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thedullwoodexperiment

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Tag Archives: Lin Shaye

Monthly Roundup – May 2018

02 Saturday Jun 2018

Posted by dullwood68 in Movies

≈ 1 Comment

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Action, Adam Robitel, Air Hawks, Alanna Forte, Albert S. Rogell, Alden Ehrenreich, Alex Richanbach, Alex Skarlatos, Andy Milligan, Animation, Aviation, Bath house, Beatrix Potter, Bedelia, Bernard Charnacé, Betsy-Blue English, CGI, Clint Eastwood, Comedy, David Leitch, Deadpool 2, DJ, Domhnall Gleeson, Don Michael Paul, Drama, Emilia Clarke, Enemies Closer, From Hell to the Wild West, Gabrielle Haugh, Gerard Jacuzzo, Gillian Jacobs, Graboids, Han Solo, Homosexuality, Horror, Ian Hunter, Ibiza, Insidious: The Last Key, Jack the Ripper, James Corden, James Stewart, Jamie Kennedy, Jean Rollin, Jean-Claude Van Damme, Jeepers Creepers 3, Jesse V. Johnson, Josh Brolin, Lance Comfort, Lin Shaye, Louis Mandylor, Maggie Grace, Margaret Lockwood, Marvel, Michael Gross, Murder, Mutants, Mystery, Navy Blue and Gold, Newhaven Fort, Peter Hyams, Peter Rabbit, Prankz., Prequel, Ralph Bellamy, Rene Perez, Reviews, Robert Dahdah, Robert Kovacs, Robert Young, Romance, Ron Howard, Rose Byrne, Russell Peters, Ryan Reynolds, Sam Wood, Sci-fi, Scott Adkins, Sequel, Simone Rollin, Solo: A Star Wars Story, Spencer Stone, Stan Shaw, Supercon, Superhero, Tala Birell, The 15:17 to Paris, The Creeper, The Debt Collector, The Mask of Medusa, Thriller, Tom Everett Scott, Tremors: A Cold Day in Hell, True story, Vapors, Victor Salva, Warren Dudley, Will Gluck, Zak Knutson

Enemies Closer (2013) / D: Peter Hyams / 85m

Cast: Tom Everett Scott, Jean-Claude Van Damme, Orlando Jones, Linzey Cocker, Christopher Robbie, Zachary Baharov, Dimo Alexiev, Kris Van Damme

Rating: 5/10 – when a plane carrying drugs crash lands in the waters off King’s Island it’s up to ranger (and ex-Navy Seal) Henry Taylor (Scott) to stop mercenary Xander (Van Damme) and his men from retrieving the cargo; a bone-headed action movie with a flamboyant performance from Van Damme, Enemies Closer is saved from complete disaster by Hyams’ confident direction and cinematography, a script that often seems aware of how silly it all is, and an earnest turn from Scott that eschews the usual macho heroics expected from something that, in essence, is Die Hard on a Small Island.

From Hell to the Wild West (2017) / D: Rene Perez / 77m

Cast: Robert Kovacs, Alanna Forte, Charlie Glackin, Karin Brauns, Robert Bronzi, Sammy Durrani

Rating: 3/10 – a masked serial killer sets up home in a ghost town in California, until a Marshall (Kovacs) and a bounty hunter (Bronzi) team up to end his reign of terror; a low budget horror with an interesting premise, From Hell to the Wild West is let down by poor production values, terrible acting, the kind of Easter eggs that stick out like a sore thumb (Bronzi was a stunt double for Charles Bronson, and his character name is Buchinski), a threadbare plot, and occasional stabs at direction by Perez – all of which make it yet another horror movie that’s a chore to sit through.

Tremors: A Cold Day in Hell (2018) / D: Don Michael Paul / 98m

Cast: Michael Gross, Jamie Kennedy, Tanya van Graan, Jamie-Lee Money, Kiroshan Naidoo, Keeno Lee Hector, Rob van Vuuren, Adrienne Pearce, Francesco Nassimbeni, Paul de Toit

Rating: 4/10 – Burt Gummer (Gross) and his son, Travis (Kennedy), are called in when Graboid activity is discovered in the Canadian tundra, and threatens a research facility; number six in the series, Tremors: A Cold Day in Hell marks a serious downturn in quality thanks to dreary plotting, cardboard characters, and absentee suspense, and supports the notion that the franchise should be put to bed (even though there’s a TV series on the horizon), something that not even the continued presence of Gross can mitigate against, or the producers.

The Debt Collector (2018) / D: Jesse V. Johnson / 96m

Cast: Scott Adkins, Louis Mandylor, Vladimir Kulich, Michael Paré, Tony Todd, Rachel Brann, Esteban Cueto, Jack Lowe

Rating: 5/10 – a financially strapped martial arts instructor, French (Adkins), takes on a job as a debt collector for a local gangster, and finds himself elbow deep in unexpected violence and the search for someone who may or may not have swindled one of the debtors on his list; though breezy and easy-going, and replete with fight scenes designed to show off Adkins prowess as an action hero, The Debt Collector gets bogged down by its neo-noir-style script, and a plethora of supporting characters that come and go without making an impact, or contributing much to the story.

Air Hawks (1935) / D: Albert S. Rogell / 68m

Cast: Ralph Bellamy, Tala Birell, Wiley Post, Douglass Dumbrille, Robert Allen, Billie Seward, Victor Kilian, Robert Middlemass, Geneva Mitchell, Wyrley Birch, Edward Van Sloan

Rating: 6/10 – a small-time independent airline finds itself being sabotaged by a rival airline in its attempts to win a transcontinental contract from the government; a mash-up of aviation drama and sci-fi elements (Van Sloan’s character operates a “death ray” from the back of a truck), Air Hawks is the kind of sincerely acted and directed nonsense that Hollywood churned out by the dozens during the Thirties, but it’s enjoyable nonetheless, with eager performances from Bellamy and Kilian, nightclub scenes that don’t feel out of place at all(!), and a knowing sense of how silly it all is.

Supercon (2018) / D: Zak Knutson / 100m

Cast: Russell Peters, Maggie Grace, Ryan Kwanten, Brooks Braselman, Clancy Brown, John Malkovich, Mike Epps, Caroline Fourmy

Rating: 3/10 – at a TV/artists/superhero convention, a group of friends decide to rob the promoter and at the same time, stick it to an overbearing TV icon (Brown) as payback for the way they’ve been treated; somewhere – though buried deep – inside the mess that is Supercon is a great idea for a movie set at a fantasy convention centre, but this dire, uninspired comedy isn’t it, lacking as it does real laughs, any conviction, and consistent direction, all things that seemed to have been “refused entry” at the earliest stages of production.

The 15:17 to Paris (2018) / D: Clint Eastwood / 94m

Cast: Spencer Stone, Alex Skarlatos, Anthony Sadler, Judy Greer, Jenna Fischer, Ray Corasani, P.J. Byrne, Thomas Lennon, William Jennings, Bryce Gheisar, Paul-Mikél Williams

Rating: 6/10 – the true story of how three friends, two of whom (Stone, Skarlatos) were American servicemen, tackled and overcame a gun-toting terrorist on a train bound for Paris from Amsterdam in August 2015; with the terrorist incident being dealt with in a matter of minutes, The 15:17 to Paris has to pad out its running time, and does so by showing how the three friends met and grew up, and their progress through Europe until that fateful train ride, a decision that works well in introducing the trio, but which makes this in some ways more of a rites of passage-cum-travelogue movie than the incisive thriller it wants to be.

The Mask of Medusa (2009) / D: Jean Rollin / 73m

Original title: Le masque de la Méduse

Cast: Simone Rollin, Bernard Charnacé, Sabine Lenoël, Thomas Smith, Marlène Delcambre

Rating: 5/10 – a retelling of the classical story of the Gorgon presented in two parts; Rollin’s final project, The Mask of Medusa is much more of an experimental movie than you’ll find amongst his usual work, but it has a starkly defined approach that allows the largely idiosyncratic dialogue room to work, and the austere nature of the visuals has an unnerving effect that works well at times with the narrative, but it’s also an experience that offers little in the way of intellectual or emotional reward for the viewer, which makes this something of a disappointment as Rollin’s last movie.

Jeepers Creepers 3 (2017) / D: Victor Salva / 101m

Cast: Stan Shaw, Gabrielle Haugh, Brandon Smith, Meg Foster, Jordan Salloum, Chester Rushing, Jason Bayle, Ryan Moore, Jonathan Breck

Rating: 3/10 – the Creeper targets anyone who comes near the truck he collects his victims in, as well as the members of a family he terrorised originally twenty-three years before; set between the first and second movies, Jeepers Creepers 3 suffers from tortuous sequelitis, with Salva stretching the franchise’s time frame out of whack, and failing to provide viewers with the scares and thrills seen in the original movie, something that, though predictable, doesn’t bode well for the already in gestation Part Four.

Navy Blue and Gold (1937) / D: Sam Wood / 94m

Cast: Robert Young, James Stewart, Florence Rice, Billie Burke, Lionel Barrymore, Tom Brown, Samuel S. Hinds, Paul Kelly, Barnett Parker, Frank Albertson

Rating: 7/10 – three new recruits to the United States Naval Academy (Young, Stewart, Brown) battle their own individual problems, as well as trying to make the grade; a patriotic flag waver of a movie, and cinematic recruitment drive for the US Navy, Navy Blue and Gold features likeable performances from all three “cadets”, the usual soap opera elements to help keep the plot ticking over, and Barrymore doing yet another variation on his crusty old man persona, all of which, along with Wood’s erstwhile direction, ensure the movie is pleasant if undemanding.

Bedelia (1946) / D: Lance Comfort / 90m

Cast: Margaret Lockwood, Ian Hunter, Barry K. Barnes, Anne Crawford, Beatrice Varley, Louise Hampton, Jill Esmond

Rating: 7/10 – a woman (Lockwood), married for the second time, comes under the suspicion of an artist (Barnes) who believes her husband (Hunter) is likely to end up dead – just as her first husband did; a clever piece of melodrama from the novel by Vera Caspary, Bedelia doesn’t quite ratchet up the suspense as it goes along, but it does offer a fine performance from Lockwood as a femme with the emphasis on fatale, and occasional psychological details that help keep Bedelia herself from appearing evil for evil’s sake.

Peter Rabbit (2018) / D: Will Gluck / 95m

Cast: James Corden, Rose Byrne, Domhnall Gleeson, Margot Robbie, Sam Neill, Elizabeth Debicki, Daisy Ridley, Sia, Colin Moody

Rating: 7/10 – when the farmer (Neill) who continually tries to stop Peter Rabbit (Corden) and his friends stealing from his vegetable garden drops dead, so begins a war of attrition with his grandnephew (Gleeson); as a modern updating of Beatrix Potter’s beloved characters, purists might want to stay away from Peter Rabbit, but this is a colourful, immensely charming (if occasionally cynical) tale that is both funny and sweet, and which falls just the right side of being overwhelmingly saccharine.

Insidious: The Last Key (2018) / D: Adam Robitel / 103m

Cast: Lin Shaye, Leigh Whannell, Angus Sampson, Kirk Acevedo, Caitlin Gerard, Spencer Locke, Josh Stewart, Tessa Ferrer, Bruce Davison, Javier Botet

Rating: 6/10 – Elise Rainier (Shaye) is forced to come face to face with a demon from her childhood, as it targets members of her brother’s family; another trip into the Further reveals signs of the franchise beginning to cannibalise itself in the search for newer, scarier installments, though at least Insidious: The Last Key has the ever reliable Shaye to add a layer of sincerity to the usual hokey paranormal goings on, and one or two scares that do actually hit the mark, but this should be more way more effective than it actually is.

Deadpool 2 (2018) / D: David Leitch / 119m

Cast: Ryan Reynolds, Josh Brolin, Morena Baccarin, Julian Dennison, Zazie Beetz, T.J. Miller, Leslie Uggams, Karan Soni, Brianna Hildebrand, Stefan Kapicic, Eddie Marsan, Rob Delaney, Lewis Tan, Bill Skarsgård, Terry Crews

Rating: 8/10 – everyone’s favourite Merc with a Mouth is called upon to protect a teenage mutant (Dennison) with pyro abilities from a time-travelling half-man, half-cyborg called Cable (Brolin); any worries about Deadpool 2 not living up to the hype and being a letdown are dispensed with by more meta jokes than you can shake a pair of baby legs at, the same extreme levels of bloody violence as the first movie, and the opening title sequence, which gleefully advertises the fact that it’s directed by “one of the directors who killed the dog in John Wick”.

Vapors (1965) / D: Andy Milligan / 32m

Cast: Robert Dahdah, Gerard Jacuzzo, Hal Sherwood, Hal Borske, Richard Goldberger, Larry Ree

Rating: 7/10 – set in a bath house for homosexuals, first-timer Thomas (Jacuzzo) ends up sharing a room with married man, Mr Jaffee (Dahdah), who in between interruptions by some of the other patrons, tells him a disturbing personal story; an absorbing insight into both the freedom of expression afforded gay men by the confines of a bath house, as well as the personal stories that often have a tragic nature to them, Vapors is a redolent and pungent exploration of a milieu that few of us will have any experience of, and which contains content that is still relevant today.

Solo: A Star Wars Story (2018) / D: Ron Howard / 135m

Cast: Alden Ehrenreich, Emilia Clarke, Woody Harrelson, Paul Bettany, Joonas Suotamo, Donald Glover, Phoebe Waller-Bridge, Thandie Newton, Jon Favreau, Linda Hunt

Rating: 6/10 – Han Solo (Ehrenreich), a pilot for the Imperial Empire, breaks away from the Empire to work with smuggler Tobias Beckett (Harrelson) in an attempt to rescue his lover Qi’ra (Clarke) from their home planet – but it’s not as easy as it first seems; a movie that spends too much time reminding audiences that its main character has a chequered history, Solo: A Star Wars Story is a series of admittedly entertaining action sequences in search of a coherent story to wrap around them, but hamstrung by a bland lead performance, and another round of secondary characters you can’t connect with.

Prankz. (2017) / D: Warren Dudley / 71m

Cast: Betsy-Blue English, Elliot Windsor, Ray d James, Isabelle Rayner, Sharon Drain

Rating: 3/10 – six vlogs, two of which were never uploaded, show a footballer (Windsor), his girlfriend (English), and his best friend (James), playing pranks on each other, until a planned prank backfires with horrific consequences; an object lesson in how not to make a found footage horror movie, Prankz. is low budget awfulness personified, and as far from entertaining, or scary, or credible, or worth your time as it’s possible to be, which is the only achievement this dire movie is able to claim.

Ibiza (2018) / D: Alex Richanbach / 94m

Cast: Gillian Jacobs, Vanessa Bayer, Phoebe Robinson, Michaela Watkins, Richard Madden, Nelson Dante, Anjela Nedyalkova, Jordi Mollá

Rating: 3/10 – tasked with clinching a business deal in Barcelona, Harper (Jacobs) not only takes along her two best friends (Bayer, Robinson), but falls for a DJ (Madden) whose next gig is in Ibiza – where she determines to find him, even if it puts the deal in jeopardy; a romantic comedy that is neither romantic or funny – desperate is a more appropriate description – Ibiza is so bad that it’s yet another Netflix movie that you can’t believe was ever given a green light, or that Will Ferrell and Adam McKay stayed on board as producers once they saw the script (or what passes for one).

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Insidious Chapter 3 (2015)

28 Sunday Jun 2015

Posted by dullwood68 in Movies

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Tags

Angus Sampson, Dermot Mulroney, Drama, Elise Rainier, Horror, Leigh Whannell, Lin Shaye, Prequel, Review, Specs, Stefanie Scott, Supernatural, The Further, Thriller, Tucker

Insidious Chapter 3

D: Leigh Whannell / 97m

Cast: Lin Shaye, Dermot Mulroney, Stefanie Scott, Angus Sampson, Leigh Whannell, Michael Reid MacKay, Phyllis Applegate, Ele Keats

When single father Sean Brenner (Mulroney) and his teenage daughter, Quinn (Scott), move into a new apartment following the death of Quinn’s mother (Keats), the teenager’s desire to contact her mother leads her to visit retired medium Elise Rainier (Shaye). Reluctant to use her gift since becoming aware that each time she does she leaves herself open to attack from a murderous spirit – the bride in black – Elise agrees to try and contact Quinn’s mother, but another presence makes itself felt, one that scares Elise into warning Quinn to be careful about contacting her mother in the future.

Quinn begins to experience strange phenomena within the apartment, including knocking and loud footsteps from the apartment above. Cracks appear in the ceiling and walls of her room. Sean checks the upstairs apartment but it’s been empty for a while. Further disturbances occur, and Quinn is attacked, leading to both her legs being broken. Later, another attack witnessed by her father leads to her neck being injured. At this point, Sean reluctantly contacts Elise, who equally reluctantly agrees to try and help. Elise comes to the apartment and tries to contact the spirit persecuting Quinn – an entity who died in the building and is dubbed the Man Who Can’t Breathe – but is attacked by the bride in black instead. Shocked by this, Elise leaves, saying she can no longer help them.

As Quinn becomes more and more frightened by what’s happening to her, she persuades her father to contact a couple of paranormal investigators, Tucker (Sampson) and Specs (Whannell). They set up their equipment but are unprepared for the supernatural events that follow; as they pack up, Elise returns, having been reassured by a friend as to the strength of her gift. With Tucker and Specs in support, Elise travels back into the Further where she discovers Quinn, but in a faceless, limbless state: the half of Quinn’s soul that the entity has control of. Back in the apartment, Elise reveals that the battle for Quinn’s soul is down to Quinn herself. But Quinn is losing the battle, until Elise becomes aware of a presence that could tip the balance in the young girl’s favour…

3S7C3792.CR2

As any horror movie afficionado will tell you, three is rarely the charm when it comes to horror movie franchises. And Insidious Chapter 3 is no different in that respect, coming as it does after two previous entries that explored the effects of prolonged supernatural distress on the same family, the unlucky Lamberts. The decision here to make a prequel to those movies seems, at first look, to be a solid idea given the chance it takes to bring back Lin Shaye’s popular psychic. But as with any third entry, familiarity undercuts any chance of effective suspense or scares, a problem that Leigh Whannell’s script never overcomes.

The main problem is that we’ve all been here before, and though Whannell – taking over from James Wan in the director’s chair – is well-versed in the particular universe he and Wan have created, is still unable to bring anything new to the table (or the realm of the Further) that provides the required thrills and chills. The Man Who Can’t Breathe is an admittedly unsettling presence – at first – but then makes too many appearances to remain entirely scary. The appearance of the bride in black also lacks the fear factor of the previous instalments (as we know she can’t actually harm Elise), and she’s seen too much in close up to be truly startling. And the Further, once the realm of the scarily unexpected, is now the realm of the mildly alarming. But it’s the movie’s final shot that shows just how much the movie is its own insidious mix of narrative set up (for parts one and two) and self-reflexive homage, as a moment from the first movie is rehashed with a lot less style or potency.

But at least it’s not as dubiously shambolic as some prequels/sequels/later entries in a horror movie franchise. Whannell and co are really trying to scare their audience, and while any originality in doing so is quickly exhausted, at least there’s an effort involved here that most Part Threes never manage. The plot is fairly simple, a hook on which to hang a few uneasy moments that, unfortunately, never fully realise their potential, and though most viewers will see what few twists the narrative provides from a whole other dimension away, there’s enough serious intent here to offset any shortcomings. This doesn’t mean that the movie works per se, just that it doesn’t work as badly as may be expected.

Where the movie does do well is with the performances. Mulroney, making his horror debut – though a case could be made for Stoker (2013) – is surprisingly good as the beleaguered father who’s way out of his depth, but determined to save his daughter no matter what. Returning as the equally out of their depth paranormal investigators Tucker and Specs, Sampson and Whannell replay their enjoyable double act but as in the previous movies, without making them seem too much like complete buffoons. The one weak link is Scott, who never quite convinces as a teen in peril, and whose reactions to the events going on around her always feel like they’ve been lifted from the performance of another actress in a similar role. But it’s Shaye’s movie throughout, her portrayal of Elise given added depth thanks to the inclusion of nods to her deceased husband, and her ability to get across just how scary the Further really is (even if the time spent there in the movie doesn’t support her contention). She also gets a moment straight out of the Sigourney Weaver/Ripley School of Confrontational One-Liners, aimed at the bride in black and guaranteed to raise a smile.

If there is to be a fourth in the series then it’s difficult to see where the makers could go next. As the movie which brings together Elise and Tucker and Specs, Insidious Chapter 3 does its job with a certain amount of gusto and charm. But if the series is to move forward rather than, say, further back, or sideways, then a whole new approach is going to be required. Whether it will restore the intensity and the scares of the first movie, though, is another matter entirely.

Rating: 6/10 – with the scare quotient dialled down in favour of connecting to the previous (subsequent?) entries in the series, Insidious Chapter 3 is only occasionally scary, and only occasionally enthralling; helped greatly by the commitment of its cast and crew, this is one horror movie prequel that tries hard to avoid the pitfalls of its place in the franchise.

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Big Ass Spider! (2013)

06 Wednesday Nov 2013

Posted by dullwood68 in Movies

≈ 2 Comments

Tags

Action, Drama, Experiment, Greg Grunberg, Lin Shaye, Mike Mendez, Military, Ray Wise, Review, Sci-fi, Spiders, Thriller

Big Ass Spider!

aka Mega Spider

D: Mike Mendez / 80m

Cast: Greg Grunberg, Ray Wise, Lombardo Boyar, Clare Kramer, Patrick Bauchau, Lin Shaye

With a title like Big Ass Spider! you know going in that subtlety isn’t likely to be the movie’s top priority, and yet the opening scene is just that. Our hero Alex (Grunberg) lies unconscious on the ground. He wakes, gets to his feet, and to the strains of Where Is My Mind? by Storm Large, we see him staring off in the distance as people run past him screaming, and debris clutters the street around him. The camera pans round so we can see what Alex sees, and there, perched on top of a downtown Los Angeles building is…a…big ass spider! It’s a great opening, and while in many ways it’s the best scene in the movie, it shows that the movie makers aren’t going the SyFy route and just throwing a movie together based on the title alone.

With the scene set we rewind to twelve hours earlier. Alex is helping regular customer Mrs Jefferson (Shaye) when he’s bitten by a poisonous spider. At the hospital he flirts (badly) with one of the nurses while down in the morgue, a body bag starts to show signs of something alive inside it. The morgue attendant soon becomes a victim of the not-quite-yet big ass spider. Soon the military arrive, led by Major Braxton Tanner (Wise) and his second-in-command Lieutenant Karly Brant (Kramer). Alex is already attempting to deal with the morgue’s new resident, but it soon becomes clear this spider isn’t like any other spider, and even though Tanner warns him off, Alex, aided by hospital security guard Jose (Boyar), decides to try and catch the spider by himself. What he doesn’t realise is that this particular spider is growing at an exponential rate, and soon will become…a big ass spider!

Big Ass Spider! - scene

Despite the obvious low-budget and technical restrictions, Big Ass Spider! doesn’t disappoint when it comes to showing the arachnid going about its business of killing and encasing its victims in its web. A sequence set in Elysian Park is one of the movie’s highlights, as dozens of people are chased down and killed, and while some of the stabbing/impaling effects are a little shonky, they don’t detract from the horror the scene conveys. And when the spider eventually finds its way to the top of that downtown building, the falling debris effects are very well done indeed.

Director/editor Mendez and writer Gregory Gieras have done a great job in making a scary, funny, almost every expense spared creature feature that is consistently entertaining and above average in terms of execution and design. From the spider in its initial form – larger than average sure but scary purely because of the length of its legs – to its final gigantic size, the various incarnations of the spider are handled effectively and with panache, keeping it in the shadows to begin with, then showing it off in all its web-spinning glory. The cast too are fun to watch, with Boyar stealing the show as Jose, the “Mexican Robin” to Alex’s Batman. Alex is a slightly desperate would-be Romeo, and pursues Lieutenant Brant with wonderfully awkward humour; somehow he wins her over – surprise, surprise! – while Wise, an old hand at this type of thing, watches over things with increasing frustration and perfectly-timed exasperation.

Ultimately there’s nothing new here, neither in its characterisations or its plotting – the spider’s growth is the result of a mix-up in a military lab – and some of the dialogue is perfunctory, but it doesn’t matter one bit. From that memorable opening scene to the last-second possibility of everyone returning for Big Ass Cockroach!, Big Ass Spider! will put a smile on your face throughout thanks to its good-natured approach to the material, and the obvious love the movie makers have for this kind of movie.

Rating: 7/10 – obvious flaws notwithstanding, this is a fun ride that doesn’t outstay its welcome, and could easily pave the way for a sequel; More Big Ass Spiders! anyone?

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Jordan and Eddie (The Movie Guys)

Australian movie blog - like Margaret and David, just a little younger

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