OVERLORD (2018) – World War II Actioner/Horror Movie Generally Entertaining

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MOVIE 'OVERLORD'

Jovan Adepo and Wyatt Russell in OVERLORD (2018).

A horror movie set during World War II, hours before the Allied invasion of Normandy.

Sound like a pretty good combination to me!

And OVERLORD (2018) is just that: an action/horror hybrid that isn’t half bad.

In the battle of Normandy, code name Overlord, it’s the mission of a select group of allied soldiers to land behind enemy lines and destroy a Nazi radio tower to give the allied planes protection as they provide cover for the invading ground forces. The battle zone is insanely chaotic, and the plane carrying these soldiers is shot out of the sky, with only a few soldiers successfully making it out of the plane via parachute. Fewer still survive once they hit the ground in Nazi territory.

Only a handful of soldiers remain. OVERLORD is their story. Ranking officer Corporal Ford (Wyatt Russell) leads this group to the radio tower which is located on top of a church. Among these soldiers is Private Boyce (Jovan Adepo), a black soldier who’s been called out for not being much of a soldier, mostly likely because of the color of his skin.

On the ground, they meet a young French woman Chloe (Mathilde Ollivier), and since Boyce is the only soldier there who speaks French, suddenly he’s a bit more valuable. Chloe provides shelter for the soldiers at her aunt’s farmhouse, which she shares with her sick aunt and kid brother. While Ford and company prepare for their mission, they have to lay low from the marauding Nazis, led by a particularly nasty officer named Wafner (Pilou Asbaek).

While at the farmhouse, the soldiers hear rumors of strange scientific experiments being conducted by the Nazis underneath the church, experiments that are killing many of the townspeople.  While fleeing Nazi soldiers, Boyce accidentally finds his way inside the bizarre underground lab, and what he sees there horrifies him.

He reports back to Ford, who tells Boyce and his fellow soldiers that the stuff happening inside the lab is not part of their mission, but when events bring the horrors from the lab onto their doorstep, they suddenly find themselves with no choice but to confront the monstrosities head on.

The best part of OVERLORD is its combination of World War II adventure and horror tale is a good one and for the most part works. The World War II story is exciting on its own, which is a good thing because the horror elements don’t really come into play until the movie’s third act.

And that’s one thing I didn’t like about OVERLORD. It takes too long to get to its best part, the stuff with the Nazi experiments. As such, it really isn’t much of a horror movie. In fact, even when it’s revealed just what those experiments are, and things get a bit gruesome, the subject matter really isn’t all that horrific. OVERLORD plays more like a violent action science fiction adventure than a horror movie.

That being said, I had a lot of fun watching OVERLORD. I just wished its genre elements had been darker.

I fully enjoyed the cast.  Jovan Adepo is excellent as Boyce, the character audiences will relate to the most.  He’s both the voice of reason and caution, and his decisions throughout the film are spot on and in tune with what audiences expect from a movie hero. One problem here, however, is with historical accuracy.  While the notion of having a black character here as the lead is a good one and one I really enjoyed, the U.S. military was still racially segregated during World War II. Oops!

Wyatt Russell is also very good as Ford. Now, Russell is the son of Kurt Russell and Goldie Hawn, and there are times when his mannerisms and dialogue delivery really resemble his father, which is a good thing. Russell makes for a likeable action hero.

Likewise, Mathilde Ollivier is also thoroughly enjoyable as Chloe, the fiery French woman who assists the allied soldiers. She’s smart, tough, and terribly sexy.

And Pilou Asbaek makes for a sufficiently nasty villain as Nazi officer Wafner. Asbaek has starred on GAME OF THRONES (2016-17) and in the movies GHOST IN THE SHELL (2017) and THE GREAT WALL (2016), among others, but this is my favorite role I’ve seen him play so far. He was fun to hate.

OVERLORD was produced by J.J. Abrams, and early rumors were that this film was going to be part of the CLOVERFIELD universe. It’s not, although at times it certainly felt like it. The only thing missing was any reference to the word “cloverfield.”

OVERLORD was directed by Julius Avery with mixed results.  The World War II stuff is exciting and nicely paced, though nothing audiences haven’t seen before. The horror elements which finally show up in the film’s third act, are violent and energetic, but hardly scary.  This one is rated R for language and bloody violence and science fiction style mutilations, and it plays like OPERATION: FINALE (2018) meets A CURE FOR WELLNESS (2016).

The best scenes are the World War II fight scenes. While the blood and gore increase towards the film’s finale, the suspense doesn’t.  I will say the special make-up effects were very good.

Billy Ray and Mark L. Smith wrote the adequate screenplay.  It’s filled with serviceable dialogue and situations, but nothing that pushes the envelope all that much. In all honesty, I expected to be more horrified by the film’s revelations, but that wasn’t the case. The horrors revealed here do not rise above the comic book level.

At least the tone remains serious, and  never deviates into campiness, and I liked this. No surprise here, really, since Ray wrote the screenplay for the Tom Hanks film CAPTAIN PHILLIPS (2013), while Smith wrote the screenplay to THE REVENANT (2015) the film in which Leonardo DiCaprio won the Academy Award for Best Actor, two very serious movies.

OVERLORD, incidentally, refers to the Normandy invasion code name, and not the popular Japanese novel series and anime.

I liked OVERLORD well enough, even though it didn’t fully deliver with its horror elements. The World War II scenes provide plenty of adventure and excitement, while the whispers of bizarre Nazi experiments generate interest throughout. It all leads to a bloody conclusion that is more action-oriented than frightening.

The end result is a movie that generally entertains even as it falls short in the horror department.

—END—

 

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IN THE SPOOKLIGHT: CLOVERFIELD (2008)

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CLOVERFIELD (2008) is the best giant monster movie from the last twenty years.

The recent Godzilla movies, including GODZILLA (2014) and SHIN GODZILLA (2016), the King Kong flicks, both Peter Jackson’s KING KONG (2005) and KONG: SKULL ISLAND (2017), and the well-regarded MONSTERS (2010), none of these even come close to matching the thrills and chills found in CLOVERFIELD.

In fact, CLOVERFIELD is so good I’d argue it’s one of the best giant monster movies ever made. Period. It’s in the conversation with such classics as KING KONG (1933), GODZILLA, KING OF THE MONSTERS! (1956) and THE BEAST FROM 20,000 FATHOMS (1953).

I’m still amazed that a film this good hasn’t spawned a direct sequel.  There have been two recent movies that have shared the same Cloverfield “universe” but they haven’t been direct sequels. We’ve had 10 CLOVERFIELD LANE (2016), a decent movie, and THE CLOVERFIELD PARADOX (2018), a not-so-decent movie.

I suppose I shouldn’t be upset. I mean, most of the time, sequels don’t improve on the original, but for a movie that’s as good as CLOVERFIELD, it almost seems a shame that it may end up being a standalone one-and-done kinda deal.  Imagine if you will, if Christopher Lee had never played Dracula again? He almost didn’t. It took him eight years before he agreed to do a sequel to HORROR OF DRACULA (1958). It’s been ten years since CLOVERFIELD. Rumor has it that a direct sequel is in the works.  But I’ve heard that rumor before.

I hope it eventually happens, because sometimes you just need more.  On the other hand, just when you thought it was safe to go back in the water—- yeah, we didn’t need JAWS 2,3 and 4.  JAWS (1975) should have been a standalone movie.

Anyway, back to CLOVERFIELD. This movie received so much hype before its initial release because of its incredibly intriguing and cryptic teaser trailer showing the severed head of the Statue of Liberty crashing onto a New York City street.  It also didn’t hurt that J.J. Abrams’ name was attached to the project as its producer. Abrams, at the time, was riding high from the success of TV’s LOST (2004-2010).

CLOVERFIELD tells the story of a giant monster attack on New York City. It’s a “found footage” tale as it uses the gimmick of a videotape found by the government after the attack to tell its story. And the tape is of a farewell party for Rob (Michael Stahl-David) who’s leaving the next day for his new job in Japan. While all his friends are gathered at his apartment to wish him well, the attack happens outside, and suddenly everyone there is caught in the crossfire as the military moves in to contain the situation—or to try to contain the situation, anyway.

At the party, Rob had a fight with his girlfriend Beth (Odette Yustman), and so after the attack, when she calls him and tells him she is trapped in her apartment building, Rob decides to head back into the fray to save her, and his friends decide to go along with him.

The story in CLOVERFIELD is just okay, but it’s everything else that makes it such a superior movie.

First of all, it’s intense and flat-out scary. It’s one of the scariest giant monster movies ever made. It’s also one of the best “shaky cam” movies ever as well.  The credit here goes to director Matt Reeves, who’s one of my favorite horror movie directors working today. Reeves also directed LET ME IN (2010), a film that a lot of folks don’t like, as they prefer LET THE RIGHT ONE IN (2008) better, but I actually prefer Reeves’ film, as well as DAWN OF THE PLANET OF THE APES (2014) and WAR FOR THE PLANET OF THE APES (2017).

In CLOVERFIELD, Reeves creates some really intense scenes, from the aforementioned Statue of Liberty scene, to the sequence in the darkened subway, to the thrilling rescue of Beth. There are just so many edge-of-your-seat moments, which is not something one usually says about a giant monster movie.

Speaking of giant monsters, the “Cloverfield monster” itself is pretty cool looking.  It’s definitely an original, as it’s unlike most anything else that ever set foot in and trampled a large city. And to keep things consistent, it’s also pretty darn frightening!

CLOVERFIELD also has a phenomenal script by Drew Goddard. The dialogue is first-rate and it does a really good job developing its characters, which isn’t easy to do in a found footage movie.  These characters are so very real. He also gets the humor right, as there are lots of moments of welcomed comic relief. Goddard would go on to work on the scripts for THE CABIN IN THE WOODS (2012), WORLD WAR Z (2013), and THE MARTIAN (2015).

It also has a superb cast.

T.J. Miller steals the show as Hud, the man holding the camera and doing the filming. It’s amazing that he’s as good as he is in this movie, since most of the time he’s holding the camera and so we only hear his voice. He gets some of the best lines in the movie.

Lizzy Caplan is also memorable as Marlena, a friend who barely knows Rob, but who Hud is definitely interested in.  She has some key moments in the film. Likewise, Michael Stahl-David is very good as Rob, and Odette Yustman is equally as good as the frightened Beth.

The film is chock full of memorable lines, like when a military officer responds that they don’t know what’s out there, but that “whatever it is, it’s winning.”

In the same way that Godzilla’s devastating attack on Tokyo in the original GODZILLA hearkened back to the dropping of the atom bombs in Hiroshima and Nagasaki, the monster’s pummeling of New York City in CLOVERFIELD hearkens back to the events of 9/11. As such, the chaotic scenes in the city really resonate.

CLOVERFIELD is also a very short movie, clocking in at only 85 minutes.  This short length only adds to the intensity.

There’s also no music score, which adds to the realism. However, there is music during the end credits, by Michael Giacchino, a piece entitled “Roar!” It’s a powerful piece of music and seems to have been inspired by the various Godzilla themes.

CLOVERFIELD is one of the best giant monster movies ever made. It’s also one of my favorite horror movies.

If you haven’t seen it, you definitely want to check it out. And if you have seen it, maybe it’s time for you to check it out again.

You’ll have a monstrously good time.

—END—

 

 

 

 

Necon 38 – The Con That Has Become An Extended Family

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The following re-cap of Necon 38 will be appearing in the September issue of the HWA Newsletter:

Necon 38

July 19-22, 2018

Baypoint Inn & Conference Center

Necon has been described as a con unlike any other, and as a place that is both so tight-knit and welcoming of new folks that it’s like family. Both of these descriptions are true.

The best part about Necon is that everyone is friendly and accessible. So, in addition to informative writer panels all weekend long that are chock full of knowledgable information about the genre and writing in general, you’ll find yourself socializing with authors and like-minded individuals the entire weekend. The bottom line is regardless of where you are in your writing career or if you’re simply a reader you will be welcomed, and you will not be alone.

The worst part about Necon is time doesn’t stop while you’re there. The weekend flies by fast.

Necon was begun by Bob and Mary Booth back in 1980, and following Bob’s passing in 2013, is now run by their adult children, Sara Booth, our current fearless chairperson, and Dan Booth.  They do a fabulous job, year in and year out.

I’ve been going to Necon since 2001, and I haven’t missed one since I started. That’s eighteen Necons for me. I’m almost embarrassed to admit that. I feel as if I should be so much further along in my writing career, and that having gone to so many, I should be much more in the thick of things, but that’s not my style. I tend to hang back at cons and take everything in.  But that doesn’t mean I don’t enjoy and appreciate everything there is about Necon as much as the extroverts do.

It’s been a run ride, and it continued this year with Necon 38.

Necon 38 had it all.  Heck, in the true tradition of being a family, we even had a wedding this year!  How cool is that?

Anyway, Necon traditionally opens up on Thursday afternoons, and this year was no exception, as the con started on Thursday, July 19.

Now, a lot happens at Necon, much more than I’ve recorded here. For example, I did not attend evey panel, and there were events that I missed. So, the following is admittedly a recap from my perspective only. It’s not meant to be all-encompasing, and I apologize to anyone in attendance whose name I didn’t mention because either our paths didn’t cross this year or our conversation was all too brief.

Thursday, July 19, 2018.

This year’s guests of honor included writers Helen Marshall, David Wellington, and Dana Cameron, artist Jason Eckhardt, Toastmaster Errick A. Nunnally, and Legends Brian Keene and Carole Whitney.

Registration opened at 2:00, and judging by all the Facebook posts I read, lots of folks arrived right around then,

I did not. Each year driving down from New Hampshire to Bristol, RI, I get stuck in dreadful traffic in and around Boston, which extends my normal two-hour drive to an elongated four-hour drive, usually stuck in traffic in hot sun. This year I decided to skip all that and travel after rush hour, so this year, I arrived much later, around 9:00 pm.

The first official Necon event this year was the Welcome to Necon, Newbies!: Kaffeeklatsch hosted by Errick A. Nunnally & Laura J. Hickman. This programming is another example of how Necon strives to make everyone feel welcome. First timers who attend this meeting receive a nice introduction to the con.

10:00 was the famous Saugy Roast, where those yummy saugies, that flavorful hot dog found only in Rhode Island, are grilled to they’re deliciously charred and blackened. From there, you can stay out in the quad socializing as long as you like.

Friday July 20, 2018

8:00 it was time for breakfast, and I enjoyed a good meal of eggs, home fries, and fruit as I caught up with my roommate for the past several years and master of the dealer’s room, Scott Goudsward.

At 9:00, lots of campers headed out for the first Necon Olympic Event, Mini-Golf. I did not attend as I was on the movie Kaffeeklatsch this morning.

While I try to go to as many panels as possible, I can’t go to all of them, and so I skipped the 9:00 panel to do some writing (it’s a writer’s convention, after all!) and I worked on my movie review of SKYSCRAPER (2018) starring Dwayne Johnson. My reviews are posted on—time for my shameless plug!—my blog, THIS IS MY CREATION: THE BLOG OF MICHAEL ARRUDA, at marruda33.wordpress.com, where you’ll find all my movie reviews and columns on horror movies, all for free, I might add.

At 10:00, I attended the Read Any Good Books Lately?: The Year’s Best Books Kaffeeklatsch, a look back at some of the best books of the year. This Kaffeeklatsch featured Barry Lee Dejasu, Jaime Levine, Erin Underwood, and Hank Wagner. There were lots of book recommendations, most of them offbeat, since this is Necon. Included were nods to A Tale of Two Kitties by Sofie Kell, and to the works of author Neal Shusterman.

At 11:00 it was time for the And the Oscar Goes to: The Year’s Best Films Kaffeeklatsch, featuring Michael Arruda (yours truly!), Scott Goudsward, Matt Schwartz, Craig Shaw Gardner, and L.L. Soares, with lots of input from fellow movie lover Bill Carl.  I started things off by saying that for me it’s been a tremendous year for Marvel, and I cited BLACK PANTHER as my favorite film of the year so far. Other nods went to the horror movies HEREDITARY and A QUIET PLACE. 

Other titles mentioned included the Netflix original THE BABYSITTER, ANNIHILATION, ISLE OF DOGS, THE RITUAL, TIGERS ARE NOT AFRAID, HOTEL ARTEMIS, THE CYNIC THE RAT AND THE FIST, THE DEATH OF STALIN, and the Netflix original GERALD’S GAME, to name just a few.

At noon it was time for lunch, and a chance to catch up with more friends.

This year I joined the “Skeleton Crew,” that awesome group of volunteers led by P.D. (Trish) Cacek. I manned the seat by the dealer’s room entrance for a while, making sure folks didn’t bring beverages into the room, an effort to keep coffee and the like from being spilled on the merchandise. It was fun chatting with everyone who came in and out.

At 2:00 I attended the panel, The Spark: What Inspires a Great Short Story? moderated by Nick Kaufmann. Also on the panel were Meghan Arcuri-Moran, Christa Carmen, Toni L.P. Kelner, Ed Kurtz, and Helen Marshall. There were lots of interesting and insightful tidbits to come out of this panel. Highlights included the notion that not all short stories need to have a beginning, middle, and end, that some need only capture a moment in a character’s life. Another concise definition of a short story: it’s the most important thing to happen in the main character’s life.

At 3:00 I attended the panel, Invasion of the Pod People: Creating Your Own Podcast, moderated by Armand Rosamilla and featuring Amber Fallon, Chris Golden, Brian Keene, James Moore, and Mary SanGiovanni. Discussed were the ins and outs of doing a podcast, and for most folks on the panel, it’s a labor of love. Few people do podcasts to make money. However, it certainly can help book sales as people who listen to the podcasts often will check out your books.

At 4:00 I was back on duty by the Dealer’s Room, and at 5:00 we all assembled outside for the newest Necon tradition, the group photo. This started last year when we had to evacuate the building due to a fire alarm and decided to take advantage of the opportunity. This year we didn’t need a fire alarm for the picture. That being said, the fire alarm had different ideas.  More on that later.

At 7:00 it was time for the Official Necon 38 Toast by Toastmaster Errick A. Nunnally, followed by the comical Necon Update with Mike Myers, followed by the Necon Hall of Fame Induction Ceremony. This year’s inductee was celebrated horror author and podcast host Brian Keene.

At 8:00 it was time for the Meet the Authors Party, that event where if you’re a reader, you get the opportunity to meet and greet your favorite authors and purchase signed copies of their books. It’s also the opportunity for the authors to set up shop and make their books available.

I was fortunate enough to share a table with some of my fellow New England Horror Authors, including my Cinema Knife Fight buddy L.L. Soares, Pete Dudar, Scott Goudsward, Trisha Wooldridge, and others. For me, if I can sell one book, I’ll count that as a successful evening. So, in that regard, I had a very successful evening in that I sold four of my books, including three copies of my short story collection For The Love of Horror.

I also purchased the highly touted first novel by Tony Tremblay, entitled THE MOORE HOUSE.  I can’t wait to read it. A book I really wanted to buy and will at some point is the brand new short story collection, her first, by Dougjai Gam Bepko, Glass Slipper Dreams, Shattered. I heard plenty of wonderful things about her debut collection this weekend. I also still haven’t bought Matt Bechtel’s highly praised debut collection from last year, Monochromes: And Other Stories.  The downside of living on a budget.

And there’s many, many more. That’s always the most difficult part of Necon. There are so many books to buy, way more than I can afford.

And after that, it was time for socializing on the quad, that time when you get to chat with friends, old and new, long into the wee hours of the morning.  This year I caught up with, among others, L.L. Soares, Pete Dudar, Paul McNally, Kelly Winn, John Harvey, Kevin Lewis, David Price, and Patrick Freivald, to name just a few.

 

Saturday, July 21, 2018

I attended the 10:00 panel, BOO!: Modern Ghost Stories, moderated by P.D. Cacek and featuring Tom Deady, John Foster, Michael Rowe, Sheri Sebastian-Gabriel, Tony Tremblay, and Dan Waters, which discussed, among other things, the differences between ghosts of yesteryear and ghosts of today. It was also suggested that ghosts are the easiest tropes to believe in, since most people believe in ghosts, as opposed to vampires, werewolves, and zombies, and so the ghost story author has that advantage in that its subject is one that people want to believe in.

Next up for me was the all important 11:00 panel, Closing Time: Remembering the Life and Work of Jack Ketchum, moderated by Doug Winter, and featuring Linda Addison, Jill Bauman, Ginjer Buchanan, Sephera Giron, Gordon Linzner, and Bracken MacLeod. This was both a somber and celebratory event as the panel looked back on the life of author Jack Ketchum, who passed away earlier this year, known here at Necon by his real name Dallas Mayr. The overwhelming sentiment, which for those of us who attend Necon regularly already know, was how kind and generous Dallas was, and that for those who read him first and met him later, that was a something of a shock, since he wrote brutally dark fiction.

There were also plenty of fun stories and anecdotes, and as Sephera Giron prepared to tell one, a fire alarm— our second in two years— went off. Sephera quipped, “Dallas, it’s not that story!”

After lunch, I found myself working at the door to the dealer’s room once again.  While there, Frank Raymond Michaels and I had our annual Necon discussion of Universal Horror vs. Hammer Horror. I also found some time to relax out in the quad on a beautiful sunny afternoon and chat with friends.

I attended the 3:30 panel, When Your Book Has A Soundtrack: The Influence of Music on Your Writing, moderated by Matt Bechtel, and featuring Doungjai Gam Bepko, Rachel Autumn Deering, Gary Frank, Bracken MacLeod, Rio Youers, and Doug Winter. The panel discussed listening to music when writing, and the majority of the authors in the room acknowledged that they do indeed listen to music when they write. Some authors ignore the song lyrics and view the vocals as just another instrument making music. Other authors are inspired by lyrics, writing stories or even entire novels based on them.

At 4:30, I attended the panel It’s Kind of a Long Story: The Art of the Novel, moderated by Kristin Dearborn, and featuring William Carl, James Chambers, Nate Kenyon, David Wellington, Mercedes M. Yardley, Rio Youers, and Dyer Wilk.  This panel covered exactly what its title said, the nuts and bolts of writing a novel. A bunch of topics were discussed, including the use of outlines and the differences between writing a novel and a short story.

After dinner, I joined my fellow Skeleton Crew members including P.D. Cacek (our fearless leader!), Morven Westfield, Scott Goudsward, Scott Wooldridge, and James Chambers, among others, as we helped set up for the Artists Reception, that time where the attention turns to the artists and their fine works on display in the dealer’s room, as well as to delicious desserts and hot coffee.

At 7:30 it was time for That Damned Game Show featuring Craig Shaw Gardner & Doug Winter.  The “controversial” game show had been missing from Necon for several years now, but I for one was happy to see its return. It’s controversial because it tends to go on a tad too long.  I happen to love the game show. I think the running gag of the confusing overlong rules is hilarious, and it’s fun to see the “contestants” struggle with both the answers and the rules. That being said, it is too long, and going forward, if it’s cut in half, it would make for a very satisfying event.

Another reason I enjoy the game show is that when the contestants miss the answers, the questions go to the audience, and if you answer right you win one of Necon’s “valuable prizes.” I won two prizes this year, as I answered two obscure questions on the films of Bela Lugosi and Boris Karloff.  And I love these valuable little joke prizes because I use them in my middle school classroom throughout the year. I have a wind-up walking brain, for instance, that my middle schoolers adore.

After the game show, it was time for The Infamous Necon Roast. This year’s “victim,” was Matt Bechtel. Hilarious as always, but no details here, because “what happens at Necon, stays at Necon.”

Afterwards it was more socializing on the quad, and more saugies!  Once again I joined my fellow Skeleton Crew members and helped set up the food tables.

And since Necon is a family, tonight we had something extraordinarily special: a wedding! Yes, James Moore married Tessa (Cullie) Seppala in a ceremony presided over by Bracken MacLeod. It was a beautiful ceremony, witnessed by the 200 Necon campers who were all assembled on the quad.

Sunday July 22, 2018

While there were two panels this morning, I missed them after a late night in which I was up to about 2:30 am.

I attended the 11:00 Necon Town Meeting, where all the Necon Olympic medals were handed out for events such as mini golfdarts, foosball, High-Low Jack, and ping pong, as well as various other awards, such as the FEZ’S, those famous Necon caps given out to folks at the con who were deemed “FEZ-worthy.”

The Town Meeting is also the time to look back and say what folks liked and disliked. As usual, there were plenty of likes and pretty much no dislikes.

The hardest part of Necon is saying goodbye to everyone. I tried to say farewell to as many people as I could find, but ultimately, with people leaving various times, it’s impossible to catch everyone.

The good news is that next year is another Necon, another opportunity to spend time with like-minded folks who are more than just good friends. They really are members of an extended family.

Until next year—.

—END—

Books by Michael Arruda:

TIME FRAME,  science fiction novel by Michael Arruda.  

Ebook version:  $2.99. Available at http://www.crossroadpress.com. Print version:  $18.00. Includes postage! Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

IN THE SPOOKLIGHT, movie review collection by Michael Arruda.

InTheSpooklight_NewText

 Ebook version:  $4.99.  Available at http://www.crossroadpress.com.  Print version:  $18.00.  Includes postage. Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

FOR THE LOVE OF HORROR, short story collection by Michael Arruda.  

For_the_love_of_Horror- original cover

Print cover

For the Love of Horror cover (3)

Ebook cover

 Ebook version:  $4.99.  Available at http://www.crossroadpress.com. Print version:  $18.00.  Includes postage. Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.  

 

 

 

 

 

 

 

 

 

ANT-MAN AND THE WASP (2018) – Light, Fun, Another Marvel Hit

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Evangeline Lily and Paul Rudd in ANT-MAN AND THE WASP (2018)

ANT-MAN AND THE WASP (2018), the latest entry in the Marvel Cinematic Universe, is a comedic vehicle that will have you chuckling throughout, which is just what Marvel fans needed after the devastating AVENGERS: INFINITY WAR (2018) earlier this year.

After breaking the law by teaming up with Captain America in CAPTAIN AMERICA: CIVIL WAR (2016), Scott Lang/Ant Man (Paul Rudd) finds himself under house arrest. He sees his young daughter Cassie (Abby Ryder Forston), and he’s visited by his business partner Luis (Michael Pena), but he cannot leave his house, which explains his absence from AVENGERS: INFINITY WAR. Speaking of which, the events in this movie take place just before the events in INFINITY WAR.

Scott’s also not supposed to have any contact with Hope Van Dyne (Evangeline Lily) or her father Dr. Hank Pym (Michael Douglas) since they designed the Ant Man suit which he wore when he fought against Iron Man and half the Avengers when he joined Team Captain America. Hope and Hank are considered fugitives from justice. And Scott wants no part of seeing them since his house arrest ends in a matter of days.

But that all changes when Hope and Hank extract Scott from his house, telling him they need his help to find Hope’s mother Janet (Michelle Pfeiffer) who was lost years ago in the subatomic realm and considered dead, but since Scott had been reduced to a subatomic level and returned, Hank now believes it’s possible his wife is still alive. Scott reluctantly agrees to help them.

But along the way they find resistance from a shady business contact Sonny Burch (Walter Goggins) and a mysterious being with super powers greater than their own, both of whom want to steal Hank’s technology.

So, as you can see, the plot here is nothing heavy.  Ant Man is not trying to save the world, and after AVENGERS: INFINITY WAR, that’s fine with me.

How does ANT-MAN AND THE WASP compare to the first ANT MAN movie?  It’s as good if not better.

One of the strengths of the Marvel movies has always been that they have very strong scripts, and the screenplay here by Chris McKenna, Erik Sommers, Paul Rudd, Andrew Barrer, and Gabriel Ferrari is no exception.  It goes all in on the comedy and is light and funny throughout. Writers Barrer and Ferrari are new to the Marvel Universe, while Rudd worked on the screenplay to the first ANT-MAN (2015), and McKenna and Sommers were on the team that wrote the highly regarded SPIDER-MAN: HOMECOMING (2017).

The other strength of these Marvel movies is the impressive casts they always assemble.

Paul Rudd returns as Ant Man, and he’s about as likable a superhero as you’re going to find in a movie, mostly because he’s an unlikely superhero. He doesn’t see himself as much of a hero. In fact, he knows he usually messes things up pretty bad.  Rudd is fun to watch because of both his easy-going personality and his sharp comedic timing.

Rudd’s scenes with Abby Ryder Forston, who plays Scott’s daughter Cassie, are precious. The scene where she says she wants to be his partner is a keeper. And Forston also gets plenty of comedic moments as well.

Rudd enjoys fine chemistry with both Evangeline Lilly and Michael Douglas.  Lily is perfect as Hope/Wasp, as she’s both bitter and in love with Scott, and their scenes together have the necessary sexual tension and honed humor. Lily also makes for an impressive bad-ass superhero.

Michael Douglas gets plenty of opportunities to shine as Dr. Hank Pym. When he’s not chastising Scott or saying lines like “are we going to get out of here or are you two going to stare at each other all day?” to Scott and Hope when they become preoccupied with each other rather than escaping, he’s devoted to finding his wife.

And it was fun to see Michelle Pfeiffer back on the big screen in a superhero movie, something she hadn’t done since her phenomenal performance as Catwoman in BATMAN RETURNS (1992). Pfeiffer’s not in this one much, but she appears early on in a flashback as the first Wasp, thanks to some CGI/motion capture effects, looking years younger.

The rest of the cast is largely there for comedic relief.

Michael Pena has a field day as Scott’s business partner Luis, and as the movie goes along, he becomes more involved in the plot. Luis, along with associates Dave (T.I.) and Kurt (David Dastmalchian), form a team who when helping Scott are about as useful as the Three Stooges.

Likewise, Walter Goggins, who’s played some very serious villains in his day, in films like DJANGO UNCHAINED (2012) and THE HATEFUL EIGHT (2015), plays baddie Sonny Burch strictly for laughs. The scene where Sonny and his goons capture Luis, Dave, and Kurt and plan to use “truth serum” on them is hilarious.

Judy Greer returns as Scott’s ex-wife Maggie, and Bobby Cannavale returns as her new husband Paxton, and their scenes are comic as well this time around. And Randall Park plays lawman Jimmy Woo, also, you got it, for laughs.

The emphasis on humor would be bad if the film wasn’t funny, but it is, very much so, and all these actors excel in their roles. The result is a highly entertaining two hours which fly by incredibly quickly.

About the only two folks in the film not playing things for laughs are Hannah John-Kamen as the mysterious Ghost, and Laurence Fishburne as Hank’s former colleague Dr. Bill Foster. Hanna John-Kamen is okay as Ghost, but the character, in spite of an interesting background story, isn’t developed all that well.

Laurence Fishburne fares better as Dr. Bill Foster. He’s a man who’s often at odds with Hank Pym, but he’s trying to do the right thing. The scene where he puts his foot down with Ghost when she suggests they go after Scott’s daughter for leverage really resonates. When he tells her in no uncertain terms that going after children is wrong and that he will not be a part of using a child to get what he wants, it’s a telling moment.

ANT-MAN AND THE WASP was directed by Peyton Reed, who also directed the first ANT-MAN movie. He handled both films very well, and I think he outdid himself with this second film, as he pretty much got everything right with this one. The humor works, the action scenes are edited well and fun to watch, and the pacing is perfect. The special effects are also spot-on.

If there’s any flaw it’s I would have liked more Wasp.  I really enjoyed Evangeline Lilly as Wasp and would have loved to have seen her in even more scenes as the bad-ass superhero.

And while comedy ruled the day in ANT-MAN AND THE WASP, the events from AVENGERS: INFINITY WAR which have not happened yet loom like a cloud over the proceedings, which makes this story even better.

In the Marvel movie tradition, there are two after-credit scenes. The first is the big one, the one you definitely do not want to miss, while the second, at the very end of the credits, reverts back to the comedic.

ANT-MAN AND THE WASP is yet another high quality superhero movie from Marvel, as the studio continues its amazing run of entertaining movies, and it shows no sign of slowing down. In fact, the studio is having an extraordinarily exceptional year, as all three of their releases so far in 2018, BLACK PANTHER, AVENGER: INFINITY WAR, and ANT-MAN AND THE WASP, are among the best films of the year.

And since Ant-Man wasn’t involved in the devastating conclusion to AVENGERS: INFINITY WAR, he’s suddenly a very important superhero going forward. Be sure to catch him in this light adventure now, because the next time we see him in the next AVENGERS movie, things no doubt will be a bit darker.

Yup, the next time we see him he’ll be going up against Thanos.  Gulp!

—END—

 

 

 

 

 

 

JURASSIC WORLD: FALLEN KINGDOM (2018) – Just Another Inferior Sequel

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Time for another confession.

I’m just not a big fan of the JURASSIC PARK series. While I loved the original JURASSIC PARK (1993) when I first saw it at the theater upon its initial release and was blown away by its spectacular and genre-changing special effects, it’s one of those films that for me hasn’t aged all that well.  I tend to like it less each time I see it. And while its two sequels were okay, I didn’t love them either.

That being said, I did have a fun time watching the Chris Pratt reboot JURASSIC WORLD (2015), and I generally liked that movie, but now that its sequel has arrived in the form of JURASSIC WORLD: FALLEN KINGDOM (2018)  I just wasn’t feeling the love. I didn’t really feel like seeing this one, as it had inferior sequel written all over it.

Sometimes these instincts are right. Other times they are wrong. In this case, they were right on the money.

Yup, JURASSIC WORLD: FALLEN KINGDOM is just another inferior sequel. Sure, it has some nice moments, but they are few and far between. In fact,  JURASSIC WORLD: FALLEN KINGDOM is one of those movies that doesn’t get its story right until the final frame, wasting the audience’s time with a story that should have been cut after the first draft and rewritten to tell the tale which the end of the film unleashes.

Very frustrating.

In  JURASSIC WORLD: FALLEN KINGDOM, the dinosaurs left behind on Jurassic World are about to become extinct again because a deadly volcano is about to erupt and destroy everything in its path. Benjamin Lockwood (James Cromwell), dinosaur creator John Hammond’s former partner, wants to rescue the creatures and relocate as many of them as possible to a special sanctuary he has developed just for them. He hires Claire Dearing (Bryce Dallas Howard) to help him, mostly because he wants her to reach out to Owen Grady (Chris Pratt) because he’s the only man alive who can get close enough to Blue, the last living Velociraptor.

Since this is a sequel, everyone quickly agrees to help out but there are sinister forces at work. Lockwood’s assistant Eli Mills (Rafe Spall) has plans of his own, and he’s given the aggressive soldier Ken Wheatley (Ted Levine) instructions to do whatever it takes to get the dinosaurs back, and these instructions do not include taking back any human survivors.

Which means that Claire and Owen and their team are on their own, and it’ s up to them to save the dinosaurs from the clutches of the evil Eli Mills.

As stories go, the one told in  JURASSIC WORLD: FALLEN KINGDOM just isn’t a very good one. It gets off to a slow start and things are rather dull early on as the plight of the dinosaurs and Claire Dearing’s concern for them just never really drew me in.

The screenplay by Derek Connolly and Colin Trevorrow offers little in the way of new ideas nor does it succeed in doing much towards character development. These guys also wrote the screenplay to JURASSIC WORLD, the previous entry in the series, and I actually enjoyed that screenplay more.

The film does have one really good sequence, and it’s the highlight of the movie. It’s the escape from the doomed Jurassic World, as Claire and Owen and friends, and the dinosaurs, race for their lives to get off the island before it is decimated by lava. As movie sequences go, this one is very exciting.  And the final image of the unfortunate Brontosaurus which doesn’t make it, is the one time in the entire movie that the story resonates emotionally. It’s also the film’s most cinematic moment.

Director J.A. Bayona does an okay job. He starts us off with a generally exciting opening sequence, but it’s nothing spectacular and certainly doesn’t give one the feeling that what is going to follow is going to be something special.  On the other hand, the movie looks good throughout and the special effects are top-notch.

If you’re a fan of Chris Pratt, you won’t be disappointed, because he does his “Chris Pratt” thing throughout, and he’s generally entertaining, but on his own, he’s not enough to save this one.

Bryce Dallas Howard is okay as Claire Dearing, but compared to other recent movie heroines, she doesn’t do all that much, and she seems to need Pratt’s Owen to get her out of jams.

Daniella Pineda is enjoyable in a supporting role as Zia Rodriguez, a paleo-veterinarian, and as she says, “yes, that’s a thing.”  She has a stronger personality than Claire, but she’s not in this one a whole lot.  Justice Smith is fairly entertaining as Franklin Webb, the oftentimes frightened former park technician who for most of the film serves as its comic relief.

Rafi Spall is a fine actor, but he’s stuck playing a one note character, as the villainous Eli Mills.  We’ve seen him before in films like PROMETHEUS (2012) and THE BIG SHORT (2015). Spall was particularly memorable in the decent low-budget horror movie THE RITUAL (2017).

Talented character actor Toby Jones shows up as a shady auctioneer, helping Mills sell off the captured dinosaurs in order to raise money to create a dinosaur super weapon. Ooooh!

Young Isabella Sermon looks cute and does “frightened” well as Maisie Lockwood, Benjamin Lockwood’s granddaughter, but the character is simply too similar to other children in movies like this to have any real impact. She is involved in an intriguing plot point, but it’s one that isn’t developed at all.  It’s mentioned and that is that.

And then there’s Jeff Goldblum, making his triumphant return to the JURASSIC PARK series after being absent for the past couple of movies. Actually, it’s not triumphant at all. It’s basically a cameo, folks. Goldblum shows up for two brief scenes in order to deliver one speech, which if you’ve seen the film’s trailer, you’ve already seen. Very disappointing.

And like I said, this one should have told the story it ends with.  See, after sitting through this dull tale of bad guys stealing dinosaurs, and good guys trying to save the dinosaurs from the bad guys, the dinosaurs are eventually released to the world, and Jeff Goldblum’s character finishes his big speech by saying humans and dinosaurs are going to need to learn how to live together, and we see some cool shots of dinosaurs existing in our world, like the shot in the trailer with the enormous sea creature ominously appearing in the surf beneath some surfers.

This has the makings of a really cool story, what life would be like with dinosaurs on the loose in the wild.  But alas, we’ll have to wait until yet another sequel to see it, and that’s only if the powers that be decide to tell that story.

I enjoyed the previous film in the series, JURASSIC WORLD, because it was a lot fun. JURASSIC WORLD: FALLEN KINGDOM really isn’t all that fun. It’s kind of a snooze.

As such, JURASSIC WORLD: FALLEN KINGDOM is a largely forgettable movie. It might satisfy hardcore JURASSIC PARK fans, but for the rest of us it’s hardly worth the trip.

Visit a different park instead.

—END—

IN THE SPOOKLIGHT: THE CURSE OF THE FLY (1965)

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the curse of the fly poster

THE CURSE OF THE FLY (1965), the third movie in the original “FLY” series, is the odd duck of the FLY family.

First of all, the monster known as “the Fly,” that human-fly hybrid with the hideous fly head atop a man’s body does not appear in this film. Second, neither does Vincent Price who starred in the first two films. And third, whereas the first two movies were American productions, this one hails from the UK.

As a kid, I never liked this movie for the simple reason that the “Fly” did not appear in it. But don’t let that major omission fool you, because at the end of the day, THE CURSE OF THE FLY is a well-written horror story that has a lot of things going for it, which is a rarity, because usually by the time you get to the third film in a series, there’s a lot of repetition.  Not so here. THE CURSE OF THE FLY pretty much stands on its own.

The original THE FLY (1958) was about a scientist Andre Delambre (David Hedison) whose experiments with a teleportation machine went awry when unbeknownst to him a fly got trapped inside the device with him, and during the transport. their genes were spliced together, and what emerged from the machine was a monster with a fly’s head on a man’s body.

The sequel RETURN OF THE FLY (1959) followed Andre’s adult son Philippe (Brett Halsey) as he continued his father’s experiments, and he too had fly trouble and was also transformed into a fly monster. Vincent Price appeared in both films as Francois Delambre, Andre’s brother and Philippe’s uncle. Strangely, in spite of Price’s star power, his roles in these two FLY movies were simply supporting ones.

In THE CURSE OF THE FLY, we meet yet another son of Andre’s, Henri Delambre (Brian Donlevy) who with his two adult sons continues to work on saving the Delabmre legacy by continuing to tinker with the teleportation machines. At least these folks are careful and make sure there aren’t any flies in the machines with them. So, while there is no fly monster in this movie, there are mutants. See, in spite of all this tinkering, the Delambres still have not perfected the technology, and the mutants are all the victims of their experiments. The Delambres keep them locked in secret rooms on their property.

THE CURSE OF THE FLY is mostly about Henri’s son Martin (George Baker) who in spite of his father’s dedication to the cause wants out of the family business.  Good thinking there, Martin!  Instead of helping his dad, Martin decides to get married, and he surprises his father when he returns home with his new bride, the lovely Patricia Stanley (Carole Gray.)  Henri believes this is a bad idea, having a stranger on the property when they’re conducting their experiments, but once he meets Patricia, he changes his mind and welcomes her into their home.

But unbeknownst to both of them, Patricia has escaped from a mental institution, and this is why THE CURSE OF THE FLY is such an interesting movie. It has a really neat story. In fact, the film opens with Patricia running aimlessly along a dark road where she is almost hit by a car driven by Martin. Yep, this is how the two of these characters meet, and shortly thereafter, they fall in love and get married. For Martin, it’s all part of his getting away from his dad, and for Patricia, it’s about her getting away from the institution.

And later, when she begins to see strange things at the house, like the mutants, she begins to wonder if she’s going crazy again. So really, even more so than the Delambres, THE CURSE OF THE FLY is about Patricia and pretty much follows her story arc.

THE CURSE OF THE FLY was directed by Don Sharp, who directed a few Hammer Films, including their highly regarded THE KISS OF THE VAMPIRE (1963), Hammer’s follow-up to THE BRIDES OF DRACULA (1960). Sharp also directed the first two Christopher Lee Fu Manchu movies, THE FACE OF FU MANCHU (1965) and THE BRIDES OF FU MANCHU (1966).

Sharp gives THE CURSE OF THE FLY a definite British feel. It’s creepy throughout, and its black and white photography only adds to the mood.

And that’s easy to do here because THE CURSE OF THE FLY has a strong screenplay by Harry Spalding. The story is believable and the dialogue matter-of-fact and realistic, and I love the dueling story arcs.  You have Patricia’s story on the one hand crossing paths with the whole Delambre plot.  It’s really a neat story.

Carole Gray is convincing as Patricia, the young woman with mental issues who finds herself living in a house with people conducting strange experiments.  Gray also starred in the thrilling science fiction movie ISLAND OF TERROR (1966), which was directed by Terence Fisher and starred Peter Cushing.

George Baker is just as good as Martin Delambre.

Brian Donlevy, who enjoyed a long career spanning four decades, and who starred in two early Hammer movies, THE QUATERMASS EXPERIMENT (1955) and ENEMY FROM SPACE (1957) gets top billing here.

While there are no “monsters” in this one, there’s lots of creepiness, making THE CURSE OF THE FLY a worthy entry in the FLY series.

Summer time is almost here. So the next time you grab the mustard and curse the fly you’re swatting off your hot dog, think of poor Patricia, living in a house with mad scientists and mutants, in the nightmare world of THE CURSE OF THE FLY.

—END—

 

 

 

 

SOLO: A STAR WARS STORY (2018) – Not As Fun As It Should Be

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As origin stories go, SOLO: A STAR WARS STORY (2018) is okay, but that’s about the best I can say for it.

There are two main reasons why this tale of Han Solo’s early years didn’t quite work for me. Even though the events chronicled in this movie were about parts of Solo’s life not known before now, all the big parts, the stuff that happened in the original STAR WARS trilogy and in STAR WARS: THE FORCE AWAKENS (2015), are known, and so it’s a challenge when telling a background tale about a character whose fate is signed, sealed, and delivered.  It’s a challenge that I don’t think the filmmakers handled all that well here.

And second, I never quite bought Alden Ehrenreich as Han, the role made famous by Harrison Ford.

A young Han Solo (Alden Ehrenreich) and his girlfriend Qi’ra (Emilia Clarke) attempt to leave their home planet of Corellia in search of a better life where Han can fulfill his dream of being a pilot, but to do so they have to escape the clutches of the evil worm queen, Lady Proxima (Linda Hunt). Han escapes, but Qi’ra does not. Han vows to return for Qi’ra.

But first Han crosses paths with Tobias Beckett (Woody Harrelson), a thief, and they attempt to steal the valuable fuel known as coaxium for a crime lord known as Dryden Vos (Paul Bettany). Along the way, Han meets and befriends the Wookie Chewbacca (Joonas Suotamo). Gee, I wonder how that friendship will work out?

Han also discovers that working for Dryden is none other than— Qi’ra! What are the odds? Not very high, I can tell you that! Anyway, this convenient plot point saves Han the trouble of having to go back to Corellia to rescue her.

In order for the heist to be successful, they need a fast ship and a fearless pilot, and so they seek out Lando Calrissian (Donald Glover) and his ship, the Millennium Falcon. Together, this band of merry thieves set out to steal the highly explosive coaxium and sell it to Dryden so they can all get a piece of the proverbial pie. Of course, everyone and their grandmother is a thief and a scoundrel in this movie, and so no one’s to be trusted, which is supposed to be a source of fun, but that’s another place where this film does not score high.

It’s just not as fun as it should be.

First and foremost, Alden Ehrenreich simply didn’t win me over as Han Solo. Sure, he has huge shoes to fill, as Harrison Ford created perhaps the most memorable character in the entire STAR WARS franchise. But I’m not so stuck on Ford that I can’t envision another actor in the role.  I mean, I’m a huge William Shatner fan, but I like Chris Pine just fine as Captain Kirk in the new STAR TREK movies.

Ehrenreich has flashes where he nails the role. I thought his scenes with Chewbacca were very good, and he seemed a natural fit at the controls of the Millennium Falcon. But most of the time when I watched him on-screen I simply didn’t believe that this was the same man who we would later meet in STAR WARS (1977). The film features moments where Han’s hardened cynical personality takes shape, but for the most part, the story here is more interested in making sure the audience knows that in spite of being a smuggler, Han Solo really is a good guy at heart.

Trouble is, based on his actions in the other STAR WARS movies, we already know this.

Ehrenreich also isn’t helped much by the script by Jonathan Kasdan and Lawrence Kasdan. For some reason, most of the connections to the other STAR WARS movies fall flat, like Han’s line, “I have a good feeling about this,” which is supposed to poke fun at his famous line in STAR WARS, “I have a bad feeling about this,” a line that was repeated in subsequent movies. Again, the point here is to show that Han is a nice guy at this stage of his life and not yet the scoundrel he appears to be when he first meets Luke Skywalker.

But wouldn’t the better story have been to show how Han Solo became that scoundrel? We catch glimpses of these origins in this movie, but not many.

The scene where he pilots the Falcon and completes the Kessel Run in 12 parsecs ties in with a Han Solo quote from the first STAR WARS, but here, he’s already bragging about it and mentions it several times, as if the writers thought audiences wouldn’t have made the connection on their own.

The scene where Han gets his name is right out of THE GODFATHER (1972) and a million other movies where characters need to declare their name as they enter a new country, or in this case, a new planet.

I enjoyed Woody Harrelson as Tobias Beckett, although his appearance here isn’t as memorable as his appearance in two other genre series, as the villainous colonel in WAR FOR THE PLANET OF THE APES (2017), and as Haymitch Abernathy in the HUNGER GAME movies.

Emilia Clarke was okay as Qi’ra, although the character is very underdeveloped.  She’s made shady on purpose, as we’re not supposed to know where her loyalties lie, but the unintended result is that we really don’t know much about her. Because of this, I didn’t really care all that much about her.

Donald Glover makes for an enjoyable Lando Calrissian, although he doesn’t really add that much to the character.  We don’t really learn anything new about Lando.

Paul Bettany was solid as the villainous Dryden, but I enjoyed him more as Vision in the AVENGERS movies. Thandie Newton does well in a small role as Val, one of Beckett’s closest friends and fellow thief.

SOLO was directed by Ron Howard, and truth be told it’s been a while since I’ve really enjoyed a Ron Howard film. I was disappointed with his IN THE HEART OF THE SEA (2015), which I thought was a superficial take on the book on which it was based.  The last movie by Howard that I really enjoyed was FROST/NIXON (2008), and my favorite Howard movie remains APOLLO 13 (1995).

Technically, SOLO: A STAR WARS STORY looks fine, although at times the cinematography can be a bit dark. I thought the pacing was off as well.  The first half of the film was heavy on action and early character development suffered.  Later things tended to slow down. I thought the escape from Kessel was the best sequence in the movie.

ROGUE ONE: A STAR WARS STORY (2016) worked as a prequel because it was a prequel to an event: the stealing of the Death Star plans, and while audiences knew what happened to those plans and how they were used, we knew nothing about the how they were stolen or about the people responsible for the daring theft.

SOLO: A STAR WARS STORY is less successful because it’s an origin story for a character, Han Solo, and while it’s interesting to learn a bit about Han’s background, it doesn’t change the fact that audiences know his fate exactly, and so it’s hard to rally around a story about a character when you how that character’s story ends. The origin tale needs to be so good you forget about the Han Solo from the later movies, and that’s simply not the case here.

ROGUE ONE: A STAR WARS STORY also worked because it was clearly a standalone film. It was all in, and the film took no prisoners. While SOLO is being marketed as a standalone movie, there are hints all over the place that a sequel is in order.

There’s also a big reveal featuring another STAR WARS character, but even that didn’t really do much for me.

At the end of the day, the biggest knock against SOLO: A STAR WARS STORY is it’s simply not all that fun. A movie about a young Han Solo should be rollicking and gutsy, two things that this movie are not, as it never seems to go as far as it should.

The result is a rather tepid origin tale.

Han Solo deserves better.

—END—

Books by Michael Arruda:

TIME FRAME,  science fiction novel by Michael Arruda.  

Ebook version:  $2.99. Available at http://www.crossroadpress.com. Print version:  $18.00. Includes postage! Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

IN THE SPOOKLIGHT, movie review collection by Michael Arruda.

InTheSpooklight_NewText

 Ebook version:  $4.99.  Available at http://www.crossroadpress.com.  Print version:  $18.00.  Includes postage. Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

FOR THE LOVE OF HORROR, short story collection by Michael Arruda.  

For The Love Of Horror cover

Print version:  $18.00.  Includes postage. Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.