Author: Stan

Today’s quick review: Black Rose. To catch a serial killer who’s preying on Russian women, Captain Frank Dalano (Robert Davi) of the LAPD brings in Major Vladimir Kazatov (Alexander Nevsky) from Moscow over the objections of Matt Robinson (Adrian Paul), the former lead on the case. Vladimir partners with Emily Smith (Kristanna Loken), a rookie profiler, to search the Russian community for leads and try to catch the elusive killer.

Black Rose is a budget crime thriller that pairs a Russian cop with his American counterpart to hunt down a serial killer. Black Rose aims to be a tense investigation peppered with lighter moments of bonding for its two heroes. The skeleton of the plot works well enough for this goal, but it’s undermined by a bland villain and a thin mystery. Coupled with the film’s flawed execution in other areas, this makes Black Rose an underwhelming pick.

Black Rose never manages to build up the mystery it needs around its killer. There’s no compelling pattern for the crimes, the killer’s motives are flimsy, and the clues that drive the investigation tend to be tacked on as afterthoughts. The movie also has a hard time building up tension. It has a smattering of gore but not much shock value to go with it. Overactive direction and a needlessly grandiose soundtrack further damage the tone.

Its villain problems aside, Black Rose still has issues with the basics. The plot has most of the elements it needs but not the craftsmanship to make them work together. The story ends up feeling generic and predictable, with a weak payoff and no intermediate revelations before the finale. Like the writing, the acting is also lackluster. Alexander Nevsky gives a flat performance as Vladimir, while Kristanna Loken fairs slightly better as Emily.

Ultimately, Black Rose is a crime thriller with a weak hook and significant flaws in its execution. The aspects of its vision the film does get right are outclassed by other films in the genre. The film succeeds in telling a simple story and holds modest value for casual viewers, but the majority of viewers will be able to do better without much effort.

For a more unnerving serial killer investigation, try Se7en or The Bone Collector. For a serial killer drama with better acting and direction, try Zodiac. For a buddy cop comedy with a more fully developed clash of cultures, try Rush Hour.

2.5 out of 10 on IMDB. I give it a 3.5 for a decent setup, weak execution, and unsatisfying thrills.

Today’s quick review: Blue Ruin. For years, Dwight Evans (Macon Blair) has lived a solitary life on the beach, living off what he can borrow or find. Upon learning that Wade Cleland (Sandy Barrett), the man who killed his parents, is going to be released from jail, he returns to his home in Virginia to take his revenge. But the situation grows complicated when Wade’s family gets involved, putting Dwight’s sister Sam (Amy Hargreaves) in danger.

Blue Ruin is a crime drama about bad blood between two families. A murderer’s release from prison reopens old wounds, sparking a cycle of revenge that turns Dwight Evans, ordinarily a gentle man, into a killer. Blue Ruin takes its premise to fascinating places without resorting to the usual contrivances of stories like it. Tight plot work, thoughtful direction, and believable characters make Blue Ruin a modest but polished tale of revenge.

The heart of the movie is Dwight, a soft-spoken protagonist bearing an understandable grudge. Dwight is a reluctant killer, willing to do what is necessary to avenge his parents but hesitant to escalate the situation any further. The contrast makes him a nuanced character who’s not overtly likable but quietly earns the audience’s respect through his resolve and decency. Macon Blair also does an excellent job of selling the role.

The other area where Blue Ruin excels is realism. The plot emerges from the characters’ choices, not from obvious coincidences or authorial meddling. Dwight is not an action hero, only an ordinary man with real failings. He succeeds through the clever use of the resources at his disposal, and even then his plans rarely go right. he finishing touch is well-jduged direction that puts every detail in its proper place without being too obvious.

Blue Ruin is a hidden gem for fans of the understated, cerebral side of the crime genre. Its modest scope and lack of strong emotional hooks mean that it’s outclassed by the best the genre has to offer, but in spite of this, it still brings something unique to the table. Those looking for an intimate and unpredictable crime drama should give it a shot. Those hoping for something with more flash or a greater emphasis on action may want to skip it.

For an even darker, more elaborate plot spun from a minimalistic premise, try Blood Simple. For a plot-focused crime thriller with a darker tone, try Memento. For a crime movie about a homeless veteran trying to make good, try Redemption.

7.1 out of 10 on IMDB. I give it a 7.0 for sound acting and direction coupled with a tight plot.

Today’s quick review: The Bad Batch. Branded as part of the Bad Batch, Arlen (Suki Waterhouse) is exiled ot a lawless wasteland in the Texas desert to live with other misfits and criminals. There she loses an arm and a leg to cannibals before finding Comfort, a cultish town run by The Dream (Keanu Reeves). Unsatisfied with her life there, she ventures back out into the desert and meets Miami Man (Jason Momoa), a cannibal searching for his daughter.

The Bad Batch is an offbeat thriller set in a bizarre wasteland. The movie follows Arlen as she gets to know Comfort, the dangers outside its walls, and the peculiar society that has sprung up in the absence of any formal government. The Bad Batch carves out a distinctive niche for itself with its unusual characters, laconic storytelling, and intriguing symbolism. However, its loose plot and explicit content make it something of a niche pick.

The Bad Batch is an odd watch. The wasteland Arlen finds herself in is a violent, mysterious, and quirky place. Resources are scarce, strangers can’t be trusted, and different breeds of insanity flourish unchecked. Just catching pieces of The Bad Batch’s world and trying to piece them together is one of the film’s main appeals. The effect is bolstered by hints of symbolism and social commentary, as well as its knack for saying a lot with a little.

The tradeoff is that The Bad Batch is very abstract. The plot feels less like a complete story and more like pieces of one, evocative bits taken from a larger whole. Arlen has no clear purpose in the wasteland, giving the film a passive feel even when she’s fighting for her life. The lack of a strong plot makes it hard to invest emotionally in the story and characters, while the film’s graphic nature can make it difficult to watch at times.

Fans of the odd, mature, and experimental may want to give The Bad Batch a shot. It never rises to the heights of tension that its premise implies, but the combination of an interesting world, skillful presentation, and open-ended dots to connect means that it does have something to offer. Still, few viewers will be drawn to its unusual combination of traits. Most people who are interested would be better off with a more straightforward pick.

For even more overt social commentary, try High-Rise or Snowpiercer.

5.3 out of 10 on IMDB. I give it a 6.0 for an interesting world without the plot to hold it together.

Today’s quick review: Rambo: Last Blood. Ten years ago, Vietnam veteran John Rambo (Sylvester Stallone) finally came home to his family’s ranch in Arizona and found a new purpose in life: taking care of his niece Gaby (Yvette Monreal). But when Gaby goes to Mexico by herself to search for the father who abandoned her, she ends up in the clutches of human traffickers, forcing John to use his violent skills to get her back.

Rambo: Last Blood is a gritty action movie and the fifth entry in the Rambo series. Set roughly a decade after the end of the previous film, Last Blood finds John Rambo happily retired, content to raise horses, work on the ranch, and watch over his niece. That all changes when a Mexican gang takes Gaby, setting up the heavy drama and gory violene the series is known for. The result is a film that’s narrow in scope but effective at what it does.

Last Blood follows in the footsteps of Rambo, the previous entry into the series. Like its predecessor, Last Blood spends its first half establishing the stakes before taking a hard turn into action. The tone of the film is heavier than most movies in the genre, with real dangers and a plot that doesn’t pull punches. The film’s darker moments keep it from being the unfettered romp that some viewers may want, but the drama is handled fairly well.

The main draw of Last Blood is violence, and it delivers in spades. John shows his mastery of guerrilla warfare in brutal fashion, with violent and creative traps, ruthless kills, and even more gore than the film’s predecessors. The late start to the action means that it doesn’t last that long, but it makes up for duration with density. The action does feel a little rushed and one-sided as a result, but the sheer spectacle makes this a fair trade.

Rambo: Last Blood is not for the faint of heart. Its heavy tone and pervasive gore mean that it will only appeal to fans of the hardcore side of the action genre, and even these will be split by its choices when it comes to drama and pacing. But within the niche it carves out for itself, Rambo: Last Blood is a solid movie that delivers a good mixture of story and violence. Those hoping for a dark, bloody revenge film should look no farther.

For an action thriller with a similar premise, try Taken. For another Rambo movie in the same vein, try Rambo. For another tale of a father’s revenge, try Death Wish. For the even weightier superhero equivalent, try Logan. For an even more twisted revenge drama, try Oldboy. For more stylized action with similar brutality, try the John Wick series.

6.7 out of 10 on IMDB. I give it a 7.0 for viscerally satisfying action.

Today’s quick review: The Road. Years after a nuclear holocaust ravaged the Earth, the plants and animals have died, the climate has turned cold, and humanity’s few survivors are forced to fight for the scant resources that remain. In this harsh environment, a man (Viggo Mortensen) struggles to keep his son (Kodi Smit-McPhee) alive. Haunted by the memory of his lost wife (Charlize Theron), he heads for the coast, their only hope for a better home.

The Road is a postapocalyptic drama based on the novel by Cormac McCarthy. The Road is a bleak and realistic portrayal of a world where humanity is all but extinct. Ruinous landscapes, dwindling food, and the constant threat of other survivors all make The Road a harrowing watch. The movie does a skilled job of bringing its world and its characters to life. However, its exceedingly bleak tone and aimless plot won’t appeal to everyone.

The Road shows a high degree of craftsmanship in its acting, world-building, and writing. Its characters are not precisely likable, but they are convincing, earning the audience’s sympathy through their suffering and what compassion they can afford. The setting has a similar impact, a mess of ruins, cannibals, and ash where no hope grows. There’s nothing unique about The Road’s vision of the apocalypse, but it sells that vision thoroughly.

Unlike other dramas, The Road doesn’t pull its punches. The plot is a series of close calls and setbacks with only a vague goal in mind. The trials the man and the boy face on their journey are brutal, ranging from grisly violence to overwhelming despair. There are a few faint embers of hope, but nowhere near enough to counterbalance the gloom. The result is a feast of narrative and moral ambiguity, a story without any of the usual crutches.

The drawback to all of this is that The Road fills a very specific niche, and it holds almost no appeal outside of it. Those who want gritty realism, who comiserate with the man and his son, or who simply relish a tale with no guarantee of a happy ending will find exactly what they’re looking for. Those who prefer tidy stories or simply want catharsis for their drama will find The Road to be a difficult watch with precious little reward.

For a dystopian drama with a clearer endpoint in mind, try Children of Men. For another postapocalyptic journey, try The Book of Eli. For the tale of a family trying to survive in a hostile world, try A Quiet Place. For a postapocalyptic zombie action movie with some of the same lonely tone, try I Am Legend. For a poignant drama with a subtler touch, try The Grave of the Fireflies.

7.2 out of 10 on IMDB. I give it a 7.0 to 7.5 for effective drama that comes at a steep price.

Today’s quick review: Love Shot. Max (Dakota Loesch), a hitman and vinyl enthusiast, finally finds a kindred spirit when he meets Karen (Amy Tsang), a karaoke singer with the same musical tastes as him. Their romance hits a snag, however, when Max’s bosses order him to kill her. Max decides to run away with her instead, but only after he takes one last job from Tony Kaufman (John Kapelos), the newest crime boss in Koreatown.

Love Shot is a budget crime romance with elements of black comedy. The movie follows the ill-fated relationship between Max, a shy and awkward hitman, and Karen, a singer with troubles of her own. The combination of blooming love, criminal intrigue, and a packed soundtrack gives Love Shot a distinct tone. But its execution falls well short of its vision, and its stilted dialogue, empty plot, and weak characters outweigh its strengths.

Love Shot has an awkward rhythm to it. The dialogue feels unnatural, written more to check off objectives than to emulate organic conversations. Max and Karen are occasionally cute together, but the movie overstates their chemistry by a wide margin. It also seems ambivalent about them as a couple, simultaneously portraying their relationship as idyllic while trying to show how truly dysfunctional it is. This makes it hard to invest in the film.

Love Shot also has a hard time building up momentum. There’s no sense of tension, only a vague notion that Karen is in danger. The question of who wants Karen dead isn’t enough to drive the movie, and the answers the movie does eventually provide are thin and unsatisfying. As such, Love Shot often seems like it’s stalling for time. Max and Karen go back and forth about their relationship, listen to music, and only rarely move the plot along.

Love Shot is a movie whose reach exceeds its grasp. The few moments where it finds its rhythm show real potential, and the ideas it toys with are worth exploring. But the handful of jokes that land, the directorial flourishes that hit the right timing, and the musings on the nature of romance are all undermined by the rest of the film’s execution. As a result, Love Shot will only really appeal to those willing to take the pieces and ignore the whole.

For a crime comedy with a more intricate plot and a better lead couple, try Lucky Number Slevin. For a romantic black comedy with a more inventive premise, try Dead in a Week (Or Your Money Back). For a quirkier, more upbeat romance involving a hitman, try Mr. Right. For a more thorough subversion of storybook romance, try 500 Days of Summer.

5.5 out of 10 on IMDB. I give it a 4.5 for flashes of inspiration without the fundamentals to support them.

Today’s quick review: Inside Man: Most Wanted. When a gang of robbers takes hostages at the New York Federal Reserve Bank, Agent Brynn Stewart (Rhea Seehorn) of the FBI and Detective Remy Darbonne (Aml Ameen) of the NYPD must work together to resolve the situation peacefully. The negotiation gets more complicated when they meet “Most Wanted” (Roxanne McKee), the mastermind of the robbery, and learn that there’s more to her plan than meets the eye.

Inside Man: Most Wanted is a crime drama about a bank robbery with an ulterior motive. Most Wanted is a loose sequel to the original Inside Man, featuring a new cast, a new robbery, and several connections to the events of the previous film. The movie’s main draw is the robbery itself, a complicated plan that involves manipulating Brynn and Remy in specific ways. However, the movie fares worse when it comes to its characters and payoff.

Inside Man: Most Wanted takes its cues from the original Inside Man. The core of the plot is a bank robbery where nothing is as it seems. The title character attempts to manipulate and misdirect Brynn and Remy, while they try to uncover her true motives and the escape she has planned. There are enough twists and turns to make the film interesting to follow. Even so, the mystery isn’t as tight or as clever as it’s trying to be.

Most Wanted also runs into issues with its characters. Each one serves the plot well enough individually, but they don’t have much chemistry together. Their character arcs are also underdeveloped. Remy remains a constant throughout the film, a smooth-talking hostage negotiator with a positive attitude and boundless confidence, but Brynn’s attempts to prove herself to her bosses and Most Wanted’s ulterior motive for the robbery both fall somewhat flat.

The end result is a crime drama that goes through the motions well but ultimately rings hollow. Inside Man: Most Wanted is a decent pick for those who are interested in the heist itself and a disappointing one for those looking for a complete package. It also spoils the plot of the original movie, so new viewers should approach it with caution.

For a crime drama with a similar premise and better plot, acting, and presentation, try the original Inside Man. For a more thrilling take on a hostage crisis, try The Taking of Pelham 1 2 3. For another bank robbery that takes a turn for the complicated, try Chaos.

5.3 out of 10 on IMDB. I give it a 6.0 to 6.5 for an interesting robbery let down by mediocre characters.

Today’s quick review: First Kill. Worried that his son Danny (Ty Shelton) is being bullied at school, stockbroker Will Beeman (Hayden Christensen) takes him to the town where he grew up for a hunting trip. But their bonding activity takes a dark turn when they witness a violent confrontation between a bank robber and a crooked cop. Unsure of who to trust, Will then lies about the incident to Marvin Howell (Bruce Willis), the local sheriff.

First Kill is a crime thriller about a father and son who wind up in the wrong place at the wrong time. Their encounter with Levi (Gethin Anthony), the culprit of a recent bank robbery in town, leaves Danny in danger and Will unable to go to the police for help. Will’s attempts to save his son, the hunt for the missing cash, and the uncertain motives of Sheriff Howell combine into a decent story, but its characters and emotional arc never hit home.

First Kill does a decent job of spinning its premise into a full story. The plot isn’t especially deep, but it has enough twists and turns to keep the viewer occupied. Much of the appeal comes from Will’s attempts to navigate a tricky situation, trying to save Danny without admitting what he witnessed. However, the parts are greater than the whole. The movie gets its individual scenes right but doesn’t have a strong sense of progression.

First Kill is also on shaky ground when it comes to its heart. The personal side of the story involves Danny finding his courage and Will learning to become a more responsive father, but neither of them is all that appealing as a character. The supporting cast doesn’t pick up the slack either: Howell only plays a distant role in the plot, Levi has a couple of good moments but nothing more, and Will’s wife Laura (Megan Leonard) contributes little.

The end result is a mediocre crime thriller with an interesting premise but mixed follow-through. First Kill holds some appeal for viewers who are more interested in plot than character. But ultimately it’s let down by lukewarm characters and lack of a clear vision for how its pieces should fit together. Crime aficionados may get something out of it, but there are better options available.

For a minimalistic crime thriller with a similar premise, try Cop Car. For another small-town crime drama with a more intricate plot, try Shimmer Lake. For a hunting-themed action movie, try Killing Season. For a Bruce Willis crime thriller with a darker tone, a better plot, and similar issues with focus, try Hostage.

4.9 out of 10 on IMDB. I give it a 6.0 for an interesting setup and mixed execution.

Today’s quick review: Avengement. After seven years in one of the most brutal prisons in Britain, Cain Burgess (Scott Adkins) escapes and sets out for revenge. Taking a bar full of criminals hostage, Cain demands to see his older brother Lincoln (Craig Fairbrass), the leader of the gang. Over a few pints of beer and the barrel of a shotgun, Cain tells his hostages about the nightmarish time he spent in prison and how his own brother betrayed him.

Avengement is a budget action movie about an escaped prisoner and his quest for revenge. The bulk of the story is told through flashbacks to Cain’s time in prison and the circumstances leading up to his arrest. The nonlinear storytelling leads to a few mysteries that make the plot more interesting than the typical budget flick. Coupled with the film’s visceral action scenes, this makes Avengement a surprisingly viable choice for action fans.

Avengement puts its framing device to good use. By jumping between Cain’s hostage situation in the present and his struggles in the past, the movie gets to tell the story in the order it chooses, gradually filling in the reasons for Cain’s violent actions. The action scenes are serviceable, using a mixture of Scott Adkins’ martial arts skills and graphic violence to get the point across. As such, the movie has a solid foundation to work with.

Still, Avengement is missing the fine touch needed to live up to its full potential. The film’s nonlinear storytelling gives it a prime opportunity for plot twists, but nothing it reveals is all that shocking. Instead it tacks on new information that enriches the story but hasn’t been properly set up, underselling what could be fascinating mysteries. The end result is a movie that has the right idea but can’t quite see it all the way through.

Fans of the action genre, especially ones who are used to budget offerings, may want to give Avengement a shot. Limited scope and a story that’s mishandled in minor ways mean that it falls short of what it could have been. But even so, Avengement’s action is satisfying, its plot has some thought put into it, and it doesn’t overstay its welcome.

For an even more plot-centric movie set in the British criminal underworld, try Layer Cake. For another action movie starring Scott Adkins, try The Debt Collector or Savage Dog. For a budget crime thriller that tries something similar with worse results, try Checkmate or 4Got10.

6.5 out of 10 on IMDB. I give it a 6.0 for a decent mix of action and plot with some missed potential.

Today’s quick review: The Ladykillers. Posing as an amateur string quintet, Professor Marcus (Alec Guinness) and his criminal colleagues (Cecil Parker, Herbert Lom, Peter Sellers, and Danny Green) rent a room from Mrs. Wilberforce (Katie Johnson), a kindly old widow. Using Mrs. Wilberforce’s house as a base of operations, they plan out the perfect crime. But when their hostess becomes a witness, they must get rid of her before she can tell the police.

The Ladykillers is a classic crime comedy about five hardened criminals and one little old lady. What begins as a foolproof plan devolves into chaos as complications arise, personalities clash, and Mrs. Wilberforce continues to be her polite, helpful self. The Ladykillers benefits from convincing acting and a satisfying escalation from setup to payoff. However, its short heist and relatively subdued black humor won’t be for everyone.

The Ladykillers’ appeal comes from dropping its offbeat characters into precarious situations. Professor Marcus and his gang are a mismatched bunch of criminals, each with a distinct personality and his own opinion about how to handle the unfolding crisis. Mrs. Wilberforce makes for an effective foil, an utterly blameless woman who is the one variable they can’t control. The way the characters bounce off one another yields much of the film’s comedy.

Beyond its characters, The Ladykillers is a heist film with modest doses of black humor and slapstick. The story moves briskly from the setup to the heist to its aftermath, with the focus of the story shifting accordingly. The result is a somewhat lopsided watch that’s paced quickly but still takes a long time to get to the main event. Even so, the individual phases of the plot are light and enjoyable, and the finale is suitably wry.

How much you get out of The Ladykillers will depend on your taste in comedy. Fans of the classics will appreciate it the most, chiefly for its clever premise and talented acting. Others may find its humor a little too tame and its plot oddly structured. For a less subtle take on the same premise, try the remake by the Coen Brothers. For a more straightforward classic crime comedy, try The Thin Man.

7.7 out of 10 on IMDB. I give it a 7.0 for solid acting and writing; your score may vary.