel. As for music, the score was composed by J. Peter Robinson. Probably better known for his work on Wes Craven's New Nightmare (1994), Robinson does produce more recognizable music than the first sequel’s musical score. It's still not as memorable as Michael Kamen's rendition but it does have some Celtic flavoring sprinkled throughout.

Say what you will about Highlander II: The Quickening (1991) being a bad sequel. However, it's bad for doing something way out of whack. Unlike this sequel which redeems itself with minimal correction in its story, with only average acting, good music and camerawork. Other than that, the action still isn't that impressive, the effects aren't top notch and the story almost being a complete rehash.

Points Earned --> 4:10

Bad Boys II (2003) Review:

When Michael Bay, Will Smith and Martin Lawrence landed on screen with their first action outing in Bad Boys (1995), it's quite possible not many realized at the time how this would take them forward. Will Smith would soon end his career with The Fresh Prince of Bel-Air and go onto other blockbuster films like Men In Black (1997). Martin Lawrence though would continue mainly with comedic roles starring in films like Big Momma's House (2000). As for Michael Bay he would stick two more money makers with The Rock (1996) and Armageddon (1998). It wouldn’t only be until 2003 that these three converged again on this sequel much of which fans were anticipating. Unfortunately, it's not as great a followup due to a number of reasons.

Written by newcomers to the franchise Jerry Stahl and Ron Shelton, the script for this sequel is average at best. The main reason for this is that it gets bogged down with too much inconsistent direction. Mike Lowrey (Will Smith) and Marcus Burnett (Martin Lawrence) are still working together, but it seems lately Lowrey is being more reckless than usual. Finally, Marcus feels he needs to distance himself from Mike. Meanwhile, a Cuban drug lord named Tapia (Jordi Mollà) is working to smuggle as much of his drugs and money in a short period of time and the cops' Captain Howard (Joe Pantoliano) wants to understand all the wreckless behavior going on lately.

This is the condensed version of the plot. There actually doesn't seem to be much more in story, but the length at which this is drawn out is laborious. Bad Boys (1995) runtime was two hours and while it was long, it did have a number of entertaining things going for it. Here, now clocking in at two and half hours, the execution feels padded. There's also a subplot revolving around some Russian (Peter Stormare) who's in on it with Tapia but this doesn't go anywhere. There's even another subplot about Mike Lowrey hooking up with Marcus' sister Syd (Gabrielle Union). It's all just Michael Bay's attempt at comedy and/or character development because the way it happens feels forced just because.

This leads to the comedic aspects of the film being ho-hum. The kinds of jokes thrown around in the film is okay to flat. It's really hit and miss because of how lackluster it feels. Thankfully, the chemistry between Will Smith and Martin Lawrence feel authentic. They both play well off each other and it seems like both had a good time. The thing is, while their chemistry works,...it's the way the script was written that doesn't allow them to shine like they did in the first film. That's also not to say the other cast members don't try. Theresa Randle returns as Marcus' wife, an early Michael Shannon, Yul Vazquez and Jason Manuel Olazabal all have small roles to play. Jordi Mollà is probably one of the most uninteresting villains in a while.

Visually the cinematography is well shot and has vastly improved over the work from the first film. One of the small improvements. Shot by Amir Mokri who before this worked on Pacific Heights (1990), further shows the audience all kinds of scenic shots. The action was also very enjoyable; which usually doesn't fail a Bay film. Sadly, music was a downgrade. Due to creative differences between Mark Mancina of the first film and Michael Bay, Mancina was replaced with Trevor Rabin. And it's not that Rabin is a bad composer, because he has made good music. But here, he followed Bay's direction which lacked any kind of thematic material the first score contained. Leaving the sequel with no kind of musical identity. Sigh.

As a sequel, it will entertain the fans who enjoyed the first film. However, for those looking for a little more than the same, it will feel pretty average with generic music, inconsistent comedic elements and an over bloated run time. The only thing that has remained credible is the improved camerawork, fun action sequences and good chemistry between actors.

Points Earned --> 5:10

House of Wax (1953) Review:

The way horror films are portrayed now are nothing as they used to be. The "horrific" acts that are depicted on film today make the older films seem like kids could watch. This is obviously due to the time period they were released. If people from that time saw the films being made today, they might be traumatized for life. Unlike viewers today who are practically desensitized to all that happens on the screen. Yet, the idea of showing horror in a non-violent way walks a fine line between dull or creepy. This film managed to shock audiences as well as give off creepy vibes thanks to its premise. Which in all honesty, when are wax figures not creepy? That's kind of a given.

Phyllis Kirk

This film is a remake of the Mystery of the Wax Museum (1933) staring Vincent Price as Prof. Henry Jarrod, a humble artistic sculptor who enjoys modeling wax figurines. That is until a former business partner Matthew Burke (Roy Roberts) who's not satisfied with his investment, decides to burn down Jarrod's livelihood with him inside. This in turn heavily disfigures Jarrod which causes him to go insane and simultaneously setting up shop again as the House of Wax. Written by Crane Wilbur from Crime Wave (1953), the story for its time can be seen as a re-invigorator of horror genre. This is interesting seeing that the antagonist is clearly revealed from the beginning, which isn't a norm now.

But that doesn't stop the entertainment value of the experience. Seeing how the story plays out with direction from André De Toth (who also directed Crime Wave (1953)) is still an engaging watch. Sadly, not a whole lot is given as to how Jarrod survived the destruction of his first life. Sometimes things are better left untouched, but this particular event feels like it needs an explanation. On top of that, the way some characters are written can be silly at times. It takes all of one shot glass to break a man into spilling the truth. One, partially filled shot glass. That and there are some continuity issues regarding how Jarrod hides his deformities. It's truly nonsensical when you think about it. Then again, in 1953 people may have not thought of it.

The actors cast for this film work well. The legendary Vincent Price is always a joy to watch and listen to with the way he articulates himself. Phyllis Kirk plays Sue Allen, the woman who feels she's being watched from a dark assailant. Her partner Scott Andrews (Paul Picerni) ends up working for Jarrod as a sculptor himself. There, working for Jarrod is Leon Averill (Nedrick Young) and Igor (Charles Bronson). There's also appearances from Carolyn Jones playing Cathy Gray, a friend of Sue Allen, Det. Lt. Tom Brennan (Frank Lovejoy) who tries to put the pieces together on things and Sidney Wallace (Paul Cavanagh) the second partner of Jarrod's to help finance his attractions. All perform credibly.

"Don't mind him,...he's just hanging around"

The effects and practical sets used in this feature were a nice visual treat. The wax figures show in the film do have that strange life-like feel, especially when the plot thickens. The scene where Jarrod's livelihood burns down is very intense too, because as it turns out, the fire actually got out of control while filming. Yikes. Thankfully cinematographer Bert Glennon captured a lot of that footage. Being that he had been filming since the 1920s, I'm sure he'd seen many things by then. He even helped in Alice in Wonderland (1933). Then there's the film score by David Buttolph, which sadly hasn't found an official release. However, the music still entertains with its classic Hollywood movie sound and fits the film’s tone.

Aside from the way some characters are written and the occasional unclear continuity problems, this classic Hollywood horror film is intriguing to watch. Thanks to its cast of actors, very much real effects, creepy atmosphere and music.

Points Earned --> 7:10

Bedazzled (2000) Review:

Hollywood through the decades has been fairly consistent in how it makes movies. Or at least, the more recent decades so it seems. The usual complaint is that studios keep remaking films and rebooting franchises from the past. Whether this be just to hit people with nostalgia who know the original(s) already, or to introduce a new generation to the story, the tendency for them to be successful is very unlikely. No matter the case, it happens all the time. Perhaps what's more disappointing is when the end result is middle of the road. If it's good, it's something people will talk about. If it's bad, it's possible even more people will talk about it. However, for this film, it's just average, which makes it forgettable at best.

"See, it's nothing like George of the Jungle..."

The plot is about an insecure man by the name of Elliot Richards (Brendan Fraser) who tries to be friendly, but only comes across awkward to his co-workers Dan (Orlando Jones), Bob (Paul Adelstein), Jerry (Toby Huss) and Carol (Miriam Shor). One night after running in with them at a bar, Richards sees Alison (Frances O'Connor), a girl he is very interested in. When he realizes he will be avoided after he tries introducing himself, he asks god for "anything to have that girl in his life". This leads to the entrance of the Devil (Elizabeth Hurley), legitimately the devil. There Richards is given the proposition, to sell his soul to the devil in exchange for seven wishes of anything desires. Of course, that may come with some strings attached, of which Richards may not be thinking of.

Written by Peter Tolan (Analyze This (1999)), Larry Gelbart (Tootsie (1982)), and Harold Ramis (Ghostbusters (1984)), the script for this remake is nothing to be bedazzled over. The story itself is one that has been depicted before - the nerdy and ignored protagonist can't seem to cut a break. Only to find something that sounds better than it really is. Audiences enjoy seeing the underdog being given a chance at redemption. Here though, it seems all too easy to know the execution of the story. It's a story that tries to push boundaries by adding more sex appeal with the change in the devil's gender, but all it does is come across half invested. This is unfortunate seeing that Ramis also directed this movie.

Not to mention that this film draws similar parallels to that of another one of Ramis’ films from earlier, that being Groundhog Day (1993). While Fraser's character doesn't fumble over the same day again and again, he instead makes several wishes not realizing the impending side effects. This is majority of the comedic elements of the film. And while at times it produces a chuckle here and there, it is not that clever either. Sometimes the coincidences that occur throughout the story are truly just eye rolling. As the old saying goes, "what are the odds"? The odds are just about the same as Elliot Richards' colleagues also being by his side in every wish that he makes as well. What can be said is that the actors do try, with Fraser and Hurley doing their best with the material given.

Francis O'Connor

There's even appearances from Brian Doyle-Murray and Gabriel Casseus. The visuals are okay for the most part, but when CGI does get involved, it isn't very good looking. The cinematography shot by Bill Pope was competently handled. Being that Pope had also worked on Darkman (1990), Army of Darkness (1992) and The Matrix (1999), it's no surprise that his talent remains consistent here too. For music, the film score was composed by David Newman. However, since this is a comedy, much of the score is not audible as much of the comedic elements are replaced with other songs from other artists. Most notably Tone-Lōc's Wild Thing, which is the theme for Hurley's portrayal as the devil. Adequate, but lacks character.

As a remake is isn't bad, but it's not decent either. Coming from Harold Ramis, it would seem this would work out well. Instead, the music, special effects and execution of the plot is average. The plus side is, the actors do perform as best they can and the cinematography is well shot. But it’s not memorable.

Points Earned --> 5:10

Shoot 'Em Up (2007) Review:

Sometimes lightning only strikes once, but when it does, it is quite a thing to see. The same thing goes for films,...sometimes films are made and they blow away audiences. Yet the creator behind the project doesn’t go any further than that to make more entertainment. Take William Wesley, the director of Scarecrows (1988) as an example. The film went through a lot to be made and while it didn't have the greatest critical reception at the time, it has garnered quite the following. Yet with that, Wesley hasn't made another movie since 2001. The same could be said for this movie, which didn't do that well at the box office. However, it's another feature with a devoted following for how it was executed.

Mr. Smith & the baby

Directed and written by Michael Davis as the last film he's headed since, this literal "shoot 'em up" film is just that, but it's not brain dead. The plot is about an unknown man who goes by the name of Mr. Smith (Clive Owen) who gets entangled in what seems to be a regular hit job. As time carries on though, he begins to find out there's more to it than just that, since the main target is a baby. With the help of a hooker named Donna Quintano (Monica Bellucci), both race to find the truth and escape the smart but callous Hertz (Paul Giamatti). Meanwhile another man is also after the baby, a lone man (Greg Bryk) who quite honestly could be mistaken for Jason Clarke. For the majority of this cat and mouse chase, things are very much on the move.

The story itself is something to admire because of the plot behind it all slowly unravels revealing what's actually going on. It's a clever way of writing because it requires little exposition dumps. It's more just, as it goes, more information comes to light. This keeps the audience's attention and makes the execution smoother. What also helps are just how intriguing the characters are, no matter how few of them receive character depth. Clive Owen as the unknown Mr. Smith is one skilled marksman and expresses his dissatisfaction for a lot of things, while crunching on carrots. Paul Giamatti as Hertz is one sick villain who has the intellect but quite the womanizer, along with being a poor father and husband.

Monica Bellucci as Donna Quintano may not be the classiest heroine audiences may see, but she does have the right intentions. Bellucci was also in The Matrix Reloaded (2003), The Matrix Revolutions (2003) and The Passion of the Christ (2004). There's also appearances from Daniel Pilon, Julian Richings and Stephen McHattie who was in 300 (2006) and Watchmen (2009). The action is also well done. Considering Michael Davis wanted the movie to be gun centric, that's pretty much what the action involves and it's done in several creative ways. The only issue that arises with these sequences are the effects and plausibility. The validity of some scenes are just not that realistic. If done in real life, the likelihood of it being done would be once because they're such fatal stunts.

"I'm Paul Giamatti,...and I love being crazy"

Majority of the time, the blood shots look real, but every now and then there are scenes that look badly rendered for the year 2007. Most noticeable is a skydiving scene. However, the cinematography was crafted competently. With Peter Pau behind the camera, the shots are very fluid. Pau also worked on several John Woo / Chow Yun-Fat projects and even Bride of Chucky (1998). Sadly, he also has Jean-Claude Van Damme's bummer film Double Team (1997) on his resume too. Music was a delightful listening experience thanks to composer Paul Haslinger. While the score is usually a mix of guitars, synth beats and strings, the music lends itself well to the style and tone of the film. Haslinger feels like he took inspiration from Clint Mansell's score to Smokin' Aces, another stylized hit job film.

Aside from the possibility of the action happening in real life and sometimes the effects looking dated in small areas, the rest of this shooter film is an entertaining one. The story is an interesting watch, the cinematography and music jive together, with a cool Clive Owen performance leading the way.

Points Earnd --> 7:10

Deepstar Six (1989) Review:

The year of 1989 was a strange time. For some reason, the craze was all about underwater horror creature features. As to why that was a thing, it’s hard to say if anyone actually has the answer. It just so happened that's how things fell in place. Right from the very beginning as a matter of fact, in the month of January. The film to start off the conga line of similarities was this movie. Unfortunately, when it was released many were not impressed and the reviews were quite poor. However, upon revisiting it, it's a little difficult to see why it deserved all the disdain. It is by no means perfect, but it's also not horrible either. Now if this was the last film to be released, I think the bad reviews could be tied to fatigue of the genre,...but this literally started the whole thing.

McCoy, Peeples, Pickett & Blacque

The story takes place in the far depths of the ocean, where a group of colleagues are finishing out their months long shift installing nuclear warheads. Lead by Van Gelder (Marius Weyers) and Laidlaw (Taurean Blacque), the two have their team lay the groundwork over one rift on the ocean floor before finishing. Unfortunately for them, they awake something dangerous lurking below. Written by Lewis Abernathy and Geof Miller, the problem with this feature is the premise in general and the clichés that come with it. As soon as viewers are introduced to the main cast of actors, it is easily identifiable as to who will survive and who won't. It's troubling when a decent production and cast is bogged down with predictable execution.

The film was directed by Sean S. Cunningham, the same director who started the Friday the 13th (1980) franchise. Geof Miller would later write with Lewis Abernathy directing House IV (1992). Co-starring with Weyers and Blacque are Joyce Collins (Nancy Everhard) and McBride (Greg Evigan) as a close couple who have grown on each other since they began their assignment. Scarpelli (Nia Peeples) and Richardson (Matt McCoy) are also a casual couple. The rest of the cast is rounded out by Snyder (Miguel Ferrer), Diane Norris (Cindy Pickett), Burciaga (Elya Baskin), Hodges (Thom Bray) and Osborne (Ronn Carroll). Thankfully the characters are interesting to watch and do have distinguishable personalities to boot.

The horror aspect to this film was fairly credible too. While the cast is not filled with A list actors, that doesn't mean you can't have fun with the rest of the film. The special effects depicted here are very much practical. With Greg Nicotero credited as creature supervisor, the sea monster itself is very much a sight to see. Not only that but there are miniatures used as well for various scenes, which is all the more credible. The gore itself also very much visible. The amount of bloodshed here is more than Sean S. Cunningham's first film. Even the underwater scenes look very much real, even though they were probably shot on a dry-wet set.

"Open wideeeee"

The cinematography also helps with the look of the movie. Shot by Mac Ahlberg, the same director of photography for Hell Night (1981), Re-Animator (1985), House (1985), House II: The Second Story (1987), Robot Jox (1989) and even Oscar (1991), the camera movements are fluid and capture much of the surroundings our story takes place in. Whether it be underwater or in the containment vessel. Lastly, the film score composed by Harry Manfredini was quite a joy to listen to. Usually, Manfredini's score are a lot cheaper in sound, but this time he sounds like he has a full orchestra at his disposal and it sounds wonderful. The film comes with its own motif and everything.

Sadly, the overall plot and execution of the story is very much been there, done that. It's very cliché. Surprisingly, this doesn't stop the film from being entertaining. The actors make their characters interesting. The camerawork and special effects look very believable. And the music by Manfredini stands out from many other works in the past.

Points Earned --> 7:10

Death Machine (1994) Review:

To be able to get oneself on the map towards discovery can take a long time. Getting acknowledgement by age 30 though seems pretty impressive. Especially for Stephen Norrington, who would be best known for directing Marvel's first successful theatrical film, Blade (1998). Prior to this though, his first directorial debut came in the form of a different action/horror film, which was this one. In some ways, viewers will understand the tone of this film, as it was more his project entirely as opposed to the ones he would direct later. This film has Norrington's style written all over it. And for what it's worth, for his first venture it's done okay for the most part. Viewers just need to be aware of couple things.

Pouget, Sharian & McDougall

Written and directed Norrington, the story takes place in the near future where an armament corporation named CHAANK is looking to perfect its latest weapon, which the public has not approved. The developer behind the project is Jack Dante (Brad Dourif), a psychotic and deranged employee of the company. Meanwhile Hayden Cale (Ely Pouget) is the new CEO of the company hoping to turn the company around. At the same time, a group of rebels infiltrates the building to get back at CHAANK's unapproved behavior. However, after Cale goes after Dante for his termination, Dante unleashes his robot called the Warbeast to wreak havoc. Thus the film's title, everyone is up against the "Death Machine".

While the script isn't very deep, there are some aspects that make it memorable in its own way. For one, the characters are unique; maybe not the most memorable, but they are fun to watch. Joining Pouget and Dourif are William Hootkins and Richard Brake as other corporate executives. Making up the trio of rebels infiltrating the corporate building are Andreas Wisniewski, John Sharian and Martin McDougall. More surprising is that Hootkins also played in Hardware (1990), which had a similar premise. Brake would go onto play the Night King in HBO's Game of Thrones. Sharian would go on to play a role in The Machinist (2004) and Wisniewski was in Die Hard (1988) before this film. The script also has the characters throw out a bunch of pop culture references, which is fun.

Unfortunately, there are parts to the story that don't work. One being the plot in general. The idea of an evil corporation developing weapons that nobody wants has been done several times before. The idea of having a rampaging robot killer on the loose is very similar to that of Hardware (1990) and there's even elements of Roland Emmerich's Universal Soldier (1992). That and the getup Brad Dourif wears looks pretty ridiculous, almost like pre-Tommy Wiseau, bad wig an all. But this doesn't take away the spectacle of the film. The action in this film is very energetic and the special effects are decent for the budget this film had, headed by Peter Hutchinson. Even the gore is up there. Some of the deaths are pretty gruesome.

"Did you know I'm really a good guy?"

For overall visuals though, that was disappointing. While cinematographer John de Borman was competent in the way the camera was handled, the coloring to the picture is very drab. There's too much dark colors like gray and black making the look of the overall production uninspired. It's just not as interesting as it could be. The same could be said for the musical score composed by Crispin Merrell. While the score isn't hard on the ears, it's not the most dynamic in its presentation. The sound relies more on atmosphere than it does actual theme based tunes. While occasionally there are hints of synths, pipe organ and percussion that sounds like Brad Fiedel was involved, it doesn't get more complex than that.

It is certainly not an average film, because it shows significant effort went into it. But what doesn't work is its dull plot, music and camerawork. Thankfully, the action, gore and characters help make the film marginal fluff entertainment.

Points Earned --> 6:10

Robots (2005) Review:

Robots have always captured the attention of viewers. Whether they have a glossy rounded finish or if they're jagged and rusty. It seems that interacting with these mechanical beings has always been a way for humans to feel connected to something other than themselves. While self-aware artificial intelligence is not totally ingrained in the global society, it is getting there. But what if there was a place where all of this existed already? Leave it to Blue Sky Studios to develop something like this, which feels like it went largely forgotten. Considering this was in their early stage of developing animated films and their only other franchise starter was Ice Age (2002), that's pretty good. This movie actually makes the thought of a robot world very fun and exciting if it were to actually be a real thing somewhere in another universe.

Rodney and Friends

The story is about average robot named Rodney Copperbottom (Ewan McGregor), a young enthusiastic inventor hoping to make a difference in his world, after seeing his mother and father work very hard. His inspiration comes from a popular celebrity by the name of Bigweld (Mel Brooks) who's positivity stemmed from helping other robots. Written by David Lindsay-Abaire, Lowell Ganz and Babaloo Mandel, the script to this feature has a number of valid points to make when it comes to following your dreams. No matter the struggle, a goal is a goal, which should be the main focus. Sometimes sacrifices need to be made to help others. These are morals not only learned but reaffirmed as well by Rodney's parents (Stanley Tucci and Dianne Wiest).

Along his travels, Rodney also meets other robots Fender (Robin Williams) and Piper (Amanda Bynes) who live with Aunt Fanny (Jennifer Coolidge). It's here where more of the comedy ensues, which is fine. However, there are moments that probably have certain undertones people wouldn't exactly appreciate now. Examples like cross dressing or characterizing that cross dressing as "ugly". That and the occasional body humor, like flatulence. It's okay, but in some ways it's that kind of juvenile humor that seems unnecessary. Aside from those particular aspects, directors Chris Wedge and Carlos Saldanha were competent in their roles. Really, the whole moral to the story is what they get props for, because they kept that as the main focus.

The rest of the characters in this film are fun to watch too. Working behind the scenes to provide all robots only new parts is Ratchet (Greg Kinnear) and his mother Madame Gasket (Jim Broadbent). Both of them have good chemistry with each other as they look to take over Bigweld's company. There's also Cappy (Halle Berry) who is an assistant to Ratchet, but has a fairly predictable character arc. There's also voice appearances from Paul Giamatti, Natasha Lyonne, Dan Hedaya, James Earl Jones, Al Roker, Jay Leno, Stephen Tobolowsky, Terry Bradshaw and Drew Carey in some small roles. And the reason why these characters are fun to watch is because everyone who participated gave good performances.

Ratchet,....yes,...very evil

From a visual standpoint, the animation was well done for its time. If it was made now, it's more likely than not that certain things would have more details to them, but overall it still holds up. What's more impressive is how creative the studio was in making the robots universe. There are so many contraptions and mechanical gizmos that make it seem like their world is so much more entertaining than our current one. For music, composer John Powell scores the film with much appreciate energy. After working on other films like Antz (1998), The Road to El Dorado (2000) and Shrek (2001), Powell has proven his knack for scoring animated films. The music Powell creates is a great mix of jazzy and classic orchestral compositions.

Parts of the writing may be somewhat insensitive for today's time, but it's a very low count. The animation, while could be improved today, largely still holds up with fun characters, energetic music and a great overall story.

Points Earned --> 7:10

Futureworld (1976) Review:

Usually when a sequel is made without the inclusion of the creator of the original, is where things go downhill. Michael Crichton's film debut with Westworld (1973) was a unique sci-fi / horror film that made its viewers think about what if technology goes awry. Strangely enough, a sequel was made to that, but Crichton wasn't even involved. He wasn't even credited for any of the characters used in his original film! However for this followup, things seemed to stay intact, which is surprising. The more interesting thing about this, is how the story played out here compared to the other. The problem is, it's kind of expected, especially after seeing the trailer to this. But does that make it bad? Well,...it depends on what makes the bigger point.

Peter Fonda & Blythe Danner

Worked on by a totally different crew, the story continues from the events of Westworld (1973) as the new and improved Delos. This time Delos is being claimed as "Fail Safe" from its new head of the company Duffy (Arthur Hill). But someone is not convinced and that person is Chuck Browning (Peter Fonda) a news reporter who covered the disastrous nightmare that Delos had from the original film. Joining him is Tracy Ballard (Blythe Danner), another reporter who was looking to take point on the story Browning was given. Together they are invited by Duffy to tour the new Delos system and see all that has been changed. While being there and with Browning's suspicions, they begin digging deeper to find if the company is doing something they shouldn't.

Written by Mayo Simon and George Schenck who had worked on separate projects before this actually manage to maintain fairly good continuity with the original Westworld (1973). While Peter Fonda's character was not in the first film, he is properly introduced and given a history as to how he's connected to the past plot. Yet there are two aspects of the film that don't make a whole lot of sense. The first one being the return of the infamous gunslinger played by Yul Brynner. The reason why he appears is not clear as to why and he has no dialog, which comes off feeling more like a gimmick. The other error in writing belongs to the antagonist of the plot. It's an interesting direction to take, but the motivation doesn't exactly explain itself in detail.

It's strange how the thing that attracted people to Delos were the worlds they could visit. Wasn't it just amazing alone they could build robots? It seems like director Richard T. Heffron who mainly worked on made for TV movies didn't have a strong vision on the story's direction. There's also a subplot about the robots maybe having the possibility to develop feelings but it doesn't go beyond speculation. The example used in this story is about Harry (Stuart Margolin), a veteran worker from the original Delos who befriends an out of service robot named Clark (James M. Connor). The acting in general is acceptable. All the cast members who participate are as believable as they can be. Action is one of the things that didn't turn out okay,...it's just very lame. Nothing out of the ordinary.

Clark,...the man of steel

As for visuals, the set design looked great. Throughout the film, it is a definite that all the props and sets used were physically there. And for some of them, credit is due as to how creative some of the futuristic things are, like boxing and chess. They even revisit the old abandoned Westworld set of Delos, which is pretty eerie. Cinematography was handled by returning cameraman Gene Polito and also Howard Schwartz. Both do a decent job keeping the look of the film similar to that of Westworld (1973). Then there's the music from returning composer Fred Karlin. What made Karlin's music memorable from the original was his use of prepared piano. That's not here but he does rely on deep pulsing synthesizers and has a main theme for the sequel which is nice. It's a fair match.

This sequel misses the mark when it comes to making the antagonist one that makes sense. The use of Yul Brynner is wasted and the action is rather dull compared to the first. However, the actors still perform well, the set design is still appreciated along good continuity and appropriate music.

Points Earned --> 6:10

The Chronicles of Riddick (2004) Review:

Before Vin Diesel came on the scene with his cult franchise The Fast and the Furious (2001), he was also known as Richard B. Riddick. While the character itself doesn't have as many films as Diesel's other tent pole franchise, Pitch Black (2000) was quite the unique film. Not only did it have a sense of mystery surrounding its main cast, but also pit them against a very hard deadline of escaping a dangerous planet. Following up to that initial success is this sequel, which almost turns in a full 180. Unfortunately, the showing here is less than stellar for how the story was executed this time. That's sad since some people were also from the original film.

"Guys,....I could really use Paul Walker right now..."

Solely writing and directing this feature was David Twohy, the same director of Pitch Black (2000). Knowing this, it seems additional writers Ken and Jim Wheat were needed again as they helped co-write Pitch Black (2000). The title itself doesn't really make sense either. The "chronicles"? What chronicles? This film is just one long overly drawn out story, with little to no record of what Riddick has been up to. Taking place five years after Pitch Black (2000), Riddick finds himself reuniting with Imam (Keith David) to find his home planet being invaded by a race known as the Necromongers. Simultaneously, he learns that Jack now called Kyra (Alexa Davalos), who he saved with Imam in Pitch Black (2000), is being held in a prison on another planet.

If viewers thought the convenience of landing on planet exactly when it was going to eclipse in Pitch Black (2000) was too contrived, then this will be far worse. It just so happens the subplot related to Kyra crosses paths with the Necromonger plot thread. What are the odds? On top of that, there's even more subplots going on about Riddick being the so-called “chosen one” who will overthrow the Necromongers told by an elemental played by Judi Dench. There's also two characters among the Necromongers, Vaako (Karl Urban) and Dame Vaako (Thandie Newton) who plan to commit treason on their leader Lord Marshal (Colm Feore). Why all the different storylines? Was it truly needed for this?

What made Pitch Black (2000) so entertaining was its single story line. Nothing involving "the chosen one" tropes or political treason among ranks. If there's one thing Twohy did get right, it was keeping the continuity to the first film. That was done well. Seeing Keith David return and on his home planet was cool. There was even an explanation as to why Jack had a name change. That's all good! It just all the added plot threads that weigh down the pacing and entertainment value to the main story of focus. It's fine if the idea was to expand Riddick's universe and lore, but it's too much too soon. That doesn't mean the actors aren't credible though. Even Nick Chinlund has an appearance as a snarky mercenary.

Thandie Newton & Karl Urban

From a visual standpoint, it's half and half. The action sequences are fun to watch. Vin Diesel has proven himself to be an action star as well as Alexa Davalos, Karl Urban and Colm Feore. Sadly, it's the camerawork handled by Hugh Johnson that doesn't come off very appealing. Much of the time, Johnson relies on a lot of Dutch angles and shaky cam, which gets very annoying when trying to watch. Music again, is also another component that could have been better. With composer Graeme Revell returning for round two, one would think he'd make up for his rather dull score from the last film. No luck, Revell continues to make his music as bland and anonymous as possible. A real let down.

Sequels tend to not perform as well as their predecessor, but they don't tend to fall too hard. This one did just that though. While the action, acting and continuity is kept in-tact, which is shocking compared to most sequels. The plot is overly complicated with poor cinematography and uninspired music.

Points Earned --> 5:10

Silverado (1985) Review:

By the 1980s, the genre of Westerns had pretty much died off. Unfortunately, due to the enormous failure that was Michael Cimino's Heaven's Gate (1980), Hollywood not only reconsidered giving total control to directors of the projects, but also closed the curtain on big budget Westerns in general. They were seen as time consuming, costly and returned little revenue. Despite this, the genre went on but continued to see little financial success. Such goes for this film which not only had its set reused for other films that came later, but also manage to gain critical acclaim for how it was handled then. This is baffling even more when considering who took part and how the story was executed. It's really surprising the genre didn't bounce back with films like this.

Glover, Costner, Glenn & Kline

The plot is about a group of rag tag strangers who end up crossing paths and manage to develop a good working relationship with each other. All who end up passing through the city of Silverado. Written by Mark Kasdan, with co-writer and director Lawrence Kasdan heading the project, this western is one that not only has a fun story but also features a number of familiar faces from back in the day. Emmett (Scott Glenn) and Jake (Kevin Costner) are brothers in hopes of making it to California. Emmett's a sharp gunslinger, as is his brother. However, Jake is much more reckless. On their journey, they meet Paden (Kevin Kline), a traveler recently robbed from another group he once was close with.

Then there's Mal (Danny Glover), a wanderer looking for place he can be accepted for who he is. His sister Rae (Lynn Whitfield) is a popular lady among the saloons and is good friends with Slick (Jeff Goldblum), a wealthy gambler. Also found in Silverado is also one of Paden's old associates; Cobb (Brian Dennehy) and Tyree (Jeff Fahey). All of these supporting characters come to a head as the story comes to a conclusion. The only aspect of the script that should've been twisted differently were backstories to certain characters who more often than not are put in difficult situations. Understandably so, some are unavoidable due to the time it takes place, but these kinds of scenarios do not always have to happen.

Supporting the cast are other well-known actors like John Cleese, Linda Hunt, Joe Seneca and Brion James. For anyone unfamiliar, Lawrence Kasdan was also known for writing Body Heat (1981), The Big Chill (1983), Star Wars: Episode V - The Empire Strikes Back (1980), Raiders of the Lost Ark (1981) and Star Wars: Episode VI - Return of the Jedi (1983). The action was staged well for this feature. Considering this is a western, it is expected to have the local bar fights, fist fights, gun fights and horseback riding. All of which are executed like everyone involved has been doing it all their lives. There's even a sequence involving a stampede, which no doubt is dangerous if not controlled properly.

"You know,....I knew a guy named John Rambo...."

The cinematography was shot competently too. Behind the camera for this feature was John Bailey. Capturing wide landscapes along with matte paintings helped greatly in giving the film that classic western outback look. Prior to this Bailey also worked on Premonition (1972), American Gigolo (1980), Cat People (1982), and The Big Chill (1983). Lastly, the music composed by Bruce Broughton was very well done. Having a revisited motif for the feature made it all the more the memorable. Using classic orchestra and tambourine, the sound of it matches the tone and setting of the story completely. Thankfully for Broughton, after the initial release, Intrada released an expanded score which makes the experience that much more enjoyable.

Aside from one subplot being rather common place for many westerns, the rest is an enjoyable trip back to the past. All elements like music, camerawork, acting and action all help make the feel of it as authentic as possible.

Points Earned --> 8:10

Agnes of God (1985) Review:

Mysteries arise because there's a lack of understanding as to how something happened. Depending on the situation, the mystery may be present due to the absence of witnesses. Or if people were around, the logical understanding behind what happened may not make sense. However, things can get even more baffling when it comes to faith based mysteries. The reason for this being that some may not feel there are logical answers to such phenomena. This unfortunately, becomes hard to make a case during court trials, paperwork and other such legal processes. That leads us to this particular film which deals with such a unique scenario that does not have an easily discernible answer.

Anne Bancroft

The story originally written for stage plays, is about novice nun Agnes (Meg Tilly) who is found with a dead newborn in her convent. The head of the convent, Mother Miriam Ruth (Anne Bancroft) is assigned psychiatrist Dr. Martha Livingston (Jane Fonda) to understand how such an event could have happened. Along the way, Livingston begins to learn more and more about what happened and just how much she relates to the setting around her. The screenplay was adapted by the same person who the wrote the play, John Pielmeier. Together, he and director Norman Jewison make a film that not only raises good questions, but really makes the audience think.

What makes the story so interesting to watch is seeing the clashing ideologies between Dr. Livingston and Mother Ruth. One is a trained psychiatrist, who looks to logic for answers. Solid, irrefutable evidence that allows one to solve such a strange anomaly. The other is a believer of God and feels sometimes things are not so easily explainable. Pitted between the two is sister Agnes, who remembers certain things, while other times doesn't remember the whole story. What's even more important is that while there is closure, there are moments left up to the audiences' interpretation. Giving the story another level of depth when it comes how things actually happened and why. The only part that doesn't really add up is just how the pivotal discovery was handled in such a short window of time.

The cast to this film is a mix of American and Canadian actors. All of which have credible acting skills. Jane Fonda and Anne Bancroft both act very well in this feature. Their characters have an interesting dynamic considering their histories. Fonda is known for her roles in Barefoot in the Park (1967) and Coming Home (1978). While Bancroft is known for her roles in The Graduate (1967) and The Elephant Man (1980). Meg Tilly as Agnes also gives a captivating performance as the main focus of the investigation. She not only is a tragic character, but a troubled one. At the time Tilly's best known role was in Psycho II (1983). There's also appearances from Gratien Gélinas, Guy Hoffmann and Deborah Grover.

"So....you ever been to the Bates Motel?"

Visually speaking, the film has lots to offer. While the movie is by no means in the horror genre, there are some horrific scenes that involve blood that nobody should go through. Aside from this though, the shots whether it be internal or external are filmed well. Behind the camera was Sven Nykvist, who would also go on to help film Chaplin (1992). As for music, the sound was brought in by French composer Georges Delerue. Seeing that many films that involve religion tend to lend more vocals, Delerue ops to evenly blend this with romanticized orchestra. The tone is tragic and beautiful simultaneously and deserves a listen.

There's very little to find confusing about the story told here. Aside from one bit related to timing, the premise is a solid one that not only questions believers, but non-believers. Thanks to strong acting, emotional music and skilled cinematography, this film will keep its viewers watching with intrigue.

Points Earned --> 8:10

Scarecrows (1988) Review:

Films that are competently crafted and executed well sometimes don't get the recognition they want right away. Like other cult films that have grown in popularity over the years, this film is no exception falling into that exact same bucket. Majority of the time, very few people think of scarecrows as an actual intimidating thing. With their static nature and distorted bodies filled with straw, it's no real shock that anyone or anything would find them realistic. For cripes sake, the animals know the difference between these stuffed imitation humans versus actual living beings. Then again, most people don't make a very convincing scarecrow to boot. However, this film will make you think otherwise if you come across any scarecrow that looks like the ones shown here. And this is all kudos to a very special crew.

Victoria Christian, Kristina Sanborn & David Campbell

The plot is about group of criminals Corbin (Ted Vernon), Curry (Michael David Simms), Jack (Richard Vidan), Roxanne (Kristina Sanborn) and Bert (B.J. Turner) escaping with a large sum of money. With them are two air pilot hostages Al (David Campbell) and his daughter Kellie (Victoria Christian). To their dismay, Bert goes rogue making off with the money himself mid-flight and lands in what appears to be a deserted farm. Quickly catching up behind him, Bert's team have the hostages land the aircraft and search for him. Little do any of these characters know that the area they landed in has something much more sinister going on. Among the quiet fields are dreadful and human like scarecrows, of which they soon learn is more to them than what they think there is.

Directed by William Wesley, with a script co-written by Wesley and Richard Jefferies, this little horror film shows what can be accomplished with much minimalism as possible. First off, the premise. What an idea. Very rarely do stories actually make their villains the main characters but also sort of make a viewer feel for them (sort of). With a cast of less than ten actors, the story is kept tight with its focus and will keep the viewer at attention with all of its mysterious setups. If anything, the only things the screenplay suffers from is what feels to abrupt character motivation changes and an interesting backstory. Having a mysterious story is the right way to go, but when there are points to be made clear and they aren't, it begs the question what were the points? However, these flaws are far from a huge problem in the overall execution. In some ways, a viewer can forgive this just because of how well the story plays out.

The actors all have interesting scenes together whether it be in their respective groups or if it's protagonists vs antagonists. Surprisingly, many of these crew members to the film did not continue on after this. Ted Vernon, Richard Vidan and David Campbell continue to act in various projects. Michael David Simms would later be in X2: X-Men United (2003) and Eight Below (2006). However, Kristina Sanborn and Victoria Christian both dropped out of acting shortly after. As for B.J. Turner, he passed away a few years later. As a little gift though, Don Herbert from the Mr. Wizard show has a small role as a radio newscaster. Richard Jefferies has gone onto write for movies like The Vagrant (1992) and Cold Creek Manor (2003). What's more surprising is that William Wesley only directed one other movie which was Route 666 (2001). With making such a great debut, it's unfortunate he hasn't gone onto bigger projects.

"Don't mind me,....just hanging out...."

As for visuals the movie has got what a horror fan could want. The makeup and practical effects are fantastic. With help from the late J.B. Jones (Shoot to Kill (1988), The Crow (1994)) and Norman Cabrera (Spawn (1997), Hellboy (2004)), the scarecrows on scene are legitimately creepy. This is also thanks to Peter Deming as the credited cinematographer. Much of Deming's shots linger on the scarecrows to show just how insidious they really are. Deming would also shoot for Evil Dead II (1987) and The Cabin in the Woods (2011). Lastly, music was another great aspect thanks to the late Terry Plumeri. Featuring a small orchestra of strings, bass clarinet and piano, the themes used in this score are very effective in bringing on the uneasy tone. There are no stings in this score whatsoever and it is quite the listening experience. Too bad he is no longer with us.

Backstory and the unwinding of the history is not done very well but that is nothing compared to the rest of the film. The premise is solid, with a focused script, credible actors, great looking special effects, camerawork and music. This is one horror film to watch if viewers are looking for something pleasantly unsettling in a fun way.

Points Earned --> 7:10

Staying Alive (1983) Review:

John Travolta's breakout role in Saturday Night Fever (1977) was a highlight not only for himself but for the decade it came from. During the 1970s, discos were very much the place to be during that time. And while the film itself had much of that to feature, the story of a regular young adult looking to make the most of their time enjoying life had interesting points to make. The story not only felt real but also understandable. Anyone trying to work from the ground up can relate to the struggle of making ends meet and trying to make something of yourself. That's what Tony Manero's story was all about that Travolta played. Weirdly enough, this sequel commits to furthering that story but only half way. It really doesn't make complete sense of everything which is unfortunate, but it is certainly not a terrible sequel.

Rhodes & Travolta

Directed by Sylvester Stallone, with a script co-written by him and Norman Wexler (from the first film), the story follows Tony Manero to Manhattan where he seeks to continue his passion for dancing on Broadway with support from his new main squeeze Jackie (Cynthia Rhodes). Although after one night seeing Jackie in rehearsal he comes across Laura (Finola Hughes) the lead dancer and decides to come on to her. Unfortunately, this leads to complications between his current relationship with Jackie and his passion for dancing. Aside from that, the narrative is kind of light. Unlike the first film which had lots of characters to play off of and add layers to Manero's life, now it feels almost empty. Not sure exactly what happened during the writing process but the film feels awfully long for such a short story.

It seems almost as though Stallone got too caught up in the production and visuals to bother actually helping to write a sequel that further developed the main character. First off, the only character to return from the first film outside of Tony is his mom played by Julie Bovasso. What happened to Stephanie (Karen Lynn Gorney), Annette (Donna Pescow) or any other part of his family? Part of the reason why the first film worked so well was that family dynamic and how they interacted with each other. Instead much of time is dedicated to confusing character motivations between Tony and Laura, or Tony and Jackie. These interactions don't make a lot of sense because all in all there's a lot of pivoting which makes the viewer disoriented in what the character's actually want.

This sadly leads to uneven character development, which is hard to watch since there are so few cast members this time that are of focus. However, this doesn't mean the actors involved are not credible. John Travolta still plays Tony like he did in the last film, still a goofball but quite talented when he's puts his mind to it. Cynthia Rhodes as Jackie is a kind person who deserves the most for herself. Even Finola Hughes is a good actress, but it's her character’s motivations which throw much of the story off. Rhodes would later star in Dirty Dancing (1987) and Hughes would go on to play in General Hospital. There's even a few shots of Kurtwood Smith poking around directing dancers on a stage, but he doesn't say anything.

"Hello, my name is Laura...."

Choreography however is probably the most perfected aspect about this film. More than likely this was Stallone's focus as well. No matter if it's the dance numbers on the stage with several extras or just one on one between main characters, the dance skills filmed are undeniable. Travolta not only maintains his skill but bulked up for it as well. Kudos to Dennon and Sayhber Rawles for their work as they would later help choreograph for Bugsy (1991). Cinematography also went well with that taken care of by Nick McLean. McLean would also shoot for City Heat (1984) and Short Circuit (1986). Even music was okay, while The Bee Gees were a main highlight before, the main singer to much of the songs is Frank Stallone (not surprised). Since this film was from the 80s, it's better than featuring disco music anyway as that fad was gone.

It's not as bad as critics called it, but it definitely lacks the kind of narrative that made the original so interesting to watch. Here, it's just the same character being sillier than before and trying to make it big, but nothing deeper than that. Stallone's directing and writing isn't the best. However, acting, camerawork and music are all fine.

Points Earned --> 5:10

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