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BankofMarquis (1832 KP) rated The Woman in the Window (2021) in Movies
May 24, 2021
It is NOT Rear Window
A piece of advice for you when you start to watch the “Alfred Hitchcock-esque” thriller, THE WOMAN IN THE WINDOW. If you are at all a Hitchcock fan, you will be spending the first part of this film comparing it to the 1954 classic REAR WINDOW and this would be a disservice to this film.
For…THE WOMAN IN THE WINDOW is no Rear Window, nor is it intended to be. It has many, many elements that are the same as Rear Window (most notably, the setup: a housebound person thinks they have witnessed a murder in a neighboring apartment), and THE WOMAN IN THE WINDOW is just like Rear Window…until it isn’t.
And that’s when I started to like this film, when I stopped comparing it (in my head) to Rear Window.
Based on the Best Seller by A.J. Finn (adapted for the screen by Tracy Letts who also appears in the film), THE WOMAN IN THE WINDOW tells the tale of Anna Fox, an agoraphobic who watches life go on outside her window. When she thinks she has witnessed a murder, she (and the audience) must decide is it real? Did she truly witness a murder? If so, who dunnit? If not, is she just hallucinating things? Is Anna crazy?
The answers to these questions were satisfying enough to me that I ended up enjoying the film experience that I had - but I have to be honest and tell you that, for awhile, my enjoyment of this film was hanging by a thread.
Amy Adams (ENCHANTED) is terrific - if unspectacular - in the title role. Her Anna Fox is murkey (that is meant as a compliment) and struggles through most of the film trying to determine what is real and what is an illusion. Adams does a “journeyman’s” job with this role. She acts her way through it in such a workmanlike fashion that I almost forgot that it is Adams on the screen.
Wyatt Russell (Kurt’s son who is also the new Captain America in THE FALCON AND THE WINTER SOLDIER) fares the best of the Supporting players for he has the most to do. Unfortunately, Director Joe Wright (ATONEMENT) and Screenwriter Letts wastes such strong actors as Gary Oldman (DARKEST HOUR), Julianne Moore (STILL ALICE), Anthony Mackie (The Falcon in the Marvel Movies), Jennifer Jason Leigh (HATEFUL 8), Brian Tyree Henry (GET OUT) and Letts himself in terribly underwritten roles that serve (mostly) as red herrings - and each of their characters are interchangeable and forgettable.
And that, ultimately, is where this film comes apart. While I cared about Anna and the solution to the mystery - I didn’t care very much about the other characters involved.
Which is why, I think, I’ll pull my DVD of Rear Window out and watch that film for the umpteenth time.
Letter Grade: B
7 Stars (out of 10) and you can take that to the Bank(ofMarquis)
For…THE WOMAN IN THE WINDOW is no Rear Window, nor is it intended to be. It has many, many elements that are the same as Rear Window (most notably, the setup: a housebound person thinks they have witnessed a murder in a neighboring apartment), and THE WOMAN IN THE WINDOW is just like Rear Window…until it isn’t.
And that’s when I started to like this film, when I stopped comparing it (in my head) to Rear Window.
Based on the Best Seller by A.J. Finn (adapted for the screen by Tracy Letts who also appears in the film), THE WOMAN IN THE WINDOW tells the tale of Anna Fox, an agoraphobic who watches life go on outside her window. When she thinks she has witnessed a murder, she (and the audience) must decide is it real? Did she truly witness a murder? If so, who dunnit? If not, is she just hallucinating things? Is Anna crazy?
The answers to these questions were satisfying enough to me that I ended up enjoying the film experience that I had - but I have to be honest and tell you that, for awhile, my enjoyment of this film was hanging by a thread.
Amy Adams (ENCHANTED) is terrific - if unspectacular - in the title role. Her Anna Fox is murkey (that is meant as a compliment) and struggles through most of the film trying to determine what is real and what is an illusion. Adams does a “journeyman’s” job with this role. She acts her way through it in such a workmanlike fashion that I almost forgot that it is Adams on the screen.
Wyatt Russell (Kurt’s son who is also the new Captain America in THE FALCON AND THE WINTER SOLDIER) fares the best of the Supporting players for he has the most to do. Unfortunately, Director Joe Wright (ATONEMENT) and Screenwriter Letts wastes such strong actors as Gary Oldman (DARKEST HOUR), Julianne Moore (STILL ALICE), Anthony Mackie (The Falcon in the Marvel Movies), Jennifer Jason Leigh (HATEFUL 8), Brian Tyree Henry (GET OUT) and Letts himself in terribly underwritten roles that serve (mostly) as red herrings - and each of their characters are interchangeable and forgettable.
And that, ultimately, is where this film comes apart. While I cared about Anna and the solution to the mystery - I didn’t care very much about the other characters involved.
Which is why, I think, I’ll pull my DVD of Rear Window out and watch that film for the umpteenth time.
Letter Grade: B
7 Stars (out of 10) and you can take that to the Bank(ofMarquis)
Gareth von Kallenbach (980 KP) rated Dawn Of The Planet Of The Apes (2014) in Movies
Aug 6, 2019
Full disclosure here: I am a huge fan of the original series of Planet of the Apes movies. I have them on VHS and Laser Disc, having watched them at least a dozen times each. That being said, I didn’t really enjoy 2011’s Rise of the Planet of Apes with James Franco. Not that it was a bad movie, per say, but it didn’t really keep me captivated, so much so that I can barely remember all of the main plot points. At the time I thought that I might be jaded being such a huge fan of the originals. And then I saw Dawn of the Planet of the Apes (we’ll just refer to it as “Dawn” from here on out). I didn’t have very high expectations for Dawn.
Set 10 years after Rise, Dawn sees the world in ruins. Humans are struggling to survive after the Simian virus wreaked havoc on the planet. Living in colonies, they are unaware that there is a growing nation of genetically evolved apes led by Caesar. When the apes and the humans discover each other, they both feel threatened, but there is one man, Malcolm (Jason Clarke), who sees the compassion in Caesar and thinks that he will allow the humans to attempt work on a nearby dam to restore power to their colony. But dissent in the ranks of both sides of the banana prove to threaten this shaky alliance.
This movie blew me away. With an excellent cast to compliment the CGI apes in the movie, you quickly forget that there is any CGI involved at all. The seamless visuals make you feel like Dreyfus (Gary Oldman), Ellie (Keri Russell) and Alexander (Kodi Smit-McPhee) were actually interacting with the apes. The story was also very well done and seemed very plausible for the tattered world that comes about after the apocalyptic event brought on by the Simian virus. Top this all off with a tremendous score, and you have a great movie-going experience. One that definitely lives up to the original movies.
If I had one complaint about this movie, it was the rapid rate at which the apes seemed to evolve in the span of a few days. Although it’s been 10 years since the last movie, in which Caesar did speak, the movie does open with the apes communicating through inaudible language. My first thought was that they are hunt, so they are choosing to communicate in this fashion, but even when they return to their village, they continue with the inaudible, “sign-language” communication. Then over the course of the next three to four days, they slowly bring speech into their communication between themselves and the humans. The big thing is that they seem to struggle with the words at first (even Caesar), and then by the end of the movie, they are holding complete conversations. Just seems a bit rapid to me. But, it was impactful in the progression of the movie. So one small gripe on this is not enough to bring down my opinion of the film.
Here it is again, my friends. Will I buy Dawn when it is released for home consumption? You bet. Unfortunately, it is also going to force me to buy Rise as well. Though, this may not be a bad thing as a second viewing sometimes brings out the good in movies I didn’t like the first time through, especially as I now know what it is building towards. Go see this one in the theaters my friends. And be sure to check it out in 3D also, it was very well done and not overpowering as some movies have been in the past. Though if you have issues with 3D, I am sure it is just as visually appealing in 2D.
Set 10 years after Rise, Dawn sees the world in ruins. Humans are struggling to survive after the Simian virus wreaked havoc on the planet. Living in colonies, they are unaware that there is a growing nation of genetically evolved apes led by Caesar. When the apes and the humans discover each other, they both feel threatened, but there is one man, Malcolm (Jason Clarke), who sees the compassion in Caesar and thinks that he will allow the humans to attempt work on a nearby dam to restore power to their colony. But dissent in the ranks of both sides of the banana prove to threaten this shaky alliance.
This movie blew me away. With an excellent cast to compliment the CGI apes in the movie, you quickly forget that there is any CGI involved at all. The seamless visuals make you feel like Dreyfus (Gary Oldman), Ellie (Keri Russell) and Alexander (Kodi Smit-McPhee) were actually interacting with the apes. The story was also very well done and seemed very plausible for the tattered world that comes about after the apocalyptic event brought on by the Simian virus. Top this all off with a tremendous score, and you have a great movie-going experience. One that definitely lives up to the original movies.
If I had one complaint about this movie, it was the rapid rate at which the apes seemed to evolve in the span of a few days. Although it’s been 10 years since the last movie, in which Caesar did speak, the movie does open with the apes communicating through inaudible language. My first thought was that they are hunt, so they are choosing to communicate in this fashion, but even when they return to their village, they continue with the inaudible, “sign-language” communication. Then over the course of the next three to four days, they slowly bring speech into their communication between themselves and the humans. The big thing is that they seem to struggle with the words at first (even Caesar), and then by the end of the movie, they are holding complete conversations. Just seems a bit rapid to me. But, it was impactful in the progression of the movie. So one small gripe on this is not enough to bring down my opinion of the film.
Here it is again, my friends. Will I buy Dawn when it is released for home consumption? You bet. Unfortunately, it is also going to force me to buy Rise as well. Though, this may not be a bad thing as a second viewing sometimes brings out the good in movies I didn’t like the first time through, especially as I now know what it is building towards. Go see this one in the theaters my friends. And be sure to check it out in 3D also, it was very well done and not overpowering as some movies have been in the past. Though if you have issues with 3D, I am sure it is just as visually appealing in 2D.
Bob Mann (459 KP) rated The Fate of the Furious (2017) in Movies
Sep 29, 2021
Blood is thicker than Diesel.
All work and no play makes bob-the-movie-man a tardy reviewer. Still, what better way to break the fast than with “Fast and Furious 8” (aka “The Fate of the Furious”)?
Well, quite a lot of things actually!
Now, I have a confession to make (and I know for some this will be the equivalent of an appalling statement like “I’ve never seen Star Wars”). I have actually never ever seen Fast and Furious 1 through 7! (If it’s any mitigation to this cinematic crime, I did see the F-and-F wannabe “Need for Speed“).
So I was going to be completely lost with the “plot” right? Well actually, no. It was pretty easy to jump in and follow as a piece of popcorn nonsense.
The M25 water main burst was a real bitch for the Monday morning rush-hour.
For nonsense it is (hence the “rabbit ears” round the word “plot” above). The story isn’t just a bit far-fetched. It’s bat-shit crazy where the bat in question has downed a questionable vindaloo two hours earlier!
Dom (Vin Diesel) has turned on his “family”, including his squeeze, the lovely Letty (Michelle Rodriguez), and Hobbs (Dwayne Johnson, “San Andreas“), to team with the above-the-law (and above the clouds) cyber-super-terrorist Cipher (Charlize Theron, “Mad Max: Fury Road“). They have teamed up, apparently, for no other reason than to allow Cipher to ‘kick some global ass’ with a nuclear threat. But given his caring and sharing side, why the sudden betrayal of his nearest and dearest by Dom?
Ice Queen Metallica fan Theron, showing off her hardware.
Where do you begin with the nonsensical story? Jumping from Cuba (with some admittedly fun scenes, but shamelessly objectifying scantily-clad women) via Berlin and New York to the icy wastes of Siberia, it’s just an excuse to show fast cars doing ludicrously unlikely things. There is zero logic within any of the script. Here are just a handful of examples:
the team know (through enormous jumps of speculation) to be present at a particular location in the world and at exactly the time that Dom is there (arrive, look through binoculars, “Oh, there he is”!);
all cars can be automatically hijacked and remotely driven (who knew), but NOT those of the team (obviously);
fast cars/tanks/etc can be magicked from New York to Siberia (wot, no Hertz Siberia available?);
Russian nuclear codes are stolen, so obviously they can’t be changed?
a nuclear submarine is out of the water on wooden blocks, but spin the propeller really REALLY fast and it can suddenly be sailing away.
Muscle for muscle it never looked like being a fair fight.
I appreciate I am being enormously po-faced about this, and this is designed as pure escapism. But is there REALLY any need for this to be such mindless escapism? The director (Gary Gray, “The Italian Job”) and writer (Chris Morgan, responsible for parts 6 and 7) should credit their audience with rather more in the way of intelligence.
Diesel and Johnson are never going to set the acting ablaze, but Rodriquez (“Lost”) is as watchable as ever. Theron has fun with her villainy and the supporting turns by Tyrese Gibson and Ludacris are enjoyable. Nathalie Emmanuel though as Ramsey seems as uncomfortable with her “sexy English” stereotype as she should be.
A long way from Brookside. Nathalie Emmanuel uncomfortable as “the sexy one”.
Luke Evans (“The Hobbit“), Kurt Russell (“Deepwater Horizon“) and Helen Mirren (“Eye in the Sky“) turn up in entertaining but underused cameos, but it is Jason Statham as Deckard that has the most fun in the whole film, and his scenes – done largely for comic effect – are the best part of the movie. (But “math” Jason? “MATH”?? I hope your old maths teacher back in London doesn’t get to see this film).
Parking enforcement by the City Council was getting more and more stringent.
If you’re willing to park your brain at the door for two hours then it has some fun moments. But I felt the damage to my IQ might not have been worth the risk, and this really didn’t fill my cinematic tank.
Well, quite a lot of things actually!
Now, I have a confession to make (and I know for some this will be the equivalent of an appalling statement like “I’ve never seen Star Wars”). I have actually never ever seen Fast and Furious 1 through 7! (If it’s any mitigation to this cinematic crime, I did see the F-and-F wannabe “Need for Speed“).
So I was going to be completely lost with the “plot” right? Well actually, no. It was pretty easy to jump in and follow as a piece of popcorn nonsense.
The M25 water main burst was a real bitch for the Monday morning rush-hour.
For nonsense it is (hence the “rabbit ears” round the word “plot” above). The story isn’t just a bit far-fetched. It’s bat-shit crazy where the bat in question has downed a questionable vindaloo two hours earlier!
Dom (Vin Diesel) has turned on his “family”, including his squeeze, the lovely Letty (Michelle Rodriguez), and Hobbs (Dwayne Johnson, “San Andreas“), to team with the above-the-law (and above the clouds) cyber-super-terrorist Cipher (Charlize Theron, “Mad Max: Fury Road“). They have teamed up, apparently, for no other reason than to allow Cipher to ‘kick some global ass’ with a nuclear threat. But given his caring and sharing side, why the sudden betrayal of his nearest and dearest by Dom?
Ice Queen Metallica fan Theron, showing off her hardware.
Where do you begin with the nonsensical story? Jumping from Cuba (with some admittedly fun scenes, but shamelessly objectifying scantily-clad women) via Berlin and New York to the icy wastes of Siberia, it’s just an excuse to show fast cars doing ludicrously unlikely things. There is zero logic within any of the script. Here are just a handful of examples:
the team know (through enormous jumps of speculation) to be present at a particular location in the world and at exactly the time that Dom is there (arrive, look through binoculars, “Oh, there he is”!);
all cars can be automatically hijacked and remotely driven (who knew), but NOT those of the team (obviously);
fast cars/tanks/etc can be magicked from New York to Siberia (wot, no Hertz Siberia available?);
Russian nuclear codes are stolen, so obviously they can’t be changed?
a nuclear submarine is out of the water on wooden blocks, but spin the propeller really REALLY fast and it can suddenly be sailing away.
Muscle for muscle it never looked like being a fair fight.
I appreciate I am being enormously po-faced about this, and this is designed as pure escapism. But is there REALLY any need for this to be such mindless escapism? The director (Gary Gray, “The Italian Job”) and writer (Chris Morgan, responsible for parts 6 and 7) should credit their audience with rather more in the way of intelligence.
Diesel and Johnson are never going to set the acting ablaze, but Rodriquez (“Lost”) is as watchable as ever. Theron has fun with her villainy and the supporting turns by Tyrese Gibson and Ludacris are enjoyable. Nathalie Emmanuel though as Ramsey seems as uncomfortable with her “sexy English” stereotype as she should be.
A long way from Brookside. Nathalie Emmanuel uncomfortable as “the sexy one”.
Luke Evans (“The Hobbit“), Kurt Russell (“Deepwater Horizon“) and Helen Mirren (“Eye in the Sky“) turn up in entertaining but underused cameos, but it is Jason Statham as Deckard that has the most fun in the whole film, and his scenes – done largely for comic effect – are the best part of the movie. (But “math” Jason? “MATH”?? I hope your old maths teacher back in London doesn’t get to see this film).
Parking enforcement by the City Council was getting more and more stringent.
If you’re willing to park your brain at the door for two hours then it has some fun moments. But I felt the damage to my IQ might not have been worth the risk, and this really didn’t fill my cinematic tank.
Bob Mann (459 KP) rated Breaking In (2018) (2018) in Movies
Sep 29, 2021
Get In.
Into every life a little rain must fall. Some fairly pervasive advertising drove me into the cinema to see this one… often a sign that the distributors think it has legs. And from its quirky opening titles (with a COMPLETELY expected shock denouement!) I started to think it did have something. The beginning is in fact VERY similar to the introductory scene of “Get Out” in its randomness, and for one brief moment I wondered if the film was trying to parody that indie classic from last year… with only some studio lawyers getting in the way of them really calling it “Get In”. (“No, no, no… ‘Get’ is copyrighted… you’ll have to use some other word!”).
But no. It turns out that this is a pretty below-average B-movie after all,
The plot is pretty derivative of the “family in dire peril” variety made famous by the “Taken” series. Not being able to persuade Liam Neeson to wear a dress in this “Times Up” era, the Neeson-actioner writer Ryan Engle (“The Commuter“, “Non-Stop“) switches the action to focus on stressed mother Shaun Russell (Gabrielle Union).
Shaun has come to deepest Wisconsin with her two kids, Jasmine (Ajiona Alexus) and Glover (Seth Carr) to arrange the sale of her deceased father’s luxury home: a house absolutely brimming to the elegant rafters with security features. But unknown to them, there are already intruders in the house searching for something of value, and with Shaun locked outside the secure fortress home she will stop at nothing to break in and bring her children safely home.
The sad thing about this one is that the fairly unknown cast actually do a pretty good job. The chief villain Eddie, played by Billy Burke, channels an effectively ‘evil-quiet-Gary-Oldman” turn to good effect. His accomplices, the more sensitive Sam (Levi Meaden), luckless Peter (Mark Furze) and (particularly) the psychopathic Duncan (Richard Cabral) (can a psychopath really be called Duncan?) are broad caricatures, but never too broad to be totally awful.
Gabrielle Union kicks-ass effectively with her particular set of skills (see below), but particularly good is 22-year old Ajiona Alexus who has a great screen presence and deserves to be in much better films than this.
Where the film stumbles and goes crashing through its carbonite shutters is in the story and the screenplay’s dialogue.
The former is just bat-shit crazy, with so many ridiculous plot-holes and “yeah-but” moments that you lose count. For example, at one point the daughter is looking for her mobile phone WHICH IS IN THE ROOM and which would wrap the plot up in 10 minutes flat…. but then something else happens and they stop looking for it, never to be thought of again!
And what of those ‘particular set of skills’ that Shaun has? Oh, I forgot to say… she has none!! Or at least you assume not, since Shaun seems to have no back-story whatsoever, other than the fact that her daddy is very very rich and being investigated by the D/A. For what? Embezzlement? Tax evasion? Smartie-smuggling? Gun running? Perhaps he was a mafia overlord and Shaun was brought up with martial arts, gun and knife training to spy-school level? Perhaps none of the above, and she was just an obsessive watcher of Engle-scripted flicks? We will never know.
In addition, Shaun gets the proverbial crap kicked out of her on so many occasions, but there is no trip to casualty required. (Yes, I know Neeson and most other action heroes have the same implausible in-vulnerabilities, but it just seems so much less realistic when she is a not-particularly sporty or athletic woman).
And that dialogue… it’s just plain laughable in places. If Eddie doesn’t do his “Mamma hen will come back to save her chicks” speech once, he does it five times….
“Hey, James”… (James McTeigue, director, “V for Vendetta”)… says Burke, “Haven’t I said this line four times already”. “Sure”, says McTeigue, “I’m not sure where exactly I want to put it in the final cut yet, but only one of them will stay in. Don’t worry… I won’t make you look stupid to the cinema-going audience!!”
Every last thriller cliché is mined as the story grinds to an unmemorable and very flat conclusion.
Before wrapping up, I’d point out Another crime being committed in the music department. Australian composer Johnny Klimek’s action thriller score is actually quiet good, full of nice electronic riffs. But he really doesn’t know when to shut up. I remember an interview by John Williams on scoring the score to Hitchcock’s “Family Plot” where he recounted that Hitchcock taught him the value of a sudden absence of music at key moments. This film is too recent to learn the many lessons of “A Quiet Place“: but there are so many moments in this film where silence should have been golden. At one point the (what should be) heart-stopping sound effect of a creaking beam can barely be heard over Klimek’s pounding electronics.
So in summary, although it’s the award of ‘good acting attempt’ badges to sew onto the cast’s scout uniforms, my message to you dear reader re this one is “Get Out” of the cinema and enjoy the nice summer evenings instead!
But no. It turns out that this is a pretty below-average B-movie after all,
The plot is pretty derivative of the “family in dire peril” variety made famous by the “Taken” series. Not being able to persuade Liam Neeson to wear a dress in this “Times Up” era, the Neeson-actioner writer Ryan Engle (“The Commuter“, “Non-Stop“) switches the action to focus on stressed mother Shaun Russell (Gabrielle Union).
Shaun has come to deepest Wisconsin with her two kids, Jasmine (Ajiona Alexus) and Glover (Seth Carr) to arrange the sale of her deceased father’s luxury home: a house absolutely brimming to the elegant rafters with security features. But unknown to them, there are already intruders in the house searching for something of value, and with Shaun locked outside the secure fortress home she will stop at nothing to break in and bring her children safely home.
The sad thing about this one is that the fairly unknown cast actually do a pretty good job. The chief villain Eddie, played by Billy Burke, channels an effectively ‘evil-quiet-Gary-Oldman” turn to good effect. His accomplices, the more sensitive Sam (Levi Meaden), luckless Peter (Mark Furze) and (particularly) the psychopathic Duncan (Richard Cabral) (can a psychopath really be called Duncan?) are broad caricatures, but never too broad to be totally awful.
Gabrielle Union kicks-ass effectively with her particular set of skills (see below), but particularly good is 22-year old Ajiona Alexus who has a great screen presence and deserves to be in much better films than this.
Where the film stumbles and goes crashing through its carbonite shutters is in the story and the screenplay’s dialogue.
The former is just bat-shit crazy, with so many ridiculous plot-holes and “yeah-but” moments that you lose count. For example, at one point the daughter is looking for her mobile phone WHICH IS IN THE ROOM and which would wrap the plot up in 10 minutes flat…. but then something else happens and they stop looking for it, never to be thought of again!
And what of those ‘particular set of skills’ that Shaun has? Oh, I forgot to say… she has none!! Or at least you assume not, since Shaun seems to have no back-story whatsoever, other than the fact that her daddy is very very rich and being investigated by the D/A. For what? Embezzlement? Tax evasion? Smartie-smuggling? Gun running? Perhaps he was a mafia overlord and Shaun was brought up with martial arts, gun and knife training to spy-school level? Perhaps none of the above, and she was just an obsessive watcher of Engle-scripted flicks? We will never know.
In addition, Shaun gets the proverbial crap kicked out of her on so many occasions, but there is no trip to casualty required. (Yes, I know Neeson and most other action heroes have the same implausible in-vulnerabilities, but it just seems so much less realistic when she is a not-particularly sporty or athletic woman).
And that dialogue… it’s just plain laughable in places. If Eddie doesn’t do his “Mamma hen will come back to save her chicks” speech once, he does it five times….
“Hey, James”… (James McTeigue, director, “V for Vendetta”)… says Burke, “Haven’t I said this line four times already”. “Sure”, says McTeigue, “I’m not sure where exactly I want to put it in the final cut yet, but only one of them will stay in. Don’t worry… I won’t make you look stupid to the cinema-going audience!!”
Every last thriller cliché is mined as the story grinds to an unmemorable and very flat conclusion.
Before wrapping up, I’d point out Another crime being committed in the music department. Australian composer Johnny Klimek’s action thriller score is actually quiet good, full of nice electronic riffs. But he really doesn’t know when to shut up. I remember an interview by John Williams on scoring the score to Hitchcock’s “Family Plot” where he recounted that Hitchcock taught him the value of a sudden absence of music at key moments. This film is too recent to learn the many lessons of “A Quiet Place“: but there are so many moments in this film where silence should have been golden. At one point the (what should be) heart-stopping sound effect of a creaking beam can barely be heard over Klimek’s pounding electronics.
So in summary, although it’s the award of ‘good acting attempt’ badges to sew onto the cast’s scout uniforms, my message to you dear reader re this one is “Get Out” of the cinema and enjoy the nice summer evenings instead!