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Bob Mann (459 KP) rated Sleepless (2017) in Movies
Sep 29, 2021
A potentially good ‘B’ movie undone.
Ecclesiastes 1:9 came up with the oft used quote that “there is nothing new under the sun”. “Sleepless” proves that in spades.
Bent copper drama? Check.
Dodgy casino owner? Check.
Nasty “Black Rain” style hoodlum? Check.
Kidnapped teen (“I WILL find you”)? Check.
Misunderstood family man? Check.
All of these standard tropes are lobbed into the movie blender and pulsed well.
Holding it all together are solid performances from Jamie Foxx (“Django Unchained”) as Vincent Downs, the cop with a dodgy background, and Michelle Monaghan (“Source Code”, “Patriot’s Day”) as the internal affairs cop doggedly on his trail.
In terms of the storyline it’s best to go into the film (as I did) with limited knowledge of the plot (on which more below). As the film opens, and playing out a strong anti-hero role, Downs with his equally dodgy partner are involved in a shootout at a drug deal in the streets of Las Vegas. This allows them to get their hands on a significant quantity of heroine. Naturally they pocket this, but unbeknownst to them the deal was between casino boss Rubino (Dermot Mulrooney, “The Grey”) and the vicious mafia son of the local Novak family, Rob (Scoot McNairy, “Argo”). For Downs the pressure is on when his teenage son Thomas ( Octavius J. Johnson) is kidnapped as a trade for the drugs.
The film delivers some good fight scenes and action, but nothing we haven’t seen before in countless other movies like Bourne. What drags the film down though is the scripting and direction. There are such a range of implausibilities on show here that it makes you wonder why anyone involved in the film didn’t just stop and say “WAIT A MINUTE HERE GUYS” and demand a rewrite.
For example, Foxx suffers a severe knife wound early in the film, but repeatedly bounces from ‘full action hero fighting machine’ mode to ‘staggering and holding his side’ mode without pause. The wound adds nothing but implausibility to the action, so why include it at all??
And a scene in an underground car park involving copious quantities of tear gas brought tears of embarrassment to my eyes: an affliction that didn’t seem to affect any of the protagonists in the film!
This is a great shame, and writer Andrea Berloff (“Straight Outta Compton”) and Swiss-born director Baran bo Odar should have more respect for their audience’s intelligence (that’s the third movie in recent weeks I’ve made that comment on… it must be the time of year!).
It’s also extremely irritating that one of the key twists in the movie (although you may guess it) is so blatantly spoiled: both by an audio line in the trailer (commented on below) and – more appallingly – by one of the two straplines on the posters (I haven’t used that one to head my post). Thankfully I never noticed this before I saw the film.
Fox and Monaghan are too good for the material but have screen chemistry that keeps the film watchable. I also thought Scoot McNairy was great as the cold-eyed crazy hoodlum and it’s also interesting to see Dermot Mulrooney, so memorable as the male lead in 1997’s “My Best Friend’s Wedding”, back in a mainstream role.
By the way, I have no idea why the film is called “Sleepless”, other than it being based on a 2011 French film called “Nuit Blanche” which was perhaps written in a way where it made more sense. Vincent is no Jack Bauer and he gets more than a small opportunity to catnap during the running time!
In summary, the movie is perfectly watchable for its action moments. In fact, as I *think* my wife, who is a great fan of “Die Hard, “Taken”, et al would like it I’ve added a half-Fad to my initial rating. And it’s done with some style such that it has the *potential* to be a good film – – which is frustrating. But in my view it’s not worth the ticket price at the cinema: wait instead for it to arrive on Amazon/Netflix.
The end of the film suggests a set-up for a sequel. I doubt this is a sequel that will ever get made.
Bent copper drama? Check.
Dodgy casino owner? Check.
Nasty “Black Rain” style hoodlum? Check.
Kidnapped teen (“I WILL find you”)? Check.
Misunderstood family man? Check.
All of these standard tropes are lobbed into the movie blender and pulsed well.
Holding it all together are solid performances from Jamie Foxx (“Django Unchained”) as Vincent Downs, the cop with a dodgy background, and Michelle Monaghan (“Source Code”, “Patriot’s Day”) as the internal affairs cop doggedly on his trail.
In terms of the storyline it’s best to go into the film (as I did) with limited knowledge of the plot (on which more below). As the film opens, and playing out a strong anti-hero role, Downs with his equally dodgy partner are involved in a shootout at a drug deal in the streets of Las Vegas. This allows them to get their hands on a significant quantity of heroine. Naturally they pocket this, but unbeknownst to them the deal was between casino boss Rubino (Dermot Mulrooney, “The Grey”) and the vicious mafia son of the local Novak family, Rob (Scoot McNairy, “Argo”). For Downs the pressure is on when his teenage son Thomas ( Octavius J. Johnson) is kidnapped as a trade for the drugs.
The film delivers some good fight scenes and action, but nothing we haven’t seen before in countless other movies like Bourne. What drags the film down though is the scripting and direction. There are such a range of implausibilities on show here that it makes you wonder why anyone involved in the film didn’t just stop and say “WAIT A MINUTE HERE GUYS” and demand a rewrite.
For example, Foxx suffers a severe knife wound early in the film, but repeatedly bounces from ‘full action hero fighting machine’ mode to ‘staggering and holding his side’ mode without pause. The wound adds nothing but implausibility to the action, so why include it at all??
And a scene in an underground car park involving copious quantities of tear gas brought tears of embarrassment to my eyes: an affliction that didn’t seem to affect any of the protagonists in the film!
This is a great shame, and writer Andrea Berloff (“Straight Outta Compton”) and Swiss-born director Baran bo Odar should have more respect for their audience’s intelligence (that’s the third movie in recent weeks I’ve made that comment on… it must be the time of year!).
It’s also extremely irritating that one of the key twists in the movie (although you may guess it) is so blatantly spoiled: both by an audio line in the trailer (commented on below) and – more appallingly – by one of the two straplines on the posters (I haven’t used that one to head my post). Thankfully I never noticed this before I saw the film.
Fox and Monaghan are too good for the material but have screen chemistry that keeps the film watchable. I also thought Scoot McNairy was great as the cold-eyed crazy hoodlum and it’s also interesting to see Dermot Mulrooney, so memorable as the male lead in 1997’s “My Best Friend’s Wedding”, back in a mainstream role.
By the way, I have no idea why the film is called “Sleepless”, other than it being based on a 2011 French film called “Nuit Blanche” which was perhaps written in a way where it made more sense. Vincent is no Jack Bauer and he gets more than a small opportunity to catnap during the running time!
In summary, the movie is perfectly watchable for its action moments. In fact, as I *think* my wife, who is a great fan of “Die Hard, “Taken”, et al would like it I’ve added a half-Fad to my initial rating. And it’s done with some style such that it has the *potential* to be a good film – – which is frustrating. But in my view it’s not worth the ticket price at the cinema: wait instead for it to arrive on Amazon/Netflix.
The end of the film suggests a set-up for a sequel. I doubt this is a sequel that will ever get made.
RəX Regent (349 KP) rated The Fly (1958) in Movies
Feb 20, 2019
As the wife (Patricia Owens) of "murdered" scientist played by Al (David) Hedison, is maniacally hunting for a fly with a white head, both the police and his brother (Vincent Price) are trying to uncover the truth behind his death, which seems by all accounts to be the work of his wife.
But as she recounts the tale of how they both ended up embroiled in the hydraulic press, one under it and one at the controls, the plot thickens and a Sci Fi classic is born. Hedison's scientist has invented the teleporter and during one of his human tests on himself, a fly enters the chamber with him and the pair are fused: The fly's head and left arm are now a part of Hedison, whilst his head and arm are buzzing around as part of a common house fly.
The film makes an effort to offer some real science, though be it toned down and simplified by today's standards, but it is easy to feel that this is a naive movie at face value, if you forget that in 1958, teleportation was a fantastical concept, but mid 60's science fiction such as Star Trek would make this much more matter of fact and play around with science more freely.
But by the time of the remake in 1986, David Cronenberg was gifted with an audience who understood these ideas and offered a more comprehensive take on what might have happened, in this case, gene splicing and DNA replication, with the cells using the corrupted hybrid DNA code as a basic every time the cells replicate, a process which would eventually turn Jeff Goldblum's man in to a man/fly hybrid monster!
But here, whilst almost all of this is present, it is simplified for an audience unprepared and unarmed with the scientific knowledge with would be more common in the 1980's, thanks to films like this. Here, Hedison's man/fly is changing mentally into a fly the longer he has the mutation, leading him to commit assisted suicide in order to prevent his work from been replicated, fearing the consequences.
This is ground breaking stuff. A Sci-Fi classic which spends most of its running time building an intriguing, intelligent suspenseful thriller, with little time given over to the eponymous Fly itself, but it is omnipresent, chilling as is the reveal of the scientist's deformation in the final act, the change in personality and loving relationship with his tragic wife.
And that penultimate scene in which the white-headed fly is revealed to us with Hedison's head and arm as it/he is about to be devoured by a spider in his web, must be one of the most chilling scene's of the genre. Simple, effective and not for the special effects or gore, but for the concept, one which leaves you thinking and considering what you have just witnessed.
What would you do if you saw a fly with a human head? A human with a fly's head? Creepy...
But as she recounts the tale of how they both ended up embroiled in the hydraulic press, one under it and one at the controls, the plot thickens and a Sci Fi classic is born. Hedison's scientist has invented the teleporter and during one of his human tests on himself, a fly enters the chamber with him and the pair are fused: The fly's head and left arm are now a part of Hedison, whilst his head and arm are buzzing around as part of a common house fly.
The film makes an effort to offer some real science, though be it toned down and simplified by today's standards, but it is easy to feel that this is a naive movie at face value, if you forget that in 1958, teleportation was a fantastical concept, but mid 60's science fiction such as Star Trek would make this much more matter of fact and play around with science more freely.
But by the time of the remake in 1986, David Cronenberg was gifted with an audience who understood these ideas and offered a more comprehensive take on what might have happened, in this case, gene splicing and DNA replication, with the cells using the corrupted hybrid DNA code as a basic every time the cells replicate, a process which would eventually turn Jeff Goldblum's man in to a man/fly hybrid monster!
But here, whilst almost all of this is present, it is simplified for an audience unprepared and unarmed with the scientific knowledge with would be more common in the 1980's, thanks to films like this. Here, Hedison's man/fly is changing mentally into a fly the longer he has the mutation, leading him to commit assisted suicide in order to prevent his work from been replicated, fearing the consequences.
This is ground breaking stuff. A Sci-Fi classic which spends most of its running time building an intriguing, intelligent suspenseful thriller, with little time given over to the eponymous Fly itself, but it is omnipresent, chilling as is the reveal of the scientist's deformation in the final act, the change in personality and loving relationship with his tragic wife.
And that penultimate scene in which the white-headed fly is revealed to us with Hedison's head and arm as it/he is about to be devoured by a spider in his web, must be one of the most chilling scene's of the genre. Simple, effective and not for the special effects or gore, but for the concept, one which leaves you thinking and considering what you have just witnessed.
What would you do if you saw a fly with a human head? A human with a fly's head? Creepy...
Darren (1599 KP) rated Buffalo '66 (1998) in Movies
Sep 26, 2019
Characters – Billy Brown has just been released from prison, he has had his own problems which led to him being in prison and it isn’t long before he goes to the extremes to impress his family. He is painted as an aggressive man that believes that woman are just objects and has built his world in lies. Layla is the tap dancer that gets kidnapped, she starts to play along with what Billy wants and even enjoy his company the more time they spend together. Jimmy and Jan are his parents that have both been either distracted or strict in raising Billy, as he wants to impress them now. The Bookie is the man that put Billy in jail as a result of the debts he owed him, he gave him a choice with jail being the only one that didn’t hurt anyone.
Performances – Vincent Gallo doesn’t bring us a very interesting character, it isn’t written well or directed to make us interested in him, he just can’t make this character work. Christina Ricci was trying to break out of the child star roles by now, this is different to what we had seen before, though she does look bored through the film. the rest of the cast struggle too, it is just poorly written to give the actors a chance.
Story – The story follows a gambler that had paid the price for his addiction and now is free, he wants revenge only he spends the time with his kidnap victim as we get to see the difficult life he has had which led him to the life of crime. Well I think that is what we are meant to be seeing, the story does drag along at an awfully slow pace with nothing much happening, trying to make us believe the two could be falling in love, though he is abusive with his actions and spends more time running around looking for a toilet than showing any sort of emotion.
Comedy/Crime/Romance – If this is meant to be a comedy, the jokes miss big time as you will struggle to get a laugh out of this film, while the crime only seems to focus on the kidnapping, which she could have escaped from with ease plenty of times, so that never feels like a threat, the romance just feels awkward for the most part of the film because there is zero chemistry between the two.
Settings – The film is set in the Buffalo area, which is meant to be about the passion of the locals, it could easily be any town with a big American football team.
Scene of the Movie – The first look at the dinner table makes it a clever shot, until it gets boring.
That Moment That Annoyed Me – We spend more time looking for a toilet.
Final Thoughts – This is just a dreadfully dull movie that has no direction in anyway, it fails to capture any attention from the audience with a truly unlikeable main character.
Overall: Dreadfully boring.
Performances – Vincent Gallo doesn’t bring us a very interesting character, it isn’t written well or directed to make us interested in him, he just can’t make this character work. Christina Ricci was trying to break out of the child star roles by now, this is different to what we had seen before, though she does look bored through the film. the rest of the cast struggle too, it is just poorly written to give the actors a chance.
Story – The story follows a gambler that had paid the price for his addiction and now is free, he wants revenge only he spends the time with his kidnap victim as we get to see the difficult life he has had which led him to the life of crime. Well I think that is what we are meant to be seeing, the story does drag along at an awfully slow pace with nothing much happening, trying to make us believe the two could be falling in love, though he is abusive with his actions and spends more time running around looking for a toilet than showing any sort of emotion.
Comedy/Crime/Romance – If this is meant to be a comedy, the jokes miss big time as you will struggle to get a laugh out of this film, while the crime only seems to focus on the kidnapping, which she could have escaped from with ease plenty of times, so that never feels like a threat, the romance just feels awkward for the most part of the film because there is zero chemistry between the two.
Settings – The film is set in the Buffalo area, which is meant to be about the passion of the locals, it could easily be any town with a big American football team.
Scene of the Movie – The first look at the dinner table makes it a clever shot, until it gets boring.
That Moment That Annoyed Me – We spend more time looking for a toilet.
Final Thoughts – This is just a dreadfully dull movie that has no direction in anyway, it fails to capture any attention from the audience with a truly unlikeable main character.
Overall: Dreadfully boring.
Gareth von Kallenbach (965 KP) rated I Am Legend (2007) in Movies
Aug 14, 2019
Dr. Robert Neville (Will Smith) is a man with a very unique and very dangerous situation. Once hailed as a savior to the human race, Dr. Neville now finds himself wandering the streets of New York, alone, save for the company of his trusted dog Sam.
In the new film “I Am Legend”, Will Smith finds himself in a world gone mad when a cure for cancer has mutated horribly and reducing infected populations to dangerous mutants who roam dark places destroying all they encounter.
With the back-story of the film told largely through flashbacks, it is learned that Dr. Neville was close to finding the cure for the outbreak, but when the virus became airborne, New York City was to be quarantined via Presidential order.
Unwilling to leave the city, as he is convinced a cure is to be found there, Dr. Neville, stays behind, and three years later is the sole survivor in a city that has become an overgrown and desolate wasteland.
Robert has become a creature of habit, as he hunts for food and useful items during the day, and in keeping with a broadcasted message, he appears at the docks every day in hopes that someone has heard his message and will be waiting for him.
Robert also amuses himself by renting movies at a nearby store and has positioned and named mannequins throughout the city in order to have some since of companionship and conversation, but it is clear that the years of isolation are starting to take their toll.
When night falls, Robert and Sam take refuge behind the reinforced shutters of their home, as dangerous bands of light sensitive mutants wander the streets at night, forcing him to stay inside until the safety of the morning sun arrives.
Robert gets a sense of hope, when he sees some potential from a new vaccine he has developed. While testing it on a captured mutant does not deliver the desired results, it does show promise that at last progress is being made in finding a way to eliminate the threat of the plague once and for all.
When a series of unexpected and surprising situations arise, Robert is forced to examine his priorities, and prepare for the ultimate confrontation if there is to be a future for humanity.
The film is the third film version of the book of the same name as Vincent Price started in “The Last Man on Earth”, and Charlton Heston gave a memorable turn in the classic “Omega Man”. Smith is solid in the role of a man driven by his desire to complete what he has started no matter the cost, even though he believes that humanity has already perished. He mixes pathos with humor, to create a sympathetic though flawed character that is unlike many of his likeable everyman roles.
At one time years ago, this film was considered as a vehicle for a pre-Governor Arnold Schwarzenegger, and it deftly mixes drama, suspense, and action to create a very memorable experience.
My biggest issue with the film was the finale, as up until that point, the film had been pacing itself to be a 2hr plus film, and it seems as if the filmmakers decided to wrap things up quickly, as the pacing of the film rapidly changed gears for what in many ways was a standard pat ending, that does not equal the quality of the first ¾ of the film.
That being said, if you can overlook the very disappointing finale to the film and focus on the solid premise and work of Smith, then you might find this one of the years more enjoyable films.
In the new film “I Am Legend”, Will Smith finds himself in a world gone mad when a cure for cancer has mutated horribly and reducing infected populations to dangerous mutants who roam dark places destroying all they encounter.
With the back-story of the film told largely through flashbacks, it is learned that Dr. Neville was close to finding the cure for the outbreak, but when the virus became airborne, New York City was to be quarantined via Presidential order.
Unwilling to leave the city, as he is convinced a cure is to be found there, Dr. Neville, stays behind, and three years later is the sole survivor in a city that has become an overgrown and desolate wasteland.
Robert has become a creature of habit, as he hunts for food and useful items during the day, and in keeping with a broadcasted message, he appears at the docks every day in hopes that someone has heard his message and will be waiting for him.
Robert also amuses himself by renting movies at a nearby store and has positioned and named mannequins throughout the city in order to have some since of companionship and conversation, but it is clear that the years of isolation are starting to take their toll.
When night falls, Robert and Sam take refuge behind the reinforced shutters of their home, as dangerous bands of light sensitive mutants wander the streets at night, forcing him to stay inside until the safety of the morning sun arrives.
Robert gets a sense of hope, when he sees some potential from a new vaccine he has developed. While testing it on a captured mutant does not deliver the desired results, it does show promise that at last progress is being made in finding a way to eliminate the threat of the plague once and for all.
When a series of unexpected and surprising situations arise, Robert is forced to examine his priorities, and prepare for the ultimate confrontation if there is to be a future for humanity.
The film is the third film version of the book of the same name as Vincent Price started in “The Last Man on Earth”, and Charlton Heston gave a memorable turn in the classic “Omega Man”. Smith is solid in the role of a man driven by his desire to complete what he has started no matter the cost, even though he believes that humanity has already perished. He mixes pathos with humor, to create a sympathetic though flawed character that is unlike many of his likeable everyman roles.
At one time years ago, this film was considered as a vehicle for a pre-Governor Arnold Schwarzenegger, and it deftly mixes drama, suspense, and action to create a very memorable experience.
My biggest issue with the film was the finale, as up until that point, the film had been pacing itself to be a 2hr plus film, and it seems as if the filmmakers decided to wrap things up quickly, as the pacing of the film rapidly changed gears for what in many ways was a standard pat ending, that does not equal the quality of the first ¾ of the film.
That being said, if you can overlook the very disappointing finale to the film and focus on the solid premise and work of Smith, then you might find this one of the years more enjoyable films.
Gareth von Kallenbach (965 KP) rated House of Wax (2005) in Movies
Aug 14, 2019
As sure as the winter season brings snow and rain, summer is sure to bring sequels and remakes to theaters across the land. With many classic horror films such as “The Amityville Horror:”, “The Texas Chainsaw Massacre” already released and with “The Fog”, pending, Hollywood is trying to find gold from the past.
The latest remake to make the screen is The House of Wax which shares precious little with the 1953 Vincent Price classic aside from the title house and an abundance of wax figures. The story follows Carly Jones, (Elisa Cuthbert), a young college graduate who is planning to move from her small town to take an internship in New York. Her boyfriend Wade (Jared Padalecki) is unsure if he will follow her to the big city which is a source of tension between the otherwise happy couple.
Carly and Wade decide to take a road trip to a big sporting event, and have their friends Paige (Paris Hilton), Blake (Robert Ri’chard), Dalton (John Abrahams), and Carly’s brother Nick (Chad Michael Murray), along for the ride. In a true horror film cliche, the road trip becomes and overnight campout in a remote backwoods area where drinking, sex, and other youthful merriment abounds.
Of course the merriment is interrupted when a strange encounter with a mysterious truck and an unexpectedly broken car fan belt in the morning forces Carly and wade to stay behind to locate the needed part in a nearby town while their friends continue on to the game.
The local town is mostly empty, and looks like something out of the 60’s aside from numerous signs that tout the local wax museum. While exploring the empty town, Carly and Wade stumble upon a church where a service is in session, and meet Bo, (Brian Van Holt), who is the local mechanic who tells them he can get the needed part as soon as the service has ended. With time on their hands, Carly and Wade visit the local wax museum which is equally deserted, but filled with life like figures.
When Carly suddenly sees a bizarre figure lurking in the shadows the events soon unfold leaving Carly and Wade trapped in a nightmare that is out of control. As if that was not bad enough, their friends have become stuck in traffic and decide to forgo the big game and return to pick up Carly and Wade not knowing bizarre nightmare they are about to encounter.
Despite some flaws, House generally works and as horror films go, is entertaining. Sure the characters and plot are paper thin and characters seem to have a severe lack of common sense, yet despite the flaws, there are some good moments. The film goes almost 50 minutes before the mayhem starts, but when it does, the killings are some of the most brutal in horror film history. On more than one occasion during my press screener did I see a member of the audience hiding their face in the shoulder of a significant other during some of the films more intense moments.
The film also has a good villain that while not well defined, is nevertheless chilling and projects menace very well. The cast works well with one another given the limitations of the genre, and the pacing of the film by first time director Jaume Serra is effective in adding a bit of tension yet keeping the adrenalin moving during key parts.
My biggest issue with the film would be the ending that I thought took the Hollywood way out, with a big effects spectacle instead of staying focused on the characters and their plight, That being said, as mindless Summer thrills The House of Wax is a decent if albeit at times lacking film.
The latest remake to make the screen is The House of Wax which shares precious little with the 1953 Vincent Price classic aside from the title house and an abundance of wax figures. The story follows Carly Jones, (Elisa Cuthbert), a young college graduate who is planning to move from her small town to take an internship in New York. Her boyfriend Wade (Jared Padalecki) is unsure if he will follow her to the big city which is a source of tension between the otherwise happy couple.
Carly and Wade decide to take a road trip to a big sporting event, and have their friends Paige (Paris Hilton), Blake (Robert Ri’chard), Dalton (John Abrahams), and Carly’s brother Nick (Chad Michael Murray), along for the ride. In a true horror film cliche, the road trip becomes and overnight campout in a remote backwoods area where drinking, sex, and other youthful merriment abounds.
Of course the merriment is interrupted when a strange encounter with a mysterious truck and an unexpectedly broken car fan belt in the morning forces Carly and wade to stay behind to locate the needed part in a nearby town while their friends continue on to the game.
The local town is mostly empty, and looks like something out of the 60’s aside from numerous signs that tout the local wax museum. While exploring the empty town, Carly and Wade stumble upon a church where a service is in session, and meet Bo, (Brian Van Holt), who is the local mechanic who tells them he can get the needed part as soon as the service has ended. With time on their hands, Carly and Wade visit the local wax museum which is equally deserted, but filled with life like figures.
When Carly suddenly sees a bizarre figure lurking in the shadows the events soon unfold leaving Carly and Wade trapped in a nightmare that is out of control. As if that was not bad enough, their friends have become stuck in traffic and decide to forgo the big game and return to pick up Carly and Wade not knowing bizarre nightmare they are about to encounter.
Despite some flaws, House generally works and as horror films go, is entertaining. Sure the characters and plot are paper thin and characters seem to have a severe lack of common sense, yet despite the flaws, there are some good moments. The film goes almost 50 minutes before the mayhem starts, but when it does, the killings are some of the most brutal in horror film history. On more than one occasion during my press screener did I see a member of the audience hiding their face in the shoulder of a significant other during some of the films more intense moments.
The film also has a good villain that while not well defined, is nevertheless chilling and projects menace very well. The cast works well with one another given the limitations of the genre, and the pacing of the film by first time director Jaume Serra is effective in adding a bit of tension yet keeping the adrenalin moving during key parts.
My biggest issue with the film would be the ending that I thought took the Hollywood way out, with a big effects spectacle instead of staying focused on the characters and their plight, That being said, as mindless Summer thrills The House of Wax is a decent if albeit at times lacking film.
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