If one is looking for a realistic World War Two movie, look elsewhere. Overlord takes all of its war visuals and scenarios from Saving Private Ryan and Band of Brothers, to the point of thievery, but all that is just backdrop to the story. What this movie is really about are Nazi monster super-soldier experiments, and the small squad of American paratroopers who put a stop to it. It’s bloody, full of gore, and, somehow, works as a serious tale with no absurdity. Continue reading “October Horrorshow: Overlord”
What a disappointing mess. There are a bunch of solid ideas in Ghosts of War, the new horror flick from writer/director Eric Bress. It’s the execution that is lacking.
The film takes place during World War Two, after the Allies have invaded France. A squad of paratroopers, led by Chris (Brenton Thwaites), is assigned to guard a French chateau that had been used by the Nazis. On the short journey to the chateau, we meet the other members of the squad. They are boilerplate WW2 movie characters. There’s the tough guy, Butchie (Alan Ritchson); the smart guy, Eugene (Skylar Astin), the tough from the city, Kirk (Theo Rossi), and the soft-spoken but lethal southerner, Tappert (Kyle Gallner). Accents and attitudes are used to establish their war flick bona fides, and then viewers see them committing a few war crimes before they arrive at the chateau. War is hell, right? Continue reading “October Horrorshow: Ghosts of War”
Sometimes big time actors put on their serious pants and play a Nazi-era German protagonist. I don’t know if ego or decades spent in a celebrity bubble deprive these actors of common sense, but these movies occasionally get made, and there’s always an A-lister out there willing to play one of the 20th century’s most notorious bad guys. In Valkyrie, the 2008 film directed by Bryan Singer, that A-lister was Tom Cruise.
Going over Cruise’s public persona is a waste of time, but I do remember hearing about this film back in the year it was released, and thinking Cruise must be delusional about the amount of leeway movie audiences are willing to give him. There is only one man in Hollywood who can play a good World War II German, and that man is Liam Neeson. With any other actor and any other character other than Oskar Schindler, a film is walking a fine line. To stumble means embarrassment, at best, and career-threatening ostracization, at worst. With a degree of difficulty that high, who in their right mind would choose to star in a film such as Valkyrie? King Mapother, that’s who. Continue reading “Empty Balcony: Valkyrie”
Lance Henriksen is as old as dirt. He’s so old the primordial soup called him ‘daddy.’ He’s so old his grandkids had to teach him how to program the VCR. He’s so old he can tell the difference between Sarsaparilla and root beer. He’s so old…one gets the idea. In reality, he’s old but not that old. As of this writing, he’s 79. Well into old age, but not a doddering eldster, either. I bring this up because today’s horror flick, Black Ops, originally title Deadwater, was released straight to video in 2008, just a few weeks after the film’s star, Lance Henriksen, turned 68. Continue reading “October Horrorshow: Black Ops, aka Deadwater”
The Luc Besson action mill has turned out some of the most successful action flicks of this century, and also some of the genre’s most overwrought messes. Renegades (released in the States as American Renegades) lies somewhere in between. It has the grandiosity one would expect from a Besson-produced action flick, but the end product is something anonymous.
Jan-Michael Vincent is dead. He passed mostly unnoticed on February 10th, his death remaining unknown to the media for almost a month. He was, once upon a time, a middling star. His looks were better than his talent, but that’s just what Hollywood wants. His career was derailed by age and substance abuse, as happens to so many in the entertainment industry. He had many roles in mainstream films, but I will always remember him for his contributions to shitty cinema and television. In remembrance of Jan-Michael Vincent, here’s a review for a Vincent star vehicle, that also happened to be a pretty good shitty movie. Continue reading “Shitty Movie Sundays: Damnation Alley, or, RVing the Apocalypse”
Who wants to watch some bottom-feeding trash? I do! And we all should. Films like Strike Commando, the 1987 shitfest from Italian filmmaker Bruno Mattei, make serious film and art house fodder all the better. How would we be able to gauge excellence were it not for films like Strike Commando giving us a baseline of inferiority? Continue reading “Shitty Movie Sundays: Strike Commando”
90 million bucks. That’s how much it costs to make a shitshow of a movie. A bad film can be made for far less than that, of course, but an unofficial motto of The Expendables films has been ‘go big or go home.’ Those 90 million dollars are about all that’s big about this film, though. Sure, The Expendables 3 looks like a big Hollywood action flick, but pay close attention and one will realize that just about everything in this movie is ersatz — an imitation. Continue reading “Stallone Month: The Expendables 3″
I’m not sure that Sylvester Stallone, or anyone else involved with The Expendables, thought that film would spawn a franchise. In many ways, The Expendables felt like a lark — a one-time moment that tapped into a well of nostalgia for 1980s-style action in the moviegoing public. It sold itself on its cast and its cameos, then followed that up with an uneven, but very exciting, film. It made a pile of cash, so of course there were going to be another one made. Continue reading “Stallone Month: The Expendables 2″
Despite being a big star, Sylvester Stallone has always seemed to struggle with relevancy. The 2000s had a pair of ‘comeback’ films for Sly, with Rocky Balboa in 2006 and Rambo in 2008. It seemed like every success he had was forgotten. Perhaps that’s because these two films felt like a coda to beloved characters from decades past, whereas The Expendables, from 2010, was new-ish. Or maybe having a comeback film is just part of Sly’s brand in the 21st century. Either way, The Expendables is the throwback to 1980s action that no one knew we needed until it showed up in theaters and made money. Continue reading “Stallone Month: The Expendables”