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Scott Tostik (389 KP) rated Haunt (2019) in Movies
Sep 29, 2019
Over the past few years, found footage films about Extreme Halloween Haunts have kind of damaged the product a little. The Houses October Built being the best of the worst in my opinion.
Last year we had HellFest and another one that I forgot...
So I went in to Haunt with no idea what was going to happen... Nor did I really care.
Until the mayhem begun. The absolute carnage that follows these folks around is both refreshing and disturbing all the same.
These people, hidden beneath the masks of the holiday.... Yeah, fuck off. Halloween in my Christmas.... Are equally disturbing masks of self expression and self loathing.
Overall this movie shocked me into a 9 rating. It was nice to see a horror film full of "teens" who's first thought was "How do we get out?". Instead of "Hey that big scary man is pointing towards a dark room with a machete... Lets go fuck in that room,"
Smart characters are so refreshing.
Thanks modern day horror for ending the drought of dumbasses... For now.
While it wasn't a new idea.Haunt is in fact quite Haunting... Oh boy...
And it does leave the viewer... This viewer... Satisfied with 90 minutes well spent.
Last year we had HellFest and another one that I forgot...
So I went in to Haunt with no idea what was going to happen... Nor did I really care.
Until the mayhem begun. The absolute carnage that follows these folks around is both refreshing and disturbing all the same.
These people, hidden beneath the masks of the holiday.... Yeah, fuck off. Halloween in my Christmas.... Are equally disturbing masks of self expression and self loathing.
Overall this movie shocked me into a 9 rating. It was nice to see a horror film full of "teens" who's first thought was "How do we get out?". Instead of "Hey that big scary man is pointing towards a dark room with a machete... Lets go fuck in that room,"
Smart characters are so refreshing.
Thanks modern day horror for ending the drought of dumbasses... For now.
While it wasn't a new idea.Haunt is in fact quite Haunting... Oh boy...
And it does leave the viewer... This viewer... Satisfied with 90 minutes well spent.
Awix (3310 KP) rated Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack (2001) in Movies
Feb 17, 2018 (Updated Feb 17, 2018)
Four's a crowd
Twenty-sixth Godzilla movie (also eleventh Mothra movie, eighth Ghidorah movie and third Baragon movie, in case anyone's counting) recruits director Shusuke Kaneko, helmsman of the brilliant 90s Gamera trilogy; results are (perhaps inevitably) disappointing. A new incarnation of Godzilla threatens Japan, but a young tabloid TV journalist encounters a mysterious old man in an equestrian safety helmet who tells her of three legendary Guardian Monsters who will defend the country against this menace (Baragon is also a Guardian Monster but not famous enough to get his name in the title).
Some interesting innovations: first film to address (even obliquely) issues of Japanese culpability for events of the Second World War, first film where King Ghidorah is a good guy, first film with a scene set in Godzilla's intestinal tract. However, the end result is let down by a fatally uncertain tone - seemingly serious scenes of death and carnage are intercut with knockabout cheesy humour and in-jokes (in the English dub at least). The retro feel of the movie, hearkening back to the 60s films of the series, is not unwelcome, but its take on the formula is just plain weird. Most importantly it lacks the mythic grandeur of the Kaneko Gamera trilogy. Still better than the films which immediately preceded it, though.
Some interesting innovations: first film to address (even obliquely) issues of Japanese culpability for events of the Second World War, first film where King Ghidorah is a good guy, first film with a scene set in Godzilla's intestinal tract. However, the end result is let down by a fatally uncertain tone - seemingly serious scenes of death and carnage are intercut with knockabout cheesy humour and in-jokes (in the English dub at least). The retro feel of the movie, hearkening back to the 60s films of the series, is not unwelcome, but its take on the formula is just plain weird. Most importantly it lacks the mythic grandeur of the Kaneko Gamera trilogy. Still better than the films which immediately preceded it, though.
Movie Metropolis (309 KP) rated Transformers: Dark of the Moon (2011) in Movies
Jun 11, 2019
Michael Bay had a lot to prove with the third instalment of his big bot franchise. The scathing reviews of Revenge of the Fallen from nearly every critic who went to see it proved that even giant robots aren’t safe from the picky eyes of the global audience. Now, I may get lambasted for this but I preferred number 2 to number 1, so let’s see if number 3 can impress.
Here, Bay returns to helm the latest addition: Dark of the Moon, it’s a good film nonetheless but it’s sci-fi themes, more so than in either of the previous offerings fail to provide enough impact to make it the best in the series.
Transformers: Dark of the Moon picks up three years after the last film and a lot has changed. Sam Witwicky again played by the fantastic Shia LeBeouf is now living in Washington, envious of his new girlfriend Carly Spencer and her fabulous lifestyle. Carly, played by newcomer Rosie Huntington-Whitely is about as wooden as a character can get; Whitely’s performance is very laboured and her on screen scenes suffer as a result; she’s a disappointment in a film that doesn’t really require it’s characters to do much; so that shows how bad she actually is.
Megan Fox is actually missed this time around, but it’s not too much of a problem because Rosie’s character is given exactly the same clothes, the same pout and practically the same lines.
Michael Bay has also lined up the legendary John Malkovich as Sam’s troubled new boss, his screen time is worth a watch but he feels wasted considering his lines amount to about 10 minutes of screen time. Patrick Dempsey also stars as good guy gone back; Dylan Gould.
The special effects coupled with the fantastic 3D make Transformers 3 a spectacle to watch, the bots are seamlessly integrated into the picture alongside their human counterparts and deliver once again, these films really are the pinnacle now for special effects.
Bay has managed to fashion a half coherent story out of the toy franchise which many critics were sceptical of, but it works really well. The film focuses on the space race of the 60’s and the reasons why the US wanted to beat everyone to the moon. In short, the Decepticons are looking for something that crash-landed on the moon; if they find it, then Cybertron will be reborn, using Earth as a template; oh no!
The last hour is just carnage, carnage, carnage as the entire city of Chicago is plunged into a post-apocalyptic world where the Decepticons rule and the Autobots are, alongside humans as slaves. Here, Bay really showcases his prowess for stunning cinematography and first class special effects, one scene in particular, involving a glass skyscraper is particularly awe-inspiring.
Speaking of the robots themselves, all the favourites return with their fantastic voice acting. Peter Cullen delivers Optimus Prime in his usual, gruff manner and a welcome addition is Star Trek’s Leonard Nimoy as veteran Autobot leader Sentinel Prime. Hugo Weaving also returns as a rough looking Megatron.
The problem that blights Transformers 3 is that there’s too much going on. I found myself lost in parts of the story because the film is constantly rushing to get to the next plot line. It’s frustrating that a film franchise criticised for its lack of story is penalised for having too much of one this time around, but this is the case here. As such, some of the best characters don’t get screen time. Josh Duhamel is only in the film for 5 minutes at a time, whilst Sam’s parents only get brief appearances which is a tragic shame as they are, all in all, the best human characters in the franchise.
Overall, Transformers has become one of my favourite film franchises of all time; it delivers on its promise and doesn’t pretend it’s going to be something else. Yes, they’re far too long (this one is just short of 3 hours), they’re exceptionally loud and mind-numbingly obnoxious but that’s what you should want from an action film. Transformers 3 delivers, and it delivers it like a smack in the face; but it falls down in a couple of areas where the others didn’t.
Michael Bay is a very talented film director who gives the best out of everything, but in response to his critics from the last movie, he has developed too much of the story and as such, it feels disjointed and ultimately a little disappointing.
https://moviemetropolis.net/2011/07/07/transformers-dark-of-the-moon-2011/
Here, Bay returns to helm the latest addition: Dark of the Moon, it’s a good film nonetheless but it’s sci-fi themes, more so than in either of the previous offerings fail to provide enough impact to make it the best in the series.
Transformers: Dark of the Moon picks up three years after the last film and a lot has changed. Sam Witwicky again played by the fantastic Shia LeBeouf is now living in Washington, envious of his new girlfriend Carly Spencer and her fabulous lifestyle. Carly, played by newcomer Rosie Huntington-Whitely is about as wooden as a character can get; Whitely’s performance is very laboured and her on screen scenes suffer as a result; she’s a disappointment in a film that doesn’t really require it’s characters to do much; so that shows how bad she actually is.
Megan Fox is actually missed this time around, but it’s not too much of a problem because Rosie’s character is given exactly the same clothes, the same pout and practically the same lines.
Michael Bay has also lined up the legendary John Malkovich as Sam’s troubled new boss, his screen time is worth a watch but he feels wasted considering his lines amount to about 10 minutes of screen time. Patrick Dempsey also stars as good guy gone back; Dylan Gould.
The special effects coupled with the fantastic 3D make Transformers 3 a spectacle to watch, the bots are seamlessly integrated into the picture alongside their human counterparts and deliver once again, these films really are the pinnacle now for special effects.
Bay has managed to fashion a half coherent story out of the toy franchise which many critics were sceptical of, but it works really well. The film focuses on the space race of the 60’s and the reasons why the US wanted to beat everyone to the moon. In short, the Decepticons are looking for something that crash-landed on the moon; if they find it, then Cybertron will be reborn, using Earth as a template; oh no!
The last hour is just carnage, carnage, carnage as the entire city of Chicago is plunged into a post-apocalyptic world where the Decepticons rule and the Autobots are, alongside humans as slaves. Here, Bay really showcases his prowess for stunning cinematography and first class special effects, one scene in particular, involving a glass skyscraper is particularly awe-inspiring.
Speaking of the robots themselves, all the favourites return with their fantastic voice acting. Peter Cullen delivers Optimus Prime in his usual, gruff manner and a welcome addition is Star Trek’s Leonard Nimoy as veteran Autobot leader Sentinel Prime. Hugo Weaving also returns as a rough looking Megatron.
The problem that blights Transformers 3 is that there’s too much going on. I found myself lost in parts of the story because the film is constantly rushing to get to the next plot line. It’s frustrating that a film franchise criticised for its lack of story is penalised for having too much of one this time around, but this is the case here. As such, some of the best characters don’t get screen time. Josh Duhamel is only in the film for 5 minutes at a time, whilst Sam’s parents only get brief appearances which is a tragic shame as they are, all in all, the best human characters in the franchise.
Overall, Transformers has become one of my favourite film franchises of all time; it delivers on its promise and doesn’t pretend it’s going to be something else. Yes, they’re far too long (this one is just short of 3 hours), they’re exceptionally loud and mind-numbingly obnoxious but that’s what you should want from an action film. Transformers 3 delivers, and it delivers it like a smack in the face; but it falls down in a couple of areas where the others didn’t.
Michael Bay is a very talented film director who gives the best out of everything, but in response to his critics from the last movie, he has developed too much of the story and as such, it feels disjointed and ultimately a little disappointing.
https://moviemetropolis.net/2011/07/07/transformers-dark-of-the-moon-2011/
Andy K (10821 KP) rated The Equalizer 2 (2018) in Movies
Mar 10, 2019
Revenge not as sweet the 2nd time...
When we left Robert McCall, he had just vanquished a set of Russian baddies and went back to trying to enjoy a normal life. When we meet him again, he is up to his old tactics trying to help those who cannot help themselves. After some initial carnage, the film takes a different turn striking McCall where it hurts with someone close to him. The situation is challenging McCall gets drawn in as he tries to figure out who is responsible.
Meanwhile, he befriends a young man who lives near him and tries to give him advice and steer him along the right course in life avoiding the temptation to fall in with the wrong crowd.
After the true nature of the crimes is discovered and the perpetrators reveal themselves, McCall falls into his old ways of doing whatever it takes and using whatever means necessary to attempt to prevail.
Although I thought the idea to strike closer to home for McCall was an interesting one, and took him out of his comfort zone, the screenplay was not good enough and I saw the twist coming almost immediately. These characters didn't seem to be very smart and made the film more cumbersome and not nearly as fun.
The climax scene was kind of cool I guess, but seemed very forced and something the writer thought would be cooler than what it was.
Kind of disappointed.
Meanwhile, he befriends a young man who lives near him and tries to give him advice and steer him along the right course in life avoiding the temptation to fall in with the wrong crowd.
After the true nature of the crimes is discovered and the perpetrators reveal themselves, McCall falls into his old ways of doing whatever it takes and using whatever means necessary to attempt to prevail.
Although I thought the idea to strike closer to home for McCall was an interesting one, and took him out of his comfort zone, the screenplay was not good enough and I saw the twist coming almost immediately. These characters didn't seem to be very smart and made the film more cumbersome and not nearly as fun.
The climax scene was kind of cool I guess, but seemed very forced and something the writer thought would be cooler than what it was.
Kind of disappointed.
LeftSideCut (3778 KP) rated Game Of Thrones - Season 5 in TV
Jul 3, 2019
For the Watch
Contains spoilers, click to show
Season 5 of Game of Thrones (or any following season) never quite hit the heights of seasons 2-4 for me, but it still continued it's run as the absolute prime show of recent television.
Season 5 has some extremely important moments - Danaerys meeting Tyrion and Varys for example - this meeting of characters made the Essos portion of Game of Thrones 100% more interesting for me, and I actually found myself completely involved in the Harpy storyline that runs throughout season 5. In King's Landing, the narrative focuses mainly on the High Sparrow, and his rise to power through religion, so much so, that not even the King has much sway over him.
This inevitably leads to one of the most infamous GoT scenes of all time - Cersei's walk of shame - truly hard to watch - even though she is a hateful character - much like Joffreys story in season 4, the writers manage to evoke sympathy for someone you've been lead to dislike.
And then of course - there's Hardhome - my personal favourite episode of GoT. A sense of dread lingers over the majority of the episode as Jon Snow journeys beyond The Wall, and we're set up for yet another brief tease of the White Walkers - but what we get instead is an insane 20 minutes of absolute Carnage, as the full force of the Night King is realised for the first time - it's an incredible episode within another decent season, which will have you hooked constantly.
Season 5 has some extremely important moments - Danaerys meeting Tyrion and Varys for example - this meeting of characters made the Essos portion of Game of Thrones 100% more interesting for me, and I actually found myself completely involved in the Harpy storyline that runs throughout season 5. In King's Landing, the narrative focuses mainly on the High Sparrow, and his rise to power through religion, so much so, that not even the King has much sway over him.
This inevitably leads to one of the most infamous GoT scenes of all time - Cersei's walk of shame - truly hard to watch - even though she is a hateful character - much like Joffreys story in season 4, the writers manage to evoke sympathy for someone you've been lead to dislike.
And then of course - there's Hardhome - my personal favourite episode of GoT. A sense of dread lingers over the majority of the episode as Jon Snow journeys beyond The Wall, and we're set up for yet another brief tease of the White Walkers - but what we get instead is an insane 20 minutes of absolute Carnage, as the full force of the Night King is realised for the first time - it's an incredible episode within another decent season, which will have you hooked constantly.
Andrew Thomas (363 KP) rated Santa's Slay (2004) in Movies
Aug 12, 2020 (Updated Aug 14, 2020)
Santa Claus is a slasher villain...nuff said!
Contains spoilers, click to show
Santa's Slay was a direct to video selection on the shelf at my local video store that I normally would have walked right by...yet I was compelled to check it out. I was expecting it to be terrible, but it turned out to be in the category of "so bad but fun"
First you have wrestler Bill Goldberg as Santa and oddly enough...he's perfect in this particular interpretation of the character. He plays Santa as an unrepentant badass who loves death and destruction...and he does it with such relish.
Second, while this particular approach to making an evil version of Santa Claus is pretty silly, it is an interesting backstory nonetheless and they give the obligatory exposition scene a touch of nostalgia by using stop motion animation that's on par with holiday classics like Santa Claus is Coming to Town or Frosty the Snowman.
Third, the wholesale carnage that Santa perpetrates is nothing if inventive. In the opening scene he completely annihilates an entire family of aholes...using everything on the dinner table. Not even the local strip club is safe from Santa's wrath as he turns a stripper pole into a weapon.
Santa's Slay is not the kind of movie you watch for an engaging story or great acting. It's a movie that you can laugh at and forget your worries for an hour or so.
First you have wrestler Bill Goldberg as Santa and oddly enough...he's perfect in this particular interpretation of the character. He plays Santa as an unrepentant badass who loves death and destruction...and he does it with such relish.
Second, while this particular approach to making an evil version of Santa Claus is pretty silly, it is an interesting backstory nonetheless and they give the obligatory exposition scene a touch of nostalgia by using stop motion animation that's on par with holiday classics like Santa Claus is Coming to Town or Frosty the Snowman.
Third, the wholesale carnage that Santa perpetrates is nothing if inventive. In the opening scene he completely annihilates an entire family of aholes...using everything on the dinner table. Not even the local strip club is safe from Santa's wrath as he turns a stripper pole into a weapon.
Santa's Slay is not the kind of movie you watch for an engaging story or great acting. It's a movie that you can laugh at and forget your worries for an hour or so.
LeftSideCut (3778 KP) rated Venom: Let There Be Carnage (2021) in Movies
Nov 9, 2021
I'm not the biggest fan of the first Venom but I'll happily admit that it's fun. This one is kind of the same - I actually think it's worse, but the pure schlock is entertaining enough to get by.
Woody Harrelson is a suitably over the top villain, and I was pleasantly surprised by how entertaining the big CGI moments were. Carnage was well realised and felt dangerous and almost unstoppable.
Unlike the first film however, it's outweighed by the bad. The comedic moments are laid on thick, and a lot of it doesn't land. The dialogue is fine for the most part, but noticeably plummets in the last third. In a world where so many blockbusters run between 2-3 hours, I'm not complaining about the brisk 90 minute runtime, but it actually felt like a lot was left on the cutting room floor. It ensures that it never gets boring, but it feels a bit haphazard as a result.
I understand that LTBC is supposed to be schlocky and silly, and to it's credit, it does bring it when it comes to the action, but something is missing with both of these films. Venom isn't as scary as I remember reading the comics as a kid, and I'm not overly keen on the whole anti-hero thing they have going on, but at the end of the day, it is what is, a loud and dumb action film that does exactly what you expect it to do.
Woody Harrelson is a suitably over the top villain, and I was pleasantly surprised by how entertaining the big CGI moments were. Carnage was well realised and felt dangerous and almost unstoppable.
Unlike the first film however, it's outweighed by the bad. The comedic moments are laid on thick, and a lot of it doesn't land. The dialogue is fine for the most part, but noticeably plummets in the last third. In a world where so many blockbusters run between 2-3 hours, I'm not complaining about the brisk 90 minute runtime, but it actually felt like a lot was left on the cutting room floor. It ensures that it never gets boring, but it feels a bit haphazard as a result.
I understand that LTBC is supposed to be schlocky and silly, and to it's credit, it does bring it when it comes to the action, but something is missing with both of these films. Venom isn't as scary as I remember reading the comics as a kid, and I'm not overly keen on the whole anti-hero thing they have going on, but at the end of the day, it is what is, a loud and dumb action film that does exactly what you expect it to do.
Hazel (2934 KP) rated The Lost (Jonah Colley #1) in Books
Nov 14, 2021
Oh my goodness!! This is one of my reads of 2021; it grabbed me round the neck from page 1 and didn't let go right to the very end.
This is one very, very clever and exceptionally good story that had me absolutely hooked from the beginning and devouring every page with a voracious appetite for more.
The characters are excellent, all of them have a part to play and all play it well. Of particular note are the main character of Jonah, who I quickly became attached to, and the investigating officer, DI Fletcher, who I quickly disliked (there's got to be a story there for a future book ?!?); I didn't feel there was one character that was surplus to requirements.
It's full of atmosphere, tension, suspense, anticipation and is totally gripping from the very start. I was desperate to find out if there was any connection to Jonah's missing son and the carnage Jonah discovers at the bleak Slaughter Quay and was extremely satisfied with the outcome and how it was reached.
I can't wait for the next instalment in this new series and have absolutely no hesitation in recommending this to lovers of crime thrillers but be warned, it is a difficult read in parts and there is violence and numerous scenes of peril so if you are of a nervous disposition, then this might not be the one for you but if not, go and buy it ... now!
Many, many thanks to Orion Publishing Group via NetGalley for my copy in return for an honest, unbiased and unedited review.
This is one very, very clever and exceptionally good story that had me absolutely hooked from the beginning and devouring every page with a voracious appetite for more.
The characters are excellent, all of them have a part to play and all play it well. Of particular note are the main character of Jonah, who I quickly became attached to, and the investigating officer, DI Fletcher, who I quickly disliked (there's got to be a story there for a future book ?!?); I didn't feel there was one character that was surplus to requirements.
It's full of atmosphere, tension, suspense, anticipation and is totally gripping from the very start. I was desperate to find out if there was any connection to Jonah's missing son and the carnage Jonah discovers at the bleak Slaughter Quay and was extremely satisfied with the outcome and how it was reached.
I can't wait for the next instalment in this new series and have absolutely no hesitation in recommending this to lovers of crime thrillers but be warned, it is a difficult read in parts and there is violence and numerous scenes of peril so if you are of a nervous disposition, then this might not be the one for you but if not, go and buy it ... now!
Many, many thanks to Orion Publishing Group via NetGalley for my copy in return for an honest, unbiased and unedited review.
Gareth von Kallenbach (968 KP) rated Death Race (2008) in Movies
Aug 14, 2019
In 1975, legendary B-movie producer Roger Corman showed audiences a look at the near future with a biting film that deftly blended action and political commentary and satire. The film was “Death Race 2000” and starred David Carradine and featured a pre-“Rocky” Sylvester Stallone as bitter rivals in a brutal cross country race where finishing first was second only to the amount of death and carnage a driver left in their wake.
The film became a cult hit, and paved the way for films such as “Rollerball”, “Arena”, and countless other films that featured bloodlust sporting events for the masses a la Rome in the age of gladiators at the coliseum. Thirty-three years later, audiences are given the new and upgraded “Death Race” which benefits from a bigger budget with more carnage than the original film that inspired it ever dreamed of.
The film opens with an eerie warning of today’s troubled economic times, stating that the U.S.
economy collapses in 2012 and record unemployment and crime sweep the nation. With prisons overcrowded, corporations run correctional facilities for a profit and soon offer caged matches between inmates for the viewing pleasure of the nation. At first the matches are a huge success but soon lose their appeal to an audience that is eager for even bloodier sport.
In an effort to keep the cash flowing, the Death Race is created which pits convicts against one another in a brutal mix of speed, firepower, and death which in a few years surpasses even the Super Bowl as the most watched sporting event in the world.
Jason Statham stars as Jensen Ames, a former race driver who is framed for the murder of his wife and faces the prospect of life in prison while his daughter is raised by strangers. With the Death Race losing some if its audience, its creator, and warden of the prison, Hennessey (Joan Allen), offers Jensen a solution to both of their problems. If Jensen will pose as the masked Frankenstein for the race and win, he will be granted his freedom. It is learned that the real Frankenstein has finally succumbed to the numerous injuries he has incurred racing, and rather than risk losing his vast legions of fans who drive the ratings, it is easier to replace him than lose him, especially since recent races without Frankenstein had not garnered the same ratings as his past races.
It is explained that should a driver win five death races, they will be set free. Since Frankenstein has won four races, all Jensen has to do is win the race and stay alive to earn his freedom. Jensen is faced with an menacing list of adversaries including the deadly Machine Gun Joe (Tyrese Gibson), who is the biggest threat to Jensen with an absolute hatred for Frankenstein. Gun Joe is a cold-blooded killer who wants nothing more than two more race wins to earn his freedom and will stop at nothing to get it.
Jensen is assisted by the talented Coach (Ian McShane), who dispenses wisdom while overseeing the crew that outfits Jensen’s suped up, armor-plated, and very heavily armed racer. Assigned to ride with Jensen as his Navigator is Case (Natalie Martinez), a female prisoner who, like many of her fellow navigators, sees the race as a chance to earn their freedom and other special perks which makes risking their lives a worthwhile endeavor.
As the race unfolds in three stages, Jensen is tasked with not only surviving the threats Machine Gun Joe and the other racers aim his way, but surviving the twisted scheme that has him in its grasp.
The action of the film is fast, brutal, and unforgiving and is easily the highlight of the film. Sadly there are plenty of scenes with stiff and uninspired characters, numerous plot holes and leaps of logic, and clichés that bog the film down.
Statham is his usual soft talking hard man, a character he has made a career out of playing in such films as the “Crank” and the “Transporter” series. But unlike those films, he is not given much material to work with here. Statham has done solid work in the past but Jensen is a paper thin character who never fully given a chance to develop nor be embraced by the audience.
The same is true for the rest of the cast, a talented ensemble left to languish in want of better material. The film is directed by Paul W.S. Anderson of the “Resident Evil” series who once again shows that he has an eye for action, but still has issues with pacing and unsympathetic characters. This is a shame as the premise of the film is solid, but unlike the original, lacks the social and political commentary needed to balance the carnage and mayhem.
With a little more time in shop and tinkering, this could have been a solid action film, instead it stalls at the starting line badly in need of a tune up.
The film became a cult hit, and paved the way for films such as “Rollerball”, “Arena”, and countless other films that featured bloodlust sporting events for the masses a la Rome in the age of gladiators at the coliseum. Thirty-three years later, audiences are given the new and upgraded “Death Race” which benefits from a bigger budget with more carnage than the original film that inspired it ever dreamed of.
The film opens with an eerie warning of today’s troubled economic times, stating that the U.S.
economy collapses in 2012 and record unemployment and crime sweep the nation. With prisons overcrowded, corporations run correctional facilities for a profit and soon offer caged matches between inmates for the viewing pleasure of the nation. At first the matches are a huge success but soon lose their appeal to an audience that is eager for even bloodier sport.
In an effort to keep the cash flowing, the Death Race is created which pits convicts against one another in a brutal mix of speed, firepower, and death which in a few years surpasses even the Super Bowl as the most watched sporting event in the world.
Jason Statham stars as Jensen Ames, a former race driver who is framed for the murder of his wife and faces the prospect of life in prison while his daughter is raised by strangers. With the Death Race losing some if its audience, its creator, and warden of the prison, Hennessey (Joan Allen), offers Jensen a solution to both of their problems. If Jensen will pose as the masked Frankenstein for the race and win, he will be granted his freedom. It is learned that the real Frankenstein has finally succumbed to the numerous injuries he has incurred racing, and rather than risk losing his vast legions of fans who drive the ratings, it is easier to replace him than lose him, especially since recent races without Frankenstein had not garnered the same ratings as his past races.
It is explained that should a driver win five death races, they will be set free. Since Frankenstein has won four races, all Jensen has to do is win the race and stay alive to earn his freedom. Jensen is faced with an menacing list of adversaries including the deadly Machine Gun Joe (Tyrese Gibson), who is the biggest threat to Jensen with an absolute hatred for Frankenstein. Gun Joe is a cold-blooded killer who wants nothing more than two more race wins to earn his freedom and will stop at nothing to get it.
Jensen is assisted by the talented Coach (Ian McShane), who dispenses wisdom while overseeing the crew that outfits Jensen’s suped up, armor-plated, and very heavily armed racer. Assigned to ride with Jensen as his Navigator is Case (Natalie Martinez), a female prisoner who, like many of her fellow navigators, sees the race as a chance to earn their freedom and other special perks which makes risking their lives a worthwhile endeavor.
As the race unfolds in three stages, Jensen is tasked with not only surviving the threats Machine Gun Joe and the other racers aim his way, but surviving the twisted scheme that has him in its grasp.
The action of the film is fast, brutal, and unforgiving and is easily the highlight of the film. Sadly there are plenty of scenes with stiff and uninspired characters, numerous plot holes and leaps of logic, and clichés that bog the film down.
Statham is his usual soft talking hard man, a character he has made a career out of playing in such films as the “Crank” and the “Transporter” series. But unlike those films, he is not given much material to work with here. Statham has done solid work in the past but Jensen is a paper thin character who never fully given a chance to develop nor be embraced by the audience.
The same is true for the rest of the cast, a talented ensemble left to languish in want of better material. The film is directed by Paul W.S. Anderson of the “Resident Evil” series who once again shows that he has an eye for action, but still has issues with pacing and unsympathetic characters. This is a shame as the premise of the film is solid, but unlike the original, lacks the social and political commentary needed to balance the carnage and mayhem.
With a little more time in shop and tinkering, this could have been a solid action film, instead it stalls at the starting line badly in need of a tune up.
Scott Tostik (389 KP) rated Three on A Meathook (1972) in Movies
Jan 6, 2019
The Porno 70's Soundtrack (1 more)
The Dad character
About a million gratuitous boob shots (1 more)
The plot is somewhat absent...ish
Huh.... Kinda cool...ish
Contains spoilers, click to show
When you review cheesy horror films for fun while your fiancee is alseep.... And you have to keep the volune down so you can barely hear the drivel that most scripted movies spew out... Captions are always an option.
When they work...
This movie is sorta bad to begin with. The camera work is sub par. Tue acting is all around shite. And lets be honest here.... The only good part about this film was the creativity of the kills for the time it was made.
The movie breaks down at the halfway point when it turns into Billy goes to tue city lookin for love and all he finds is a brunette skank who wants to come to his farm after knowing him for 15 seconds in a bar.... But its true love
Lobg story short... Billy's Daddy is a psychopath... Blood is spilt... Carnage insues... And boobs are flashed a plenty....
But not even glorious tan lined hooters can save this thing.... Only reason i rated it what i did... Is because i could see how modern day horror film writers and directors would use this as source material for writing their own slasher style scripts. Its groundbreaking... I admit that... It's just not... Well... It's not Black Christmas enough to be considered the first slasher style film of the 70's... Watch it if you want to.... I recommend it to those who want to go into horror directing or writing as both things to do and not to do.
On to the next....
When they work...
This movie is sorta bad to begin with. The camera work is sub par. Tue acting is all around shite. And lets be honest here.... The only good part about this film was the creativity of the kills for the time it was made.
The movie breaks down at the halfway point when it turns into Billy goes to tue city lookin for love and all he finds is a brunette skank who wants to come to his farm after knowing him for 15 seconds in a bar.... But its true love
Lobg story short... Billy's Daddy is a psychopath... Blood is spilt... Carnage insues... And boobs are flashed a plenty....
But not even glorious tan lined hooters can save this thing.... Only reason i rated it what i did... Is because i could see how modern day horror film writers and directors would use this as source material for writing their own slasher style scripts. Its groundbreaking... I admit that... It's just not... Well... It's not Black Christmas enough to be considered the first slasher style film of the 70's... Watch it if you want to.... I recommend it to those who want to go into horror directing or writing as both things to do and not to do.
On to the next....