Tag: Vertical Entertainment

WE BURY THE DEAD – Review

For one of the first big new film releases of 2026, we turn to a “tried and true” horror “sub-genre”, the “zombie flick” (or “walking dead” if you’re more “refined” in your terror tastes). Sure, these grungy ghouls began their cinematic lumbering more than 90 years ago (WHITE ZOMBIE and I WALKED WITH A ZOMBIE are examples respectively from the 30s and 40s), but the current iteration probably begins with George Romero’s landmark NIGHT OF THE LIVING DEAD in 1968. But in more recent years we’ve gotten some “mixed movies” such as the comedies (ZOMBIELAND (2 of them), THE DEAD DON’T DIE, and SHAUN OF THE DEAD), and even a romance (WARM HEART). Much in that (jugular) vein, this new one from “down under” could be considered a “relationship drama” as it focuses on a woman (and her partner) who could declare on a resume that WE BURY THE DEAD.

The first person we meet in the film is Ava (Daisy Ridley), a young wife from the states who’s on a bus in Tasmania with dozens of very anxious people. These passengers are “twitchy” because they’re citizen volunteers in the “body retrieval units” after the US (we’re the “baddies” again) accidentally launched an experimental device that sends out a pulse that terminates neural functions, killing over a half a million on the island. Ava’s group is escorted by the military forces in the “zones” after they’re told that some struck by the “event” may be springing back to life. If they encounter a person whose brain is somehow “back online”, they are to send up a flare and soldiers will take care of them “humanely”. It’s revealed that Ava’s motives go beyond charity, as her husband had attended a business conference there. She wants to head south to his resort to see if he survived, but the military has forbidden travel past Hobart due to massive fires. Ava must wait for her “moment” while being teamed with a snarky “free spirit” named Clay (Brenton Thwaites), who unwittingly provides an “opportunity” via is theft of a motorcycle. The duo sneak away from the troops to travel the off-highway back roads in a quest for Ava’s hubby Mitch (Matt Whelan). But will a chance encounter with a grief-stricken soldier, Riley (Mark Coles Smith) abruptly end the journey of Clay and Ava. And what about the “re-animated” and aggressive survivors along the way?


After her initial splash in the final “episodes” of the STAR WARS saga, it’s great to see that Ms. Ridley is getting to flex her considerable dramatic skills as the haunted Ava, who will take any risk or suffer any humiliation to reunite with her spouse. But then she conveys that “shift” in this seeker, as the rose-hued “tint” in her memories of marriage slowly chip away. We see this is not only a rescue of Mitch, but perhaps a relationship rescue. Ridley also has a deft physicality, whether evading the “onliners”, or darting eyes in order to find the best “action option”, making Ava a unique thriller heroine. And somehow Ava does work well with Thwaites as the more laid-back Clay, a fellow who has forsaken the altruism of this new “temp gig” in order to indulge his hedonistic appetites. This dude has serious swagger, as he readily agrees Ava’s plans, with Thwaites saying, “Why the Hell not?” with a whip of his long dark locks. Much more “tightly-wound” is Smith as the emotionally traumatized Riley, whose haunted backstory prompts him to go against his training and his moral compass. In the aforementioned flashbacks, Whelan is quite effective as Mitch is transformed from an adorably-smitten groom to something darker and wounded by life.

This tale is written and directed by screen vet Zak Hilditch. He has a confident visual flair, filling the screen with expansive island vistas, while not neglecting the focus on the desperate characters. Though the “body retrievals” are mainly done in the blazing sunlight, he gives each domicile a touch of rotting decay, with horrific menace lurking just inside the nurseries. Unfortunately, aside from the “marriage subplot” there’s little here that fans of the genre haven’t seen before, in much better thrillers. The main problem here, perhaps, is the lack of thrills. The “undead onliners” only make a handful of attacks, with wildly different results (it’s explained that the longer they’ve been ‘activated”, the more agitated they act). That may account for the rather sluggish pacing, making this feel longer than its 94-minute runtime. Yes, the “ghouls” are unsettling due to a twist on standard “zombs” in their dentistry (their “teeth grinding” is pretty creepy as we hear molars scraping as they lurch forward). But then we’re back trudging through the often lovely countryside. Plus, the “twist” ending loses much of its impact after a big reveal in last year’s superior 28 YEARS LATER (maybe Ralph Finnse could have provided a needed jolt of energy). Fans of fear flicks will want more shocks than marital conflict, while drama fans will be turned off by the dollops (not deluges) of gore in the well-intentioned WE BURY THE DEAD.

2 out of 4

WE BURY THE DEAD opens in select theatres on January 1, 2026

SHARP CORNER – Review

While the halls of the multiplex are filled with the sounds of battling superheroes and video game icons and even some 1930s bloodsuckers, here comes a film that “identifies” as a thriller, though it’s really an insightful character study set during a family crisis. Plus, it’s a compelling showcase for one of our most gifted actors, who often brings “more to the plate’ in many recent action flicks. Oh, and he’s paired with an actress who’s best known for her work in a long-running TV sitcom. But she’s not eliciting laughs here as a young mother dealing with the slowly eroding sanity of her spouse, triggered by the purchase of their dream house that borders a road’s very dangerous SHARP CORNER.

In the story’s opening moments, the McCall family, Papa Josh (Ben Foster), Mama Rachel (Cobie Smulders), and their adorable “moppet”, seven-year-old Max (William Kosovic) arrive at their new home. It’s a sprawling track-house just off the curve of a two-lane road. After the unpacking, dinner, and putting Max to bed, the adults decide to officially “christen” the place with some quiet lovemaking in the living room. But the erotic calm ends abruptly when an automobile tire comes smashing through the huge bay front window. A drunken teen lost control of his car on the curve and crashed head-on into the big tree in the front yard. The authorities arrive too late, which unlocks an idea in Josh, which distracts him at his online tech job the next day (he needs to be on the ball since his old trainee is now his boss). And then another accident occurs. Josh rushes to the scene but doesn’t know what to do during the seemingly endless wait for the EMTs. His sensitive son is having nightmares, which prompts Rachel to insist that they move from this “death trap”. Josh reacts much differently. He begins taking a course in life-saving skills, and even orders a deluxe CPR manikin, all while keeping this a secret from his wife. Soon, Josh is “working from home” to be with Max, while really hoping another crash happens in order to use his new “talents”. When Rachel learns of his obsession, can they hold the family together as Josh assumes the role of “roadside protector”?

As I mentioned earlier, this story gives an opportunity for two talented actors to really “stretch’ and work outside their “comfort zones”. In that aspect, this is an excellent showcase for Foster, who, in a string of action/suspense flicks, has been the quiet, calculating, cold-blooded menace, always coiled to strike at any second. But Josh is a real “piece of work”, a repressed, awkward enigma who only seems to spark when playing with his kid. Foster plays him as a modern day “milquetoast” (I sound ancient), a nondescript passive-aggressive “blip” who has no desire for advancement at his hated job, killing time until he can shuffle about from room to room until he stops at that front window to gaze…and hope for disaster. There’s also a “sing song” 50’s sitcom dad cadence that Foster adopts while trying to “blend into the scenery”. This makes us wonder how in the world Josh landed the sparkling Rachel. Smulders did some dramatic ‘lifting” during her tenure in the MCU, but here she’s a bubbly, strong-willed mother who is fighting to keep the family together after the constant auto carnage just feet from her doorstep. Her Rachel is seeing a side of her hubby that baffles her, until his barrage of silly lies finally breaks her spirit. Both of them shine in the scenes they share with the very unmannered, sensitive Kosovic as the sweet, confused young Max.

In his sophomore feature effort, director Jason Buxton, who also wrote the screenplay adaptation of Russell Wangersky’s short story, imbues the everyday quiet suburban Canadian settings with an undercurrent of dread and depression. This adds considerable dramatic heft to the “demolition derby” in the front yard of Casa McCall. The sudden savagery jars the viewer as we see it slowly erode the family dynamic (though it doesn’t reach the “horror heights of Cronenberg’s CRASH, nor those old 16mm safety shiorts shown in schools for decades). There’s even some echoes of a superhero “origin” story with “mild-mannerd” Josh training to be “CPR-Man”, though that may trivialize the character’s mental “unraveling”.Ultimately, he frustrates us as he squanders an idyllic homestead, spiraling into self-destruction. It’s surprisingly powerful, weakened a bit by a convoluted and morally conflicted finale. Still, the stellar work of Foster and Smulders makes SHARP CORNER quite a ride. I wonder if they considered using Jan and Dean’s “Dead Man’s Curve” for the end credits…

2.5 Out of 4

SHARP CORNER is now playing in select theatres

THE ORDER (2024) – Review

During the pandemic lockdown and in the frigid months of more recent years, many home viewers became hooked on “true crime” stories that were once the lifeblood of broadcast TV news “magazine” shows, but now have entire cable networks devoted to them. And the streaming apps are simply bursting with documentaries and “limited” series that are comprised of recreations and “talking head” interviews. While motion pictures had been the showcase for non-fiction law enforcement tales, recently we’ve seen more of the “over the top” “stunt-heavy” action blockbusters. Now, in between the year-end family fantasies and the somber “Oscar bait”, here’s a nifty thriller that evokes the feel of those zippy “B pictures”. Ah, but there’s a twist in that much of the story still resonates today, several decades later (much like the upcoming SEPTEMBER 5, which you’ll be hearing about soon). Yes, on a cold day almost four years ago, the country was dealing with the legacy of THE ORDER.


A murder in a dark wooded area begins this fable set in the 1980s, just a couple of years into the Reagan presidency. Soon after, a veteran FBI agent named Terry Husk (Jude Law) takes on a new assignment in sleepy Coeur d’Alene, Idaho. After setting up in an empty office space, he checks in with the local police. A counterfeiting operation and bombs planted at synagogues and porno theatres may be linked to the local branch of the white supremacist group, the Aryan Nation. The sheriff is hestitant to help Husk, but young officer Jamie Bowen (Tye Sheridan) is eager to guide him. The film shifts focus to Bob Mathews (Nicholas Hoult), who is living a double life. He has a pregnant girlfriend, Zillah (Odessa Young) while maintaining a home with his wife Debbie (Alison Oliver), and young son Clinton. Or maybe it’s a “triple life” as Bob is the leader of a ‘splinter group” from the Nation called “The Order” which has been robbing banks and armored cars. As the crimes of the group become more violent, Husk brings in some FBI backup led by old partner Joanne Carney (Jurnee Smollett). But Bob is also getting more help as he enlists new recruits to his “crusade” as they plot their biggest score yet while also perpetrating the assassination of liberal radio talk show host Alan Berg (Marc Maron). He is aware of Husk and his crew as the men engage in a deadly game of “hide and seek” that finally explodes in a savage showdown.

Playing against his still dashing leading man looks, Law dives deep into the role of a lawman whose only real passion is for bringing the outlaws in, even at the cost of his health and all of his relationships. With his droopy Wyatt Earp-stache’, Husk seems to be living off nicotine paired with booze-infused caffeine despite his body’s distress signals (a long surgery scar in the middle of his chest and his gushing, ill-timed nose-bleeds). He’s truly a flawed hero, the grim dispenser of justice, though his loneliness seeps through (he reaches out to a family that has fled). But he’s the man for the job, the perfect pursuer of Bob Maxwell, played with wide-eyed zeal by Hoult. Unlike Husk, he remains a family man despite his split loyalties, though neither woman can tear him away from his goal of reshaping his homeland. Hoult goes into full “alpha dog” mode making us understand how he can lead his minions take on the “feds”. This makes Husk’s crew even more essential. Sheridan almost bursts with youthful energy as the small-town patrolman so eager to be “on the line” and stop the bigots tarnishing his “heartland”. And Smollett is all grit and steely determination as the agent who has a past with Husk and will call him on his “B.S.” without hesitation. But she has to temper her passion, especially as she “puts the hurt” on Mathews’ kin. Special kudos for the compelling Mr. Maron who puts a warm, human spin on this early casualty of the culture war.

Director Justin Kurzel doesn’t go for showy camera angles or flashy stunts and CGI bombast. He keeps the film moving at a crisp efficient pace, balancing the quirky character moments (Husk leans too hard on a witness and drenches him in nasal plasma) with suspenseful crime set pieces, bringing sweaty chaos to bank jobs and armored car shakedowns. But thanks in part to the screenplay by Zach Baylin (adapting ” The Silent Brotherhood” by Kevin Flynn and Gary Gerhardt), it’s the quiet moments that leave us with a chill down our spine. During a big picnic at the Mathews house, he lovingly lets his eight-year-old son pull the trigger of an automatic rifle. He later sends him off to bed with a story, a truly “grim’ fairy tale from “The Turner Diaries” a “how to” on rebellion (and we see an illustration of gallows in front of the White House). With the film’s eerie epilogue we’re reminded never to dismiss those “fringe” groups. And it makes us appreciate all those who would defend our country’s ideals. This is a gripping, well-acted thriller that may inspire others to take up the “reigns” from Husk and his aides when another challenge arises from the toxic seeds planted by THE ORDER.

3 out of 4

THE ORDER is now playing in select theatres

THE GOOD MOTHER (2023) – Review

Well, here’s a more somber crime thriller to quiet things down in the multiplexes as the Summer movie season of noisy blockbusters wraps up with the Labor Day weekend. Its setting is only a few years back, but most of its themes are fairly timeless as we bear witness to another young person (actually several) from the mean streets of the East Coast who is swallowed up by the drug trade. Oh, but there’s one sole (really aided by a couple more) who won’t allow him to be another statistic, another outline on the filthy sidewalk. Now she’s not your typical crusading heroine, as she’s dealing with her own flaws and weaknesses. Still, this struggling newspaper reporter earns the right to be called THE GOOD MOTHER.


It opens on the dark early morning streets of Albany, NY in 2016 as a man in his twenties dashes from corner to corner, Soon we realize that he’s not an enthusiastic jogger, rather he’s running for his life just as headlights engulf him. Cut to the dingy bedroom of the home of his mother (hence the title) Marissa (Hilary Swank) as she pushes away several empty bottles (fallen soldiers) to stop her cell phone alarm. A quick cuppa’ Joe and she’s on her way to the newspaper office. She barely makes the staff meeting where her worried editor keeps droning on about making the paper’s website go “viral”. Marissa is bolted awake when her police officer son Toby (Jack Reynor) knocks on the conference room door to pull her out for some bad, bad news. Flash forward to the gravesite of her other son Michael. As Marrisa leaves, she spots a very pregnant young woman hovering over the plot. She’s Paige (Olivia Cooke), Michael’s girlfriend. Marissa greets her with a slap, accusing her of forcing her son back into drug running (his stealing to support his habit strained the mother-son relationship). Toby has a few leads, including the now missing childhood pal of Michael’s, ‘Ducky’. Later that night Paige is awakened by home invaders. She hides Michael’s old suitcase (with some of his “product”) and seeks shelter from …Marissa. Despite the ugly scene at the cemetery, the duo decide to join forces and find out who killed Michael and why. The answers could be much more than either anticipated.

Aside from the main plot of the film, another real mystery (and a bit of a tragedy) is the lack of meaty big-screen roles for one of the most honored actresses in cinema (two Oscars). Luckily episodic TV has stepped up (though it’s a broadcast network series) until the complex, troubled Marissa is given vibrant life by Ms. Swank. Yes, she’s similar to the hard-drinkin’ and livin’ newshounds of noir flicks, but we see that it has taken a toll on her relationships and splintered her family. Swank has the dazed, burned-out body language down, then shows us how this new mission actually invigorates her, giving her a purpose. That’s best shown in her scenes with the talented Cooke as the scared but dogged Paige, who won’t be brushed aside as the “knocked-up” junkie’s squeeze. At times, she supplies the passion for truth when Marissa begins to despair. Reynor, as Toby, brings real depth to the “good son” role as we see him begin to fear for his mom’s deep dive into the dangerous part of the battered city. Though he’s always supplying intel, Reynor shows us a beat cop torn by duty and family. Also of note are Dilone as Toby’s steadfast supportive spouse Gina and Hopper Penn as the haunted, trapped Ducky.

Director Miles Joris-Peyrafitte keeps the plot moving at a steady pace while giving the setting a look of muddy remorse gleaned from the screenplay he co-wrote from Madison Harrison. Unfortunately, it doesn’t offer much of anything new covering ground recently tread by premium cable miniseries like the “Mare of Easttown” or “American Rust”. Nods to the opioid crisis and references to the dying newspaper industry feel like tacked-on bits of business to give it a “current event” feel. The main glitch may be in the last act in which big reveals are telegraphed and the final denouncement is muddled. leaving us to wonder just how Marissa may act and what the consequences will be. Luckily, Swank is compelling as the scribe, and Cooke makes for a spirited scene partner for her. It’s great to see Swank at the top of her acting game, but she can’t quite overcome the cliched feel of the script at the heart of THE GOOD MOTHER.

2 out of 4

THE GOOD MOTHER opens in select theatres on Friday, September 1, 2023

GONE IN THE NIGHT – Review

Summer’s not just the time for big family vacations, y’know. Though it’s five months away from Valentine’s Day, couples still want that romantic quiet getaway (even the Griswolds, I’d bet). And that’s just how this week’s new movie release begins. And as with many outings, well things don’t go as planned. Usually, it’s fodder for a zany slapstick comedy, or a tender love story, or the beginning of a nightmare, And considering that the producers are tauting the lead actress’s most recent, popular work, you can figure out that we’re taking a trip into terror. We’re right by her character’s side as she tries to find out why her partner has GONE IN THE NIGHT.

Oh, the lady in question is a hydroponics expert and plant shop owner Kath (Winona Ryder). We first encounter her as she steers her station wagon through dark forest trails, guided by her navigating app and her much younger beau, the free-spirited Max (John Gallagher Jr.). He’s rented a cabin online from its owner for a rustic night deep in the Northern California woods far away from the noisy city to get Kath out of her “comfort zone”. They finally arrive at a clearing illuminated by electric lights and spot the cozy cabin and…another car. The front door opens and a lanky frowning twenty-something man emerges. Max pops out to introduce himself, which is returned when Al (Owen Teague) tells him that they’ve already settled into the place, so somehow it was “double booked” and the new couple should exit. Ah, but just as tempers start to flare, a young woman appears, Al’s girlfriend Greta (Brianne Tju). She announces that they’re willing to share the rental. After much cajoling Max convinces Kath to accept the kind offer (though Al seems not “into it”). As the newcomers settle in, Max discovers an old board game, a “swingers” adult mix of “Truth or Dare” and “Monopoly”. Kath reluctantly joins in even as one “spin” results in some provocative “play” between Greta and Max. The drive has worn out Kath, so she retires as the trio plot an early morning hike to the beach, When Kath awakens the following day, Max is not beside her. Wandering outside she sees a near-weeping Al who explains that Greta and Max ditched him and ran off. After a fruitless search, Kath returns to the city. Her friends tell her to forget about Max, but she can’t let it go. She calls the owner of the cabin, Nicholas (Dermot Mulroney) who refuses to give out any info on Greta. Kath lies and says that Greta left a book and she’d like to ship it to her. Since he’ll be in the city soon, Nicholas offers to drop by and pick it up. When they meet, Kath tells him the story, and the duo starts sleuthing. But will Kath regret solving the mystery? And just what’s “going on” with the hunky Nicholas?

As I hinted earlier, this modest thriller capitalizes on the still astounding “second act” of Ms. Ryder. After being the “it girl” of late 80’s and 90’s cinema a public scandal sidelined her until she was cast in the streaming series phenom “Stranger Things”, which has returned after a pandemic hiatus with its massive global audience intact. There’s a similar sense of “off-kilter” unease this film shares with that series, though Ryder as Kath is more proactive than Joyce Byers (and no skittish “ticks” too). Oh, and she’s facing the realities of her years as the quest for Max feels like a way to “turn the clock” back just for a few hours of fun. Her fearless determination kicks in as Kath refuses to be patronized or underestimated. But her torch isn’t merely burning for Max as the sparks seem to fly in the encounters with “silver fox” Nicholas. Mulroney utilizes his considerable charms as a guy who refuses to ‘sell out” as his moral code pushes toward a cure for a family health legacy. All the while his laid-back chemistry with Ryder is a big bonus to the tale. There’s a much different vibe coming from the missing Max who Gallagher plays as a fella’ also holding on to his youth, although it’s only a few years rather than Kath’s decades. But this pursuit is not tempered with the “wisdom of years” as his Max becomes a reckless “wild card”. That’s especially true of his interactions with the younger couple, with League’s Al a scowling puzzle and Tju’s Greta a free spirit who harkens back to the dangerous “dames” of film noir. She’s a “party gal”, but secretly she’s “playing” everybody.

Speaking of film noir, director Eli Horowitz has crafted a spiffy take on what might have been thought of as a “B” programmer back in the days of double features. But that’s not to say it’s not as interesting or entertaining as the big studio fare (I’d take this over a couple of summer blockbusters). Thanks to the taut screenplay that he co-wrote with Matthew Derby, we’re kept “off-balance” for most of the mystery elements, veering us far away from the usual “cabin in the woods” flicks. That’s to say that there are no sinister ax-wielding killers nor buckets of viscera dangling from the trees. But, from the appearance of the young couple, we know that something’s “hinky”. After Kath returns to her home, Horowitz “plays’ with the timeline, having her detecting move forward, as it’s split up with a series of flashbacks leading up to that “fateful night” and pushing into the next day. It all culminates in a final confrontation that will have you wondering who’s “in cahoots and whether a big “triple-cross” is being hastily executed. Yes, it’s a modestly filmed effort, but it’s certainly not “by the numbers” right up to an ending that leaves us wondering what the next few hours will bring to the group we’ve been observing. GONE IN THE NIGHT may just have you thinking about it well into the next day…or two.

2 Out of 4

GONE IN THE NIGHT is now playing in select theatres

SMALL ENGINE REPAIR (2021) – Review

Although the sun’s squeezing the last drop of sweat from the Summer season, this week’s new release reminds us of the cooler temps and the upcoming Winter holidays when family and friends will be getting together for celebrations and more than a few homecomings. The latter is the main theme of this tale of a trio of best buds. And their relationship has its fair share of ups and downs, running hot and cold. But somehow, despite their often volatile history, a bond is formed. On a dark windy night, that bond is tested, perhaps stretched to its breaking point. And it all happens under a flickering sign that proclaims SMALL ENGINE REPAIR.

It all begins at that backyard garage shop in Manchester, New Hampshire as lifelong pals ‘Swaino’ (Jon Bernthal) and ‘Packie’ (Shea Whigham) greet the owner, Frank (John Pollono) upon his return from an “extended stay” in the “Greybar Hotel”. Ah, but it’s also a “father and child reunion” as the guys have brought along Frank’s toddler daughter Crystal, who’s more comfortable in the arms of Terry than her almost forgotten papa. The story springs ahead a dozen years or so as Frank, now the main parent of teenage Crystal (Ciara Bravo), hosts a pre-Christmas dinner for her and her former caretakers. The mood is elevated when Crystal finds out that she’s been accepted to a distant college. But the high spirits are somewhat deflated by the arrival of Frank’s ex, and Crystal’s mama, the abrasive Karen (Jordana Spiro). She’s just in from the West Coast and wants to whisk her gal away for a night of shopping. So, how do the guys restore their holiday spirits? They continue the party at a nearby “watering hole”, naturally. But the merriment is shattered when Swaino and Packie try to talk up some young lovelies. Which leads to a big barfight with some younger “townies”. As the sirens’ wail gets louder, the trio escapes into the night. We then fast forward a couple of months as Frank decides to repair the rift between his two “best buds”. He invites both (without each other knowing) to his garage shop for a day of booze, steaks, and a big “pay-per-view” fight on the big screen TV. After some trepidation, the two estranged “bros” reconnect. As the sun sets, things take a darker turn with the arrival of a local preppy college “dealer” named Chad (Spencer House), who Frank has befriended. Ah, but there’s more than “Molly” on the menu as the true purpose of the day is finally revealed. Will these “three amigos” do anything in the name of friendship?

The “alpha dog” in this motley pack of mutts is Bernthal as the boasting blustery Swaino. He’s pure confidence with little to back it up. We can almost hear the gears turning in Swaino’s brain as Bernthal squints his eyes and amplifies his tone as Swaino tries to con the ladies while also bluffing himself as his younger “pursuits’ scoff and roll their eyes. At the opposite end of the canine spectrum is Whigham’s Packie, who seems to always “bare his belly” in submission to his superiors. Whigham’s confused stare projects a child-like vulnerability as he tries to “keep up” but his socially awkward behavior puts him back in his “place”. The least “showy” of the three leads is Pollono’s Frank, whose quiet demeanor tries to hold his furious violent temper in check. In many scenes, he’s merely observing as he waits to unleash that inner beast. His two pals talk a “big game” but Pollono’s glare tells us that he will follow through on any threat. A big source of his anger is his toxic, belittling ex Karen, played with brassy bad-girl spunk by the energetic Spiro. She makes Karen a true tornado of chaos. It’s easy to see where Crystal gets much of her “tough chick” attitude. Bravo has the “stones” to spare, but she’s also the real glowing beacon of optimism for the group so battered by life. She’s got a chance to escape, and Bravo conveys that hunger for a brighter future. And as a flip on that, House’s Chad is the poster boy for pampered privilege as his smug smirk oozes with condescension while dealing with those out of his social status.

Oh, I didn’t mention that Frank…er..Mr. Pollono actually wrote and directed this, based on his stage play and short film? And he does a fairly decent job with the pacing, knowing when to focus on one of the principals and when to capture the big action set pieces. Unfortunately, some of the film’s stage roots are showing as many indoor exchanges are abruptly curtailed so that the camera can get some of the exterior scenery. Sometimes it helps to bust up the long conversational exchanges, but more often it makes us wonder why they want to “brave the chill”. And there are a couple of fantasy sequences inserted for more cinematic effect, though a nostalgic memory is given a bizarro slant when ten-year-old boys play young Frank and Terry while the adult Whigham is his “kid-self”. And some of the dialogue just doesn’t ring true, especially Chad’s snarky threats, or Packie’s “out of nowhere” “c#*%-blocking” of Terry (what guy would do that). It doesn’t help that these lines are smothered with thick dialects that seem somewhere between Seth Meyer’s “Boston Accent” movie trailer parody and SNL’s recent “Murdur Durdur” spoof. It all leads up to a convoluted crazy “slap-dash” conclusion that feels all too tidy. But mostly we’re just worn out by the macho “preening” which makes SMALL ENGINE REPAIR a big loud letdown.

1.5 Out of 4

SMALL ENGINE REPAIR opens in select theatres on Friday, September 10, 2021

FOUR GOOD DAYS – Review

While most families have somehow forged closer bonds during the pandemic, with older children returning to the nest to “ride out” the lockdowns while making sure all health measures are taken, one problem continues to push loved ones apart, the ever=present scourge of drug addiction. In most of the crime dramas of the last century, addicts filled the gutters and alleyways while the pushers used all matter of violence to control those dark streets. Then a curious thing happened in the last couple of decades. The specter of substance abuse oozed into the supposed-to-be-safe suburbs and even rural areas. Some media commentators have labeled it the “opioid epidemic, an apt subtitle for this new “inspired by true events” family drama. But at its heart, it’s a look at the tested bond between mother and daughter that tries to remain strong during what they hope will be FOUR GOOD DAYS.


At a well-kept two-story home in clean. tree-lined neighborhood, Deb (Glenn Close) is jolted awake by someone pounding on the front door in the early post-dawn hours. She has a hunch about the visitor, so she persuades hubby Chris (Stephen Root) to stay in bed. Peering through the door’s “spy hole”, Deb sees her long-absent eldest daughter Molly (Mila Kunis). After opening the door “just a touch”, Deb is greeted with pleas from the disheveled Molly to let her come in and “crash” for a day or so. Ah but this has happened before, so Deb insists that Molly gets “clean” and kicks her drug addiction before she offers shelter or money. Molly remains steadfast and refuses to walk away to a clinic or hospital, then proceeds to “camp out” on the front doorstep. Deb and Chris go about their day (luckily it’s her day off as a masseuse at the local casino’s spa, and he’s retired), though she observes Molly through different windows. Early the next morning Deb checks and a shivering Molly is still huddled near the door. Mom relents, and over a cup of coffee, Molly insists she’ll get clean with her help. The duo head to the hospital where a doctor suggests a somewhat radical treatment. He can inject Molly with an opioid antagonist, which will prevent her from being high. Oh, but there’s a big catch. Her system has to be clean of any drugs for the next four days, otherwise, the “blocker” could prove lethal. They both agree and return home and begin a grueling 96-hour battle of wills, one that may finally save Molly and mend the shattered relationship with Deb and the rest of the family.

The role of a middle-aged, still working-class mother (and grandmother) feels like a decent fit for the talented Close, whose tired but still engaged (watch them dart about in several unlikely settings) eyes reveal Deb’s pain and regret. And still, she draws us in with that glimmer of hope, wanting us to also believe that this lifeline to Molly will be the one that returns her to the sober world. It’s not until the story’s frantic final act that the source of that regret is revealed, as Deb blames her past decisions (including an escape from an abusive first marriage) for leading her daughter down a destructive path. Close projects quiet strength, but still reveals Deb’s fragile, uneasy state. She’s got a compelling screen sparring partner in the definitely “cast against type” Kunis who graduated from sultry comic bombshells in TV’s “That 70’s Show” and films such as EXTRACT and FORGETTING SARAH MARSHALL to one of the manic BAD MOMS, though her dramatic screen work has been rare. She totally commits to Molly, eschewing any sense of glamour with her deep grey sunken eyes, chipped “parking lot” teeth (which Molly tries to hide in her early scenes), and stringy bleached-blonde green-tipped hair. But it goes behind the looks. Kunis has a look of scheming desperation creeping through her “half-mast” dark eyelids. We never quite know if she really wants to be clean, or if she’s just going through the motions while waiting for a chance for her inner demons to strike out. Regret also figures into her demeanor, as she seems to ponder all the years spent in limbo as she chain-smokes in Deb’s open garage over a TV table jigsaw puzzle (that’s an apt metaphor for Molly). Another pleasant dramatic surprise is the always-watchable Root who makes Chris more than the affable supportive second spouse. It kills him to see his love going down a familiar path of heartbreak which spurs him to fight, even if it means angering her, at one point prodding her with “You wanna’ fight me? Go ahead!!”. Kudos are also due to another usually comic actress Carla Gallo who plays Molly’s sardonic kid sister, whose mother Deb almost ignores in her Molly mission (Deb’s never in the moment with her). There’s a lot of truly creative casting at work in this film.

They’re all guided with great sensitivity by director Rodrigo Garcia who also co-wrote the screenplay with Ed Saslow, which is based on his acclaimed 2016 Washington Post piece “How’s Amanda? A Story of Truth, Lies, and American Addiction”. The story tends to flit about, perhaps trying to compress too much in that very long weekend. Yes, we can accept those dental “temps”, but a chance drug store meeting with a high school teacher, leading to Molly addressing an often disinterested class feels a bit rushed. That’s especially the case when one of her demands leads to a perilous trek into the “bad part of turn” (though tidier than most) that tries to amp up the suspense by taking Deb way out of her comfort zone. The tension continues with a third act twist, leading to a fairly standard rehash of the TERMS OF ENDEARMENT hospital clashes. In turn, this dovetails into a denouncement that comes off as flat and compromised. Perhaps the final fadeout shot wants to proclaim that the challenge is far from done, but it feels a tad cold. Still Close and Kunis make an interesting “home’ team, and for their fans, FOUR GOOD DAYS is a worthy exploration of a health crisis that continues to claim lives and families.

2.5 out of 4

FOUR GOOD DAYS opens in select theatres and screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas beginning Friday, April 30, 2021.

PARALLEL (2020) – Review

A certain odd feeling probably crossed your mind as you’re dashing past a building. You might still experience this occasionally. That is if the building sports a glass front entrance or window. Catching your reflection, you might first think,” Ugh, bad hair day” or “ I’d better just have a salad for lunch.”. But if you’re not in a mad hurry you may wonder if you’ve got an exact twin somewhere. Or taking it further, what if there’s another “me” in an almost identical “now”.  And is this reflection a window into that duplicate world? That’s an idea that’s been explored in many fantasy anthology TV shows, though an even more famous use of that idea was on the original “Star Trek” TV show, you know the one with an evil Spock sporting a sinister goatee. Now that notion is taken up a few notches in the new thriller concerning the dangers of crossing into the dimensions that run PARALLEL to ours.

Of course, this tale begins on familiar “terra firma”. Two plucky twenty-something tech promoters Noel (Martin Wallstrom) and Devin (Ami Ameen) are pitching their “game-changer” app to a big CEO. He likes it but gives them an impossible deadline. Why? The software whiz the duo had hired, has undercut them with his own pitch. And without him, there’s no way to meet that deadline. So naturally, the pair returns to the house they’ve rented with old college pals, gaming geek Josh (Mark O’Brien) and aspiring artist Leena (Georgia King), and proceed to get roaring drunk. When Devin tosses a glass at the laundry room wall, the resulting hole reveals a surprise. There’s a hidden attic. With a weird telescope-like device that peers into every room. In addition to an exit door that leads to the outside of the house (like an old-time coal bin/shoot). While checking out the dusty old furniture, Josh bumps into a long wardrobe mirror. And his hand pushes into its rubbery surface. They all gasp as he puts more of his arm inside it. After pulling it out, Josh backs up and then strolls right into it. His entire body vanishes. When Josh opens his eyes, he’s near the backyard, watching himself and his pals having a BBQ. Josh returns to the attic, thinking he’s been gone for hours. But it was only a few seconds. After some calculations, Noel and Devin enter the mirror in order to finish the app and “crush” that deadline. But that’s only the start. Soon the quartet is jumping back and forth between these alternate worlds (on one, the Mona Lisa has a pageboy hairdo) and reaping the benefits of new inventions and artistic triumphs. But the big profits are soon overshadowed by deadly consequences. Will their magical “portal” cost them their friendships? Or maybe even their very lives…

The quartet of characters at the heart of the story display very different reactions to the discovery of their “realm-hopping” gift and the actors covey these distinct “takes” As Noel, Wallstrom is the “stressed for success” ramrod who will stop at nothing to rise to the top. The greed quickly erodes his morality as he focuses his attention from acquiring riches to rekindling a failed fling with Leena. As the frustrated painter, King portrays her as a woman dealing with an inner battle as she may be the most conflicted of the foursome. She’s ecstatic over being the toast of the art world, but (after a few glasses of bubbly) Leena lashes out at the fawning fans, and at herself for “tracing’ another world’s great talents. But the real moral conscious is probably Ameen’s Devin, who sees the “magic door” as a way to repair his fractured family history, rather than a fast track to big bucks. He’s able to hold on to his notions of right and wrong, but his tendency to “bail” is stopped thanks to his own connection to Leena.  Josh, played by O’Brien as a “no filter” carefree spirit, uses his discovery as means to have lotsa’ naughty fun, particularly with Carmen, his next door “lust object”, which leads to a tragic decision. The film also benefits from strong cameos by David Harewood (TV’s “Supergirl”) as the man from Devin’s past along with film and TV vet Kathleen Quinlan in a terrific prologue sequence that sets it all “in motion”.

Screenwriter Scott Blaszak came up with a delicious “what if” premise, making us question our own behavior if presented with a world-switching opportunity. The set of “rules’ he’s crafted (“Don’t interact with another ‘self’!” “The mirror must be at the correct angle”) help get us into “the game”. Unfortunately the plot gets over-convoluted by the 60-minute mark as the trips and double-twists pile on top of each other, often in introducing some “other dimension” gizmos and gadgets (aplenty) that resemble cobbled together “zap guns” from 1980s New World SF drive-in flicks. Director Isaac Ezban does his best as a cinematic “traffic cop” guiding the different subplots and keeping them from crashing. Plus he wrings some genuine suspense in several scenes (he’s coming up the stairs) and orchestrates one of the most gruesome villain demises I’ve seen in a recent release. Too often he hits us with “off-kilter” camera effects to portray a character’s disorientation, but he gives the film an overall sense of impending doom (accented by the gloomy cold Canadian locales). Not really a strong “A’ feature, but for some engaging “B” movie-style thrills and chills paired with a cool central idea, PARALLEL is a fairly entertaining fantasy on any world.

2.5 Out of 4

PARALLEL opens in select theatres and is available as a video on demand via most streaming apps and platforms beginning Friday December 11th, 2020

OUT OF THE DARK (2014) – The Review

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It’s been some time since I’ve had that feeling of being “had,” going into something with hopeful expectations, only to find out that it was all a ruse. Cinema is often like this, drawing us in, capturing our emotions and interests, even playing off our primal instincts. Michael Bay knows the mass loves explosions, so there are always plenty in his films, all of which appear int he films’ trailers. Trailers are another way that we, as viewers, can be duped. It’s a necessary evil, I suppose. The nature of the marketing beast that, inevitably, will always accompany the anticipation involved with being a movie watcher. This has become something of a cultural agreement of modern society. We tolerate in order to be entertained.

I find it “crazy” how individuals associated with one film, generally applauded for being a success, can turn around and be equally associated with a flop, but it happens. This is where the “buyer beware” term is coined. Never judge a book — or, movie — by it’s cover, as they say. This goes both directions. It’s been by experience that, no matter how much you enjoy a director, actor or actress, or perhaps even a writer, never to allow yourself to be drawn into the blind expectation that anyone is perfect. Unfortunately, I allowed this very rule I have self-imposed to be broken.

OUT OF THE DARK (2014) is a film that has done just that, wandered haphazardly out of the dark, only to be blinded by the light of day as it finds an eager, albeit unsuspecting audience. For those fans of the horror/thriller genre accustomed to Netflix, the ratio of good genre films to schlocky and/or just plain bad movies that seemingly pop up out of nowhere is pretty extreme. Nonetheless, at least a minimum of 3-4 of these films will always be present in our queue at any given time, patiently awaiting their 90 minutes of instantly-streamed glory. What we are not accustomed to, and less less tolerant of, is paying inflated theatrical ticket prices to obtain the aforementioned low-grade thrills of b-movies.

In short, this shall be the level of entertainment one receives when sitting down to watch OUT OF THE DARK. I have never been one to unduly criticize a filmmaker for making his/her art, and that’s not about to start now. In all honesty and with full disclosure, I am disappointed with director Lluis Quilez, as this is his feature film debut. On the other hand, OUT OF THE PAST is co-written by Javier Gullon and David Pastor, and I couldn’t be more disappointed. Pastor, who wrote and directed CARRIERS (2009) and THE LAST DAYS (2013) were both of noticeably higher caliber, despite his now well-established obsession with viral epidemics. Gullon wrote ENEMY (2013) for God’s sake, a vastly superior and endlessly cerebral and mesmerizing piece of scriptwriting. How this can be is beyond my comprehension, but its said that oil never mixes with water.

OUR OF THE DARK sets in motion a thriller about two parents searching for their missing child, only to uncover a corporate scandal hidden behind a family secret by way of a ghostly haunting in South America. Chew on that. Sarah, played by Julia Stiles, moves to South America along with her husband Paul, played by Scott Speedman, and daughter Hannah to take over her father’s business. Her father Jordan, played by Stephen Rea, is a respected man in the jungle village as he once helped bring prosperity to the poor indigenous people, but that prosperity has recently suffered due to economic downturn and tragedy. Shortly after arriving, Hannah goes missing, which leads to a witch hunt for creepy children who are suspected by Sarah to have taken her daughter, but of course her search is hindered by silence and secrecy.

Director Quilez has managed to take a dismally uninteresting script and still make a visually engaging film, despite what I imagine is a modestly modest budget. In addition, the special effects for the creepy children are low-grade but effective, a mix of makeup and digital manipulation. The overall effect of the ghostly haunting sequences is somewhat unnerving, so for that I commend the filmmaker in what would otherwise be a relatively forgettable film. As for the cast, Speedman has never gotten me excited for anything, so I’ll stop there. Stiles has ridden the fence for some time now, but ultimately takes a hit in my book with OUT OF THE DARK. She plays this film too safe, far too by the book, theatrically textbook. Perhaps the most unbearable example of this would be the key, climactic scene when she confronts her father, but I also can’t blame Stile and Rea entirely for this, because the dialogue in this scene is so utterly cliche I could nearly recite their lines before they do. The drama gives way to forced melodrama and the emotions are of the instant just-add-water equivalency.

OUT OF THE DARK (2014) is slow to get started, offers little in the way of original material and asks the audience to care way to deeply about 2-dimensional cookie cutter characters in a dispassionately written film that isn’t quite sure if it’s a paranormal thriller or an ecological morality drama. While its an excusable throw-away popcorn rental that at least looks interesting at times, its far from worth paying cinema prices. At least at home, you can kick into MST3K mode if necessary, and not risk getting asked to leave the theater… and the popcorn is a lot cheaper.

OUT OF THE DARK is currently available via VOD and opens in theaters on Friday, February 27th, 2015.

Overall Rating: 2 out of 5 stars

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