Month: July 2021

“A ghost is taking over Billie’s body like some sort of hermit crab?” —Mike

Today’s quick review: Between Worlds. Joe (Nicolas Cage), a trucker who lost his wife and daughter to a fire, finds new meaning in life when he meets Julie (Franka Potente), a single mother with the power to briefly visit the afterlife. Julie uses her power to revive her teenage daughter Billie (Penelope Mitchell) after a motorcycle accident. But as Billie recovers from her injuries, it becomes clear that something within her has changed.

Between Worlds is a drama with fantasy and thriller elements. The movie follows Joe as he tries to help Julie and Billie recover from their ordeal, only to find that Billie knows close-kept secrets about his past. Between Worlds aims to be a steamy, haunting tale about the dangers of meddling in the supernatural. However, due to its slow pacing, lackluster acting, and poor sense of suspense, the movie falls well short of its goal.

Between Worlds does a poor job of building on what could have been an interesting premise. Julie’s power is taken for granted by the characters and the script, with no real attempt to explore where it comes from or what it means. Billie’s arc takes nearly half the movie to pick up any momentum; by the time her secret is revealed, nearly all the tension surrounding it is gone. The cinematography suffers from awkward cuts and peculiar camera placement.

Another mark against the movie is its acting. Nicolas Cage turns in a sloppy performance as Joe, with bluntly delivered lines and little emotional consistency. Franka Potente makes an honest effort as Julie, but her performance comes across as too detached and she lacks chemistry with Cage. Of the main cast, Penelope Mitchell fares better, easing into her role more as the film goes on, but her character still isn’t put to very good use.

Between Worlds ends up being a supernatural thriller that’s neither thrilling nor has much to say about its supernatural aspects. Sharp flaws in its writing, acting, and direction keep it from capitalizing on its premise, leaving it to coast on a nebulous sense of menace and uncomfortable sexual tension. Between Worlds holds marginal value for those interested in its ideas, but most viewers will find that it has little to hook their interest.

For a much more effective treatment of similar themes, try The Sixth Sense. For a more touching romantic fantasy from Nicolas Cage, try City of Angels. For another uncoventional romantic entanglement, try Stone or Internal Affairs. For a budget drama with even shakier quality and more heart, try The Room.

4.6 out of 10 on IMDB. I give it a 3.5 for a flawed and relatively lifeless execution of an interesting premise.

Today’s quick review: The Sorcerer’s Apprentice. For centuries, Balthazar (Nicolas Cage) has searched for the Prime Merlinean, the sorcerer destined to destroy the evil Morgana (Alice Krige). He finally finds a likely candidate in Dave Stutler (Jay Baruchel), a physics student with a sharp mind and poor social skills. But Dave immediately gets into trouble when Horvath (Alfred Molina), Morgana’s greatest servant, tries to free her from her prison.

The Sorcerer’s Apprentice is a fantasy action adventure about a young man chosen to inherit the power of Merlin. The story revolves around Dave’s attempts to master his magic, impress Becky (Teresa Palmer), and prevent Horvath from freeing Morgana. The Sorcerer’s Apprentice has some interesting action and backs it up with decent special effects and storytelling. The result isn’t especially unique or memorable, but it is enjoyable while it lasts.

The greatest strength of The Sorcerer’s Apprentice is its magic. The movie hits a sweet spot with its spells: ideas that are easy to understand and play well on the screen without entirely breaking the logic of the plot. No single spell stands out from the rest, but the tricks that Balthazar and Horvath throw at one another are enough to keep the action varied and engaging, a medley of levitation, transformations, and illusions.

On the story side, The Sorcerer’s Apprentice sticks to the basics but handles them well. The plot is typical for a youth fantasy story but makes enough minor changes to the formula to have its own identity. Nicolas Cage is an easy fit for the role of Balthazar, a mentor who’s strict but not heartless. Alfred Molina matches him well as Horvath. Jay Baruchel is a mixed bag as Dave, with awkwardness that can be amusing or grating depending on the scene.

The Sorcerer’s Apprentice is a decent pick for younger viewers and fans of the fantasy genre. The movie isn’t quite original or distinctive enough to stand out from its field, but it’s a credible execution of a classic formula. It also scores consistent, minor wins with its creative magic and character interactions, making it a fairly fun pick for the right viewer. Those looking for something groundbreaking should steer clear.

For a fantasy adventure with even more mind-bending magic, try Doctor Strange. For a slightly darker fantasy adventure with a similar premise, try The Seventh Son. For youth fantasy with better characters and a more elaborate plot, try the Harry Potter series. For a superhero fantasy adventure with a similar plot, try Shazam!. For a more teen-oriented take on a secret magical world, try The Mortal Instruments: City of Bones.

6.1 out of 10 on IMDB. I give it a 6.5 to 7.0 for a serviceable plot and some creative magic.

Today’s quick review: Ghost Rider: Spirit of Vengeance. After signing a deal with the devil Roarke (Ciaran Hinds), Johnny Blaze (Nicolas Cage) becomes possessed by the Ghost Rider, a terrifying spirit that punishes the wicked. Unable to control his power, Johnny flees to Europe, where he finds new purpose protecting Nadya (Violante Placido) and her son Danny (Fergus Riordan) from Roarke, who needs the boy to complete a powerful ritual.

Ghost Rider: Spirit of Vengeance is an action horror superhero movie based on the Marvel Comics character. Spirit of Vengeance is an ambiguous sequel to the first Ghost Rider film, picking up with a Johnny Blaze who’s increasingly uncomfortable with the spirit possessing him. The movie features a darker, more aggressive tone with bigger stunts and freer use of the Rider’s powers. However, its mediocre plot and lack of heart hold it back.

Spirit of Vengeance takes a very different approach than its predecessor. The movie plays up the alien nature of the Rider, a sadistic demon that loves toying with its prey. Its erratic movements, darker color scheme, and unstoppable power make it an effective centerpiece of the movie. The action scenes take full advantage of this, showing off the Rider’s powers alongside a variety of heavy weaponry.

The price of the improved action is a weaker story and supporting cast. The movie keeps in the minimum amount of character development for Johnny and Danny and strips out the rest. The plot consists almost exclusively of the hunt for Danny, with no other subplots and barely any preamble. This choice does make Spirit of Vengeance faster-paced and cranks up the ratio of action, but it makes it less rewarding to invest in the story and characters.

For sheer spectacle, Ghost Rider: Spirit of Vengeance is an enjoyable if schlocky pick. The movie finds itself outclassed by bigger-budget superhero flicks, but it carves out a niche for itself with its unique hero and sense of excess. However, those looking for a better balance of story and action, or simply a more likable hero, will want to steer clear. For a sci-fi movie with a similar plot, try Babylon A.D. For a dark superhero movie, try Venom.

4.3 out of 10 on IMDB. I give it a 6.5 for vivid action with shaky fundamentals.

“We’re big on irony around here.” —The Caretaker

Today’s quick review: Ghost Rider. As a young man, Johnny Blaze (Nicolas Cage) sells his soul to the Devil (Peter Fonda) to save his dying father. Years later, Johnny has a successful career as a motorcycle daredevil but remains haunted by his choice. Finally, when he is about to rekindle his relationship with Roxy Simpson (Eva Mendes), the Devil comes to collect, transforming Johnny into his skeletal bounty hunter: the Ghost Rider.

Ghost Rider is an action horror superhero movie based on the Marvel comics. Nicolas Cage stars as Johnny Blaze, a possessed biker tasked with keeping the Devil’s renegade son Blackheart (Wes Bentley) from claiming a contract that will grant him unlimited power. Ghost Rider makes for a respectable origin story, with a surprisingly robust script and a fair amount of action. However, it is outclassed by other superhero films that reach farther.

Ghost Rider gets the basics right. It spends enough time with Johnny and Roxy for them to feel like real characters. Peter Fonda and Sam Elliott are great additions to the supporting cast. The plot ties together neatly, avoiding any major twists but making sure every idea that’s introduced has a role to play. The dialogue is a cut above the typical action movie. Finally, the action scenes give Ghost Rider himself a chance to shine.

Still, Ghost Rider has a few clear limitations. The CGI is a mixed bag. The action scenes are short by modern standards and tend to be more about showing off Ghost Rider’s powers than delivering all-out brawls. The directing doesn’t make any major mistakes, but it’s missing a certain amount of subtlety. And while the movie makes Nicolas Cage’s offbeat performance work in its favor, it still won’t appeal to all viewers.

Ghost Rider is a solid pick for fans of the darker side of the superhero genre. In terms of structure and execution, it’s a typical origin story that doesn’t stand out from the crowd. But it has enough to offer to be worth a watch for anyone interested in the character.

For a superhero movie with a similar premise and blacker comedy, try Venom. For a horror comic book adaptation with a richer world, try Constantine. For one with a similar tone and sharper flaws, try Jonah Hex.

5.2 out of 10 on IMDB. I give it a 6.5 to 7.0 for solid writing and decent action.

Today’s quick review: Pandorum. Years into a deep space mission to colonize a new planet, Corporal Bower (Ben Foster) wakes up from hypersleep to find the ship in shambles, the crew dead or missing, and the corridors overrun by savage creatures. Working with Lieutenant Payton (Dennis Quaid), the only other surviving member of the flight crew, Bower journeys into the bowels of the ship to repair the damaged reactor before it shuts down for good.

Pandorum is a sci-fi survival horror movie about an interplanetary journey gone horribly wrong. Pandorum follows Bower, an engineer with amnesia, as he attempts to decipher what happened to the mission, survive the horrors infesting the ship, and salvage the ship’s systems before it’s too late. The movie features a twisting plot, a tense atmosphere, and decent fundamentals. However, a few misplays keep it from reaching its full potential.

Pandorum’s greatest strength ends up being its plot. The movie drops Bower into a situation as dire as it is mysterious, with clear threats that have no ready explanation. To Pandorum’s credit, it plays out its mystery well. Bower’s journey through the ship gives him a steady trickle of answers—a hint here, a revelation there—until the full story is revealed. Along the way, Pandorum juggles a couple of major plot twists that all feel worthwhile.

Pandorum backs up its plot with a horror atmosphere. The dark, claustrophobic environment of the ship is a natural fit for the types of horror Pandorum dabbles in. Limited resources, a stressful situation, and the lingering psychological effects of hypersleep lead to an unnerving journey for Bower. The catch is that Pandorum doesn’t innovate much. It assembles its building blocks in a workmanlike way without truly surprising the viewer.

Pandorum also misplays its hand with some of its other aspects. The creatures inhabiting the ship are a missed opportunity. They fill a specific role in the plot, but their designs are neither menacing nor memorable. More generally, the movie has a love-hate relationship with action, slipping into action scenes every now and then seemingly out of habit. The action isn’t bad on its own, but it does undercut the film’s oppressive atmosphere.

Overall, Pandorum will appeal to fans of the darker side of the science fiction genre. The movie gets surprisingly good mileage out of its plot, and its horror atmosphere serves it well. Those who come in with high expectations will be disappointed: neither its story nor its thrills match the greats of the genre. But sci-fi fans who like a healthy mixture of plot, tension, and action will find Pandorum to be a worthy popcorn pick.

For another tale of peril and madness in space, try Sunshine. For a much more subtle and iconic take on a similar premise, try Alien. For a sci-fi horror movie with vivid special effects and an even greater focus on horror, try The Thing. For a dark sci-fi action movie with a similar setup and more attitude, try Pitch Black.

6.7 out of 10 on IMDB. I give it a 7.0 for well-handled tension and an engrossing mystery.

Today’s quick review: Alone in the Dark. Ever since Lionel Hudgens (Matthew Walker) subjected him to paranormal experiments as a child, Edgar Carnby (Christian Slater) has sought the truth about his past. His journey has take him across the globe in search of artifacts from the Abkani, an ancient civilization that tampered with dark forces. Edgar’s search finally comes to a head when Lionel finds what he needs to unleash the darkness again.

Alone in the Dark is a budget action horror movie from director Uwe Boll. It is loosely based on the video game of the same name. Alone in the Dark follows Edgar, his girlfriend Aline (Tara Reid), and his rival Burke (Stephen Dorff) as they try to stop the creatures Lionel Hudgens has released in his quest for power. The movie makes a credible effort with its plot and action, but its shaky fundamentals mean that it brings little to the table.

Alone in the Dark actually delivers decent action by the standards of budget films. The fights avoid the usual trap of being too static, offering plenty of gunfire, a modest amount of secenery damage, and adequate creature designs. Even so, the movie’s action leaves a lot to be desired. The movie never manages convincing gore or suspense, the stunts are not especially ambitious, and the creatures are animated with bottom-of-the-barrel CGI.

Alone in the Dark is on even shakier footing when it comes to its story. The basics of the story work well enough: a paranormal investigator, secret experiments, evil creatures, and a power-crazed scientist. But when it comes to stitching them all together, Alone in the Dark runs into trouble. Its main characters are constantly behind the curve, doing little to drive the plot. The plot itself has plenty of holds and leads to an unsatisfying payoff.

Missing in all of this is the horror movie Alone in the Dark purports to be. Every now and then the film will remember its title, going through the motions of suspense for a brief moment. but these moments are poorly handled and doled out infrequently. Alone in the Dark latches onto action early and sticks with it, focusing more on its characters shooting at the creatures than building up any sort of tension or sense of atmosphere.

As such, Alone in the Dark has very little to recommend it. Other movies with higher budgets and clearer vision scratch the same urban fantasy itch, while the movie’s horror contribution is almost nonexistent. Alone in the Dark shows faint potential, with action scenes and plot points that could have worked in better hands. But its pervasive weaknesses in terms of acting, tone, and writing mean that most viewers will want to skip it.

For a paranormal investigator backed by a more interesting world and better plot beats, try Constantine. For a more colorful, comedic, and action-packed take on urban fantasy, try Hellboy. For globe-trotting fantasy adventure with a more fun tone, try the Librarian movies. For a Uwe Boll film of more ambitious scope, try In the Name of the King.

2.4 out of 10 on IMDB. I give it a 3.5 for poor execution of a generic story.

Today’s quick review: BloodRayne: Deliverance. In the Old West, Rayne (Natassia Malthe), a half-vampire gunslinger, travels to the quiet town of Deliverance to meet a close friend. But when she arrives, she finds her friend dead and the town in the clutches of Billy the Kidd (Zack Ward), an ancient vampire with a plan to make an army. Narrowly escaping Billy and his gang, Rayne teams up with Pat Garrett (Michael Pare) to take back the town.

BloodRayne: Deliverance is a fantasy action Western from director Uwe Boll. The movie picks up with Rayne as she makes a new life for herself in the West. Deliverance fits comfortably into the same mold as the original BloodRayne: a budget action flick that relies on its heroine for its thrills. But Deliverance also comes with many of the same issues, including limp action, slow pacing, and thin character work and storytelling.

Deliverance’s problems start with its heroine. Rayne makes for an ineffectual vampire hunter. Her powers as a half-vampire rarely matter, she’s prone to rushing in without a plan, and her track record against Billy the Kidd’s gang is mixed at best. More generally, Rayne’s personality shifts from scene to scene, and Natassia Malthe doesn’t have the stage presence to pull off the role. With a weak protagonist, the rest of the film never clicks.

Even beyond Rayne herself, Deliverance has issues. The plot is tenuous even relative to the first movie’s standards. Characters are killed off just as unceremoniously as they’re introduced, meaning that Rayne’s allies only ever act as placeholders. The movie’s pacing is another major strike against it. Deliverance takes a long time to even introduce its main character, and its attempts to draw out its action seems simply sap them of tension.

BloodRayne: Deliverance ends up being a movie with very little to offer. Its action, story, acting, and overall craftsmanship all fall short of what they should be. Its only appeal lies in its premise, a vampire hunt in the Old West, and the rare moment of unintentional comedy. Fans of the original BloodRayne or Uwe Boll’s work in general will know roughly what they’re in for. Everyone else will want to steer clear.

For a more interesting horror-tinged Western fantasy, try Jonah Hex. For an offbeat Western with an emphasis on action and unusual characters, try The Warrior’s Way. For more stylish vampire action, try the Underworld series. For a somewhat more engaging action movie from Uwe Boll, try In the Name of the King.

2.6 out of 10 on IMDB. I give it a 3.5 for a premise with modest potential and badly flawed execution.

Today’s quick review: I, Frankenstein. Born of a mad scientist’s experiment, Adam Frankenstein (Aaron Eckhart) only wants to be left alone. But when Prince Naberius’ (Bill Nighy) demons find him yet again, Adam decides to take the fight to them using the weapons given to him by the Gargoyle Order. To get the answers he seeks, Adam will need the help of Terra (Yvonne Strahovski), a scientist working to uncover the secret of reanimation.

I, Frankenstein is an urban fantasy action movie that drops Frankenstein’s monster into the middle of an age-old war between the forces of light and darkness. Adam’s neutrality is put to the test as the demons try to capture him for use in a ritual, while the gargoyles, fearing what he’s capable of, contemplate his destruction. Its action and premise make I, Frankenstein a decent watch, but it’s outclassed by most of the other films in its genre.

I, Frankenstein is a formulaic entry into the urban fantasy genre. Its two distinguishing features are its uses of Frankenstein’s monster as its protagonist and gargoyles as one of its warring factions. Neither of these twists is enough to obscure the story’s roots. Adam is a classic loner, while Naberius’ plan, Adam’s relationship with Terra, and the secret war between gargoyles and vampires will all seem familiar to fans of the genre.

The plus side of all this is that I, Frankenstein holds some of the same appeal as its brethren. The action isn’t groundbreaking, but it does make for some fine popcorn fodder, with CGI demons and gargoyles blasting each other to pieces at close range. The story strikes a similar balance: predictable but adequate for the needs of the movie. However, its world-building and character development are noticeably lacking, leaving the movie feeling thin.

I, Frankenstein is a passable pick for fans of fantasy action set in the modern day, but it falls short of the standard set by the competition. In terms of action, creativity, and storytelling, I, Frankenstein is beaten out by a number of other films like it. As such, only viewers who are looking for a light bit of action should give it a watch. Those looking for something memorable or impressive should search elsewhere.

For urban fantasy in a similar vein, try The Last Witch Hunter or The Mortal Instruments: City of Bones. For a similar reimagining of a classic horror character, try Dracula Untold. For a hidden war with better action and more style, try the Blade or Underworld series. For a fantasy action movie that makes more creative use of a limited budget, try Solomon Kane.

5.1 out of 10 on IMDB. I give it a 5.5 for serviceable action with a thin story to back it up.

Today’s quick review: Abraham Lincoln: Vampire Hunter. To avenge the murder of his mother at the hands of a vampire, Abraham Lincoln (Benjamin Walker) trains with vampire hunter Henry Sturges (Dominic Cooper), who teaches him to harness his desire for vengeance. Armed with his trusty axe, Lincoln goes hunting for Adam (Rufus Sewell), the vampires’ leader. But Lincoln soon realizes that to win his fight, he will need the help of America itself.

Abraham Lincoln: Vampire Hunter is an action horror movie based on the novel by Seth Grahame-Smith. The movie reveals a hidden side to Lincoln’s life as a lawyer, a politician, and a husband: his lifelong quest to rid America of an enormous vampire infestation. The pivotal events of Lincoln’s life serve as the backdrop to his skirmishes with Adam’s forces. The result is a schlocky but enjoyable watch that does some creative things with its premise.

Abraham Lincoln: Vampire Hunter promises action, and it delivers. The fights pit Abraham Lincoln’s silver axe against the vampires’ strength, speed, and fangs. The action scenes make liberal use of CGI, slowdown, and swooping camera angles, with a couple of inventive set pieces as well. The action can feel a little repetitive, given that axe versus vampire is the film’s main matchup, but there’s enough style to the combat to satisfy action fans.

Abraham Lincoln: Vampire Hunter does have some room for improvement. The semi-biographical nature of the plot leads to odd pacing for an action movie, skipping years of Lincoln’s life to catch the events that are historically relevant. Benjamin Walker is a mixed bag as Lincoln, faring well enough but never truly shining. And while the movie does have its absurdities, it plays its premise with a straighter face than some viewers may be expecting.

None of these flaws are enough to keep Abraham Lincoln: Vampire Hunter from accomplishing what it sets out to do. Solid craftsmanship, enjoyable action, and some clever uses of its historical setting make the movie a worthwhile pick for anyone interested in its premise. The one catch is that viewers hoping for a more overtly comedic tone may not get exactly what they want. Fans of realistic action or grounded drama should steer clear.

For a schlockier action horror movie with a similar premise and more comedy, try Van Helsing or Hansel & Gretel: Witch Hunters. For action fantasy that dabbles with a historical setting in similar ways, try The League of Extraordinary Gentlemen or Jonah Hex. For a battle with vampires in a modern setting, try Blade or Underworld.

5.9 out of 10 on IMDB. I give it a 6.5 for a novel premise and solid action, with a few flaws that keep it from greater heights.

Today’s quick review: Daybreakers. Ten years after the majority of the world’s population were turned into vampires, blood shortages have pushed them to the brink of starvation. Ed Dalton (Ethan Hawke), a hematologist for one of the largest blood suppliers, is working tirelessly to develop a safe blood substitute. But his research takes a different path when a human survivor (Claudia Karvan) introduces him to a cured vampire (Willem Dafoe).

Daybreakers is a sci-fi action movie about a future where vampirism is widespread and society has undergone drastic changes to accommodate it. Ethan Hawke stars as Edward Dalton, a vampire scientist trying to end vampires’ dependence on humans. Daybreakers puts a fair amount of effort into its world and uses it as a foundation for a decent plot and a smattering of action. However, no single aspect of the movie is enough to make it stand out.

Daybreakers’ greatest feature ends up being its setting. The film works out the myriad changes that a world of vampires would need to make in order to function, ranging from food and social status to the means used to protect vampires from sunlight. The changes are integrated well into the story, doled out at steady pace and meaningful to the plot. None of the changes are jaw-dropping, but they do make the world robust and interesting to explore.

Beyond its setting, Daybreakers fits comfortably into a particular niche of the dystopian sci-fi genre. The plot has a reasonable progression as Ed tries to first work within the system and then outside it to solve the blood shortage. Ed makes for a sympathetic protagonist, if not an especially deep one. The action is never central to the film, but it is fairly satisfying, with gory combat between vampire troops and human survivors.

Overall, Daybreakers is a solid entry into the sci-fi action genre. The movie is far from groundbreaking, but it has everything it needs to please fans of the genre: a rich world, a decent cast, and well-constructed plot studded with a bit of gory spectacle. Those looking for popcorn will get just what they want. Those hoping for all-out action or a deeper plot can do better elsewhere.

For better vampire action, try either the Blade or the Underworld series. For a more action-oriented sci-fi movie with a similar plot, try Equilibrium. For a more thoughtful sci-fi drama starring Ethan Hawke, try Gattaca. For a dystopian sci-fi thriller that offers both action and speculation, try Minority Report.

6.4 out of 10 on IMDB. I give it a 6.5 to 7.0 for satisfying execution of a decent premise.