DOCTOR SLEEP (2019) – Worthy Sequel to THE SHINING

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One of the reasons I enjoyed Stephen King’s novel Doctor Sleep so much was it told a really good story.

As the sequel to The Shining, it told a tale which was far removed from the one told in King’s iconic novel, yet it retained elements from the first novel to satisfy King’s faithful readers. Better yet, its attempt to tell what happened next in the life of young Danny Torrence, seen in Doctor Sleep as an adult, was spot on.

On the strength of its story,  I felt pretty confident that the film version of DOCTOR SLEEP (2019) would be a success, especially since it was being directed by the talented Mike Flanagan.

The good news is I was correct. Not only is DOCTOR SLEEP a really good horror movie, it’s also a worthy sequel to Kubrick’s THE SHINING (1980).

Let’s start with that story.

Dan Torrance (Ewan McGregor) is now an adult, and he’s been spending his life bottoming out, an alcoholic, who has turned to booze to block out the awful events of his childhood at the infamous Overlook Hotel. But when he meets Billy Freeman (Cliff Curtis) his life turns around as Freeman helps Danny get a job and more importantly get sober as he invites Danny to AA meetings.

His mind now clear, Danny is contacted by a young girl Abra Stone (Kyliegh Curran) who shares his gift for “shining” and the two become psychic “pen pals,” as Abra wants to know more about her gift. All is well, except it isn’t, because there is a group on the prowl known as the True Knot that go around killing people who possess the shining power. They do so because they live off the “steam” or breaths released when their victims are tortured and killed. The True Knot are led by Rose the Hat (Rebecca Ferguson) and they are always on the lookout for shining victims to consume.

When Abra psychically witnesses the True Knot kill a young boy, she tries to stop them, but in doing so, makes her presence known to Rose, who feels the young girl’s strength and decides the True Knot has to have her. Abra reaches out to Danny for help, and it’s at this moment that he realizes his purpose in life: he has to be the one to step up and not only save Abra but put down the True Knot.

It’s a battle that eventually returns Danny to the place of his childhood trauma, the Overlook Hotel.

As I said at the outset, I really like the story told in DOCTOR SLEEP, and the film takes this solid tale and has no trouble putting it on the big screen. The account of what happens next to Danny Torrance makes perfect sense, and the chemistry he shares with new character Abra Stone is genuine and moving. In fact, another strength of both King’s novel and this movie is the characters are fleshed out and compelling.

The only issue I have with these characters, and it’s one I had with the novel as well, is that ultimately, the True Knot are not as omnipotent and deadly as first thought. It’s a case where the duo of Danny and Abra pretty much have the upper hand. I wish their struggle to defeat the True Knot had been a bit more challenging.

The acting is great. Ewan McGregor is perfect as Danny Torrance. It’s interesting that for the role, McGregor said he tried to capture how the voice of Jack Nicholson’s son (Nicholson, of course, played Danny’s father Jack in THE SHINING) would sound, and he didn’t want to completely mimic Nicholson. I’d say McGregor was successful here.

Kyliegh Curran is excellent as Abra Stone. She’s completely convincing as the powerful young teen. Rebecca Ferguson is enticing as the True Knot leader Rose the Hat, but I was disappointed there wasn’t a stronger sensual element to the character. Cliff Curtis adds fine support as Danny’s friend Billy Freeman.

Of course, the question on everyone’s mind is how does this compare to THE SHINING? And the reason this is such a burning question is that the movie THE SHINING was directed by Stanley Kubrick, one of the greatest film directors of all time, who put his own visionary stamp on the tale, which is why it is so unlike other movie versions of Stephen King’s works.

Conventional wisdom is that since the late great Stanley Kubrick is not at the helm here, there’s no way DOCTOR SLEEP will measure up. Maybe not, but DOCTOR SLEEP was written and directed by Mike Flanagan who is an exceedingly talented guy.  Flanagan is the man behind the superior Netflix show THE HAUNTING OF HILL HOUSE (2018) which was based on the Shirley Jackson novel. It’s one of the scariest TV shows I’ve seen in a while.

Flanagan has also written and directed some really good horror movies, including GERALD’S GAME (2017), another Stephen King adaptation, and HUSH (2016). Now, I’m not arguing that Flanagan is Stanley Kubrick, but you can add DOCTOR SLEEP to the list of high quality horror movies by Mike Flanagan.

The film is strong throughout, and it saves the best for last, when for the film’s climactic battle between Danny and Abra and the True Knot, the characters return to the Overlook Hotel. Flanagan and his crew painstakingly recreated the interiors of the hotel to look exactly like the original in THE SHINING. The result is both chilling and nostalgic.

Incidentally, the name Doctor Sleep comes from the part of the story where Danny works as an orderly at a hospital, and he uses his gift to help dying patients navigate their final moments in this life to the next, and so he earns the nickname “Doctor Sleep” as he helps these folks relax as they enter their final “sleep.”

I really liked DOCTOR SLEEP. Not only is it a worthy sequel to THE SHINING, but it’s also a superior horror movie in its own right.

It’s that rarity among sequels in that it’s more than just a follow-up to the first story. It stands on its own.

—END—

TERMINATOR: DARK FATE (2019) – Linda Hamilton Returns to the Series, As Do the Same Plot Points

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The buzz leading up to TERMINATOR: DARK FATE (2019), the sixth film in the TERMINATOR franchise, was that Linda Hamilton was returning to the series as iconic character Sarah Connor.

Hamilton had been absent since the second film in the series, TERMINATOR 2: JUDGMENT DAY (1991). Her return after so many years reminded me of a similar return last year, when Jamie Lee Curtis reprised her Laurie Strode role in the latest HALLOWEEN movie, innovatively titled, eh hem, HALLOWEEN (2018). While Curtis was fine in her return, the movie wasn’t. The 2018 HALLOWEEN was pretty bad.

The good news here is Linda Hamilton fares better, because TERMINATOR: DARK FATE is a much better movie than HALLOWEEN (2018). But don’t break out the champagne yet.

See, while I certainly liked TERMINATOR: DARK FATE, as the sixth film in the series, there is a lot that is redundant here. As a result, this latest Terminator tale while well-made and entertaining is far from anything special.

If you’ve seen any of the other TERMINATOR movies, the plot of this latest entry will no doubt be familiar. A woman named Grace (Mackenzie Davis) is sent from the future to protect a woman named Dani (Natalia Reyes) in the here and now from a murderous Terminator, the Rev-9 (Gabriel Luna), also sent from the future, his mission being to kill Dani for reasons the movie doesn’t want to tell us at first, but you can be assured that it has something to do with her saving the future from the murderous machines, the thinking being, eliminate her in the past, and the machines win in the future.

When will these villains in the future realize that this sort of plan never works? At the end of every TERMINATOR movie, these machines from the future fail. Six films into a series with the same plot point grows kinda tired.

Anyway, old friend Sarah Connor (Linda Hamilton) has been traveling the countryside destroying Terminators from the future whenever they arrive, as she receives anonymous tips from an unkown secret source alerting her of these arrivals, which is how she meets up with Grace and Dani and helps them fight off the Rev-9.

Why is this still happening when Sarah Connor supposedly saved the future back in the day? It turns out she saved only one future. While her actions at the end of TERMINATOR 2: JUDGMENT DAY saved the world from the evil Sky Net corporation, it turns out another evil company took over and basically did the same thing, create machines that eventually took on the human race.

Yeah, right. I mean, seriously, what are the odds?

Another old friend also shows up, as Arnold Schwarzenegger returns as a variation of the Terminator from TERMINATOR 2, who’s been living the dream since the 1990s and learning what it is to be human, and so he too joins the fight to save Dani from the Rev-9.

I say “variation” because TERMINATOR: DARK FATE not only chooses to ignore the last three TERMINATOR movies, but it also changes events that happened at the end of TERMINATOR 2. I can’t say that I enjoyed this change. It always feels like a cheat to me when filmmakers go back and change things in a story that has been known for years. No. Sorry. That’s not what happened. This is what happened.

Anyway, this twist didn’t ruin TERMINATOR: DARK FATE for me, but it didn’t help either.

Linda Hamilton enjoys a successful homecoming as Sarah Connor. Older, grizzled, and just as tough, Hamilton gives Sarah Connor a triumphant return to the big screen.

Lost in the Linda Hamilton buzz was that Arnold Schwarzenegger also came back for this one. Of course, his return is less of a story since he’s only missed one Terminator installment, the fourth one, TERMINATOR SALVATION (2009).  Still, Schwarzenegger makes the most of his screen time, and he has some of the better moments in the movie, a lot of them of the humorous variety.

Which reminds me: one of the best parts of the original TERMINATOR back in 1984 was that Schwarzenegger’s Terminator character was the villain. In subsequent movies, his character joined the good guys, and while this was fun, the character was never as good as he was in that first movie when he was the villain. We’d be looking at quite the different TERMINATOR series had that change not been made, and I think you could make the argument that it would have been a better series.

Mackenzie Davis is very good as Grace, the enhanced human sent back from the future to protect Dani from the latest Terminator threat. She’s believable in her action scenes, and she has enough personality to hold her own next to Hamilton and Schwarzenegger.

The same can be said for Natalia Reyes as Dani. She’s also quite good. And when these four are on-screen together they do generate some chemistry and are fun to watch.

Getting back to Mackenzie Davis for a moment, she was also memorable in TULLY (2018), where she co-starred with Charlize Theron, and she also appeared in THE MARTIAN (2015).

Who’s not overly memorable here is Gabriel Luna as the latest Terminator, the Rev-9. It’s not really Luna’s fault. The character isn’t given much personality. He’s mostly based on CGI effects.

And yes the effects here are all top-notch, as are the action scenes. In fact, some of the fight sequences and chase scenes are among the best in the entire series. Director Tim Miller, who directed DEADPOOL (2016), does a masterful job with the action sequences. Everything looks great, the sound is awesome, the stunts and CGI all believable.

If only these well-orchestrated events had resonated on an emotional level.

The screenplay by David S. Goyer, Justin Rhodes, and Billy Ray does what it sets out to do, in that it tells a Terminator story and it connects all the dots so things make sense. But the problem is that it’s pretty much the same Terminator story told in all the movies, with the exception of TERMINATOR SALVATION, which told a somewhat different tale. Ironically, TERMINATOR SALVATION tends to be the least favorite of the series among Terminator fans.

The fact is in spite of all the technical success here, nearly everything in this story rang hollow. There wasn’t one moment in the film that reached out and grabbed me. It all felt like deja vu. Even down to the ending. Yup, if you’ve seen one TERMINATOR movie, you’ve seen them all. Don’t get me wrong. I like the TERMINATOR series. But originality hasn’t been the series’ strongpoint. The movies are very repetitive and really haven’t made much of an effort to tell different and new stories. They just sort of repeat the formula from the first movie.

My favorite TERMINATOR move remains the first one, THE TERMINATOR (1984). I also really like TERMINATOR 2: JUDGMENT DAY. After that, they’re all about the same. Entertaining, action-packed, satisfying, but not very original.

TERMINATOR: DARK FATE benefits from having two of the series’ original stars, Linda Hamilton and Arnold Schwarzenegger, back on the big screen together, along with some talented newcomers, and superb special effects and action sequences, but at the end of the day, you’ve seen this shtick before.

Even the series’ catchphrase seems to return with every film, I’ll be back.

Which is fine. I just wish once in a while they’d be back with something different.

—END—

ZOMBIELAND: DOUBLE TAP (2019) – Fun Sequel Provides Another Gory Good Time

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It’s been ten years since ZOMBIELAND (2009), the high-octane zombie horror/comedy which starred Jessie Eisenberg, Woody Harrelson, Emma Stone, and Abigail Breslin, which makes its sequel, ZOMBIELAND: DOUBLE TAP (2019) a long time coming.

I really liked ZOMBIELAND when I first saw it at the theaters. The humor was snarky, the screenplay creative, and the laughs frequent. But upon subsequent viewings over the last decade I’ve enjoyed it less as the humor hasn’t held up all that well. So, I can’t say I was chomping at the bit to see the sequel.

That being said, ZOMBIELAND: DOUBLE TAP is actually pretty entertaining, and after a slow opening, it picks up speed and continues to get better all the way up to its strong conclusion. If you’re a fan of the original, you’ll definitely enjoy this one, and even if you haven’t seen the first ZOMBIELAND, you still might like this movie, as its comedy and story aren’t really contingent on having seen the first film.

It’s been ten years since we last saw Columbus (Jesse Eisenberg), Tallahasse (Woody Harrelson), Wichita (Emma Stone), and Little Rock (Abigail Breslin), and they’re still navigating their way through the zombie apocalypse. When the movie opens, they arrive at a place where they feel safe, the White House.

I’m just going to interject here for a moment. One of the reasons this sequel gets off to a slow start is that like lots of other movies, it gets done in by its trailers. There are a lot of gags thrown our way early on, but nearly all of them were already revealed in the film’s trailers. And while this is no fault of the movie, it’s still a thing. There were a lot of gags throughout this movie that would have been funnier had I not seen them already. The good news is there were still plenty of other gags that I hadn’t seen.

Now, back to our story.

Columbus and Wichita have been involved in a relationship over the last ten years, and it’s gotten serious, so much so that Columbus proposes to her, which catches her off guard and freaks her out, and so she declines. Meanwhile, Little Rock is pining for someone her own age. When she meets that someone, a former student from Berkeley, (Avan Jogia), she up and runs off with him.

Worried for her sister, Wichita sets out to find Little Rock, and of course Columbus and Tallahassee join her, and the rest of the film, which all works very well and gets better and better as it goes along, is the story of their search for Little Rock, and their interactions with the people they meet along the way.

One of the reasons ZOMBIELAND: DOUBLE TAP works as well as it does is the same team who worked on the first movie is back for this one. The four main actors all returned, as well as director Ruben Fleischer, and screenwriters Rhett Reese and Paul Wernick, along with newcomer Dave Callaham.

Fleischer, who also directed VENOM (2018), gives this one the same visual flair as the first movie, including the creative and often humorous zombie kills. Reese amd Wernick also wrote the DEADPOOL movies, and like those movies and the first ZOMBIELAND, the humor is often— biting. Actually, less so in ZOMBIELAND: DOUBLE TAP, as more often than not the jokes are just plain zany.

As I said, the film gets off to a slow start, and that’s largely because even though I like the four main characters, seeing them interact again in pretty much the same way as the original movie wasn’t anything new, but as soon as Little Rock hits the road, and the story becomes a new one, things get better. And the film is definitely helped by the addition of some new characters.

Zoey Deutch nearly steals the show as Madison, a ditzy blonde who Columbus saves in a mall, and who for a while becomes his new girlfriend. She’s hilarious in all her scenes, and one of the reasons is she transcends the dumb blonde cliché, and really comes off as a genuine person. Plus she’s very funny.

And Rosario Dawson, as she always is, is excellent as Nevada, and she shares some fun scenes with Tallahassee.

The four principals are all back. Jesse Eisenberg as the snarky Columbus, and his “rules” and ongoing commentary and narration while not as refreshing as they were the first time around, are still generally entertaining.

Speaking of which, Woody Harrelson remains fun to watch as Tallahassee, and of the four, he has some of the best moments in the movie, although I wondered what happened to his love of Twinkies, a running gag from the first movie that is absent here.

I wanted more Emma Stone. As Wichita, she’s on-screen as much as her co-stars, but Stone has simply done so much in the last decade, I wanted this story to revolve more around her character. Sadly, it does not.

And while the story does revolve around Little Rock, Abigail Breslin probably has the least impact here of the original four stars.

One of the “surprises” in the first ZOMBIELAND was the secret cameo by Bill Murray, in a sequence where Columbus actually kills the comedian, mistaking him for a zombie. That gag does come up here in the sequel, and this time the “surprise” happens during the end credits, so don’t leave once the credits roll. Stick around for the extra scene.

I had a lot of fun watching ZOMBIELAND: DOUBLE TAP. Its gags are lively and frequent, and its story is one that gets better as it goes along, building to a conclusion that actually gets a bit suspenseful.

In the mood for a bloody good time at the movies? If you don’t mind nonstop messy zombie kills, you’ll enjoy ZOMBIELAND: DOUBLE TAP.

It may not have been the most necessary sequel, but it takes what worked best in the first movie and lays it all out there again, telling a new story, that while not as refreshing as the first film, is still a gory good time.

—END—

 

EL CAMINO: A BREAKING BAD MOVIE (2019) – Follow-up to “Breaking Bad” TV Series Doesn’t Stand on its Own

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Aaron Paul returns as Jesse Pinkman in EL CAMINO: A BREAKING BAD MOVIE (2019)

Like nearly everyone else on the planet, I loved the TV show BREAKING BAD (2008-2013). It’s one of my favorite TV series of all time.

But unlike most everyone else, I was not a fan of the show’s final season. I know. For most fans, the final season was the best season. For me, it just got too dark, and when Walter White went full-blown Dr. Evil bonkers, I lost interest. Another reason I wasn’t nuts about the final season was the fate of Jesse Pinkman (Aaron Paul). Pinkman goes through hell during the final few episodes, and while he lives to tell about it, what he ultimately goes through was so painful and so horrific, it left a bad taste in my mouth.

So, I was delighted when I heard there was going to be a BREAKING BAD movie which would focus on Jesse’s fate after the events of the show.

And that movie is EL CAMINO: A BREAKING BAD MOVIE (2019), produced by Netflix, and enjoying a joint release, both on the big screen at the cinema, and also at home on Netflix. Since I’m not made of money, I chose the Netflix option.

Now, EL CAMINO: A BREAKING BAD MOVIE is getting high-octane reviews. The critics love it! So, why was I— disappointed?

Well, since you asked:

First of all, I’m just not a big fan of prequels or stories that spend as much time looking back as looking forward, and that’s what this new BREAKING BAD movie does. Sure, it’s a sequel to the show, but it’s also a prequel, of sorts.

At the end of BREAKING BAD, we see Jesse escape the fiery and bloody events of the show’s finale, and he’s one of the few characters who does survive. He and Walter White (Bryan Cranston) went from small time meth cookers to major drug dealers, and as I said, White eventually goes batsh*t crazy trying to become the Godfather of the meth business.

When EL CAMINO: A BREAKING BAD MOVIE opens, we find a dazed and scarred Jesse hiding from police who view him as a “person of interest” in the bloodbath which ended the series. He makes his way to his old friends Badger (Matt Jones) and Skinny Pete (Charles Baker), and they help Jesse with his initial escape from the authorities.

But after that, where does Jesse go? What are his options? To figure this out, he spends a lot of time thinking of past events which help shape where he will take his future, and hence the bulk of this film is “flashbacks” to prior events in Jesse’s life which give him insight into his future. Now, these aren’t flashbacks to scenes from the show, but rather, scenes which took place in the past which audiences haven’t seen yet.

As such, lots of characters from the show return here, and for many, that’s one of the best things about this movie, seeing a “who’s who” list of BREAKING BAD characters back in action. But for me, this only goes so far. While I enjoyed seeing these folks again, and I’ll remain mum about who shows up so as to avoid spoilers, it didn’t really make for captivating viewing.

Jesse digests this information and then uses it to formulate his plan for moving forward in the future. That pretty much is the story told in EL CAMINO: A BREAKING BAD MOVIE.

I was unimpressed. I would have much preferred a story about Jesse several years after the events from the final season. I get the point of this movie, however. It’s to show how Jesse survives and deals with the horrors of what he went through during the show’s final season. It just didn’t work all that well for me.

It plays out like an extended episode of the series rather than a feature-length movie, and like most extended episodes of a TV series, it feels longer than it should be.

As I said, I’m not a fan of stories that have to look back to go forward.  The bulk of the action in EL CAMINO: A BREAKING BAD MOVIE features plot points I already knew the answers to.

That being said, writer/director Vince Gilligan’s other prequel to BREAKING BAD, the TV series BETTER CALL SAUL (2015-present) does work, and that’s because SAUL is a TV series that has the benefit of more time. BETTER CALL SAUL does such a thorough job with Jimmy McGill’s (Bob Odenkirk) back story that even though it is tied into events which will later happen on BREAKING BAD, the show stands on its own. It’s best moments don’t even have me thinking of BREAKING BAD.

Of course, it also helps that BETTER CALL SAUL, like BREAKING BAD before it, has superior writing. These series’ scripts are some of the best in the business.

I didn’t find Vince Gilligan’s script here for EL CAMINO on par with his work on BREAKING BAD or SAUL. It had its moments, but none of them stood out for me like some of the classic ones from the series.

Likewise, while it was good to see Aaron Paul play Jesse Pinkman again, nothing he does here in this movie is as good as what we saw him do on the series.

If you’re a fan of BREAKING BAD you’ll definitely want to check this movie out to learn what happens next to Jesse Pinkman. But don’t expect to be blown away by new revelations or situations. Nothing that happens in this film is as good as what happened in the series.

And if you haven’t seen the show, I don’t think you’d enjoy this one at all. It really doesn’t stand on its own, which is another notch against it.

I was ultimately disappointed with EL CAMINO: A BREAKING BAD MOVIE. While I was certainly happy to follow Jesse on his escape following the harrowing events of the series’ finale, where that escape takes him isn’t all that exciting.

If you’re content with watching what amounts to be an extended follow-up episode to the BREAKING BAD series, you might like EL CAMINO, but if you’re expecting something more, something extra special, you’ll be in for a disappointment.

For me, it wasn’t so much  BREAKING BAD as it was BREAKING BORED.

—END—

Books by Michael Arruda:

New in 2019! DARK CORNERS, Michael Arruda’s second short story collection, contains ten tales of horror, six reprints and four stories original to this collection.

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Waiting for you in Dark Corners are tales of vampires, monsters, werewolves, demonic circus animals, and eternal darkness. Be prepared to be both frightened and entertained. You never know what you will find lurking in dark corners.

Ebook: $3.99. Available at http://www.crossroadspress.com and at Amazon.com.  Print on demand version available at https://www.amazon.com/dp/1949914437.

TIME FRAME,  science fiction novel by Michael Arruda.  

How far would you go to save your family? Would you change the course of time? That’s the decision facing Adam Cabral in this mind-bending science fiction adventure 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.

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Michael Arruda reviews horror movies throughout history, from the silent classics of the 1920s, Universal horror from the 1930s-40s, Hammer Films of the 1950s-70s, all the way through the instant classics of today. If you like to read about horror movies, this is the book for you!

 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, first short story collection by Michael Arruda.  

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Print cover

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Michael Arruda’s first short story collection, featuring a wraparound story which links all the tales together, asks the question: can you have a relationship when your partner is surrounded by the supernatural? If you thought normal relationships were difficult, wait to you read about what the folks in these stories have to deal with. For the love of horror!

 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.  

 

 

 

 

 

 

RAMBO: LAST BLOOD (2019) – Latest Rambo Movie Shallow Revenge Flick

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The story told in RAMBO: LAST BLOOD (2019) is so threadbare it isn’t funny. One can easily imagine the words “last blood” from the title referring to the last ounce of originality the screenwriters could squeeze from this tired Rambo trope.

Admittedly, I’m not a Rambo fan. I’ve always preferred Sylvester Stallone’s other iconic role, Rocky Balboa, more. I liked the original film FIRST BLOOD (1982) well enough, but the rest of the Rambo movies I could take or leave.

But this isn’t the reason I didn’t like RAMBO: LAST BLOOD. After all, I’m a Sylvester Stallone fan, and I like most of his movies, even those that most critics don’t. But I don’t like all his movies. I’ll be adding RAMBO: LAST BLOOD to that short list of Stallone films I could live without.

RAMBO: LAST BLOOD, the fifth film in the Rambo series, tells a very simple story. Former Green Beret and Vietnam Vet John Rambo (Sylvester Stallone) is now living a quiet life on his ranch raising horses. When his grandniece Gabrielle (Yvette Monreal) goes to Mexico in search of her father who abandoned his family years ago, she runs afoul of a Mexican human trafficking cartel. When Rambo receives word that his niece is missing, he immediately goes to Mexico to find her and bring her back, and when things go from bad to worse, he changes his mission to one of pure revenge. And that’s it folks. That’s all she wrote.

Now, I like “revenge moves” as much as the next guy, but this one, like I said, it’s so threadbare it basically just goes through the motions and never resonates on any emotional level other than in a “by-the-numbers” way.

There are two main reasons for this lack of emotional connection. The first is the characters are all flat and uninteresting.

Sure, you’ve got Stallone, and yes it’s certainly fun to see him back on the big screen playing Rambo again. I actually enjoyed the opening act to this film where we see Rambo living his quiet life on his ranch, enjoying his time with his niece, doing his best to provide for her. And admittedly Stallone is fun to watch later when he singlehandedly takes on the gang of bad guys, but that’s really all this movie has to offer, and simply put, that’s not enough.

Yvette Monreal is fine as Rambo’s niece Gabrielle, but she’s really not in the film all that much. Gabrielle becomes a victim much too quickly, and she stays that way. We barely get to know her, both before she’s abducted and later. We don’t really get to see her dealing with the horrific situation she’s been thrust into, nor does she get the chance to fight back.

This one is all about Rambo, and Rambo only. No one else gets to help out.

And the two main villains here, brothers Victor Martinez (Oscar Jaenada) and Hugo Martinez (Sergio Peris-Mencheta) aren’t developed at all. They’re baddies and they do bad things and lead a gang of undesirables who brutalize and traffic young women, so yes, they’re the villains here. But they have zero screen presence, so you can’t even enjoy feeling good when Rambo serves them up their comeuppance.

Then there’s the young woman Carmen Delgado (Paz Vega)  who saves Rambo at one point and looks as if she’s setting up to be an integral supporting character, and then she promptly disappears from the proceedings. So much for that.

Yup, RAMBO: LAST BLOOD is pretty much a one man show: Rambo, Rambo, and more Rambo.

The other reason this one doesn’t work is that it never moves beyond its simple revenge tale.  For example, the fact that the story takes place in Mexico means nothing. It could have taken place anywhere. The screenplay by Matthew Cirulnick and Sylvester Stallone takes no advantage of the setting at all.

When Rambo bursts onto the scene to rescue his niece, he finds other girls as well in harm’s way, but neither the story nor Rambo is interested in these girls. They’re on their own, I guess. Rambo just wants his niece and that’s it.

Also, the film makes little effort to make the notion that Rambo challenging an entire mini army on his own is believable. First of all, initially they kick the living stuffing out of him, and it’s a stretch that they decide to let him live. And then later, when he returns to exact his ultimate revenge, the film enters HOME ALONE territory with Rambo utilizing numerous booby traps to do in his opponents. Not that I doubt Rambo’s skills, but the film did little to make them believable here.

About the only stamp director Adrian Grunberg puts on this movie is its excessive gruesome violence. He gives us lots of close-ups of knives carving into flesh, bones being pulled out of bodies and broken, fingers jamming into bloody wounds, and the kicker, at the end of the film, when Rambo says “I’m going to rip your heart out” he doesn’t mean it figuratively.

I like action films, and I don’t mind gory films, but there needs to be a reason for excessive gore, meaning that it needs to be integral to the story. RAMBO: LAST BLOOD should have been a story where this kind of violence was justified. I mean, Rambo’s avenging his niece, and what happened to her was horrifying and tragic, but the film almost unbelievably fails to show us much about these things.  Now, I’m  not arguing for an even more graphic movie, but I’m talking about the human side of the story, the emotional horrors felt by his niece, and by him. These things the film never explores.

RAMBO: LAST BLOOD is a very shallow movie. It has at its core a famous cinematic character, John Rambo, played by the actor who has always portrayed this character, Sylvester Stallone, but he’s placed here in a story that doesn’t go any deeper than Rambo taking on the bad guys who hurt his niece.

And even that simple story could have still worked here had care been taken to create three-dimensional characters and more emotionally harrowing situations.

Instead, we’re left with RAMBO MEETS HOME ALONE as he singlehandedly makes short work of generic bad guys who are as brainless as they are heartless.

Literally.

—END—

 

 

 

 

IN THE SHADOWS: PATRIC KNOWLES

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Patric Knowles as Dr. Frank Mannering, putting the finishing touches on the Frankenstein Monster (Bela Lugosi) in FRANKENSTEIN MEETS THE WOLF MAN (1943).

Welcome back to IN THE SHADOWS, that column where we look at character actors in the movies, especially horror movies, those folks who while not playing the lead in the movies, graced the film nonetheless in smaller roles, quite often making as much of an impact as the actors on top.

Up today it’s Patric Knowles, and if you’re a fan of Universal horror, you know who he is, based on two key performances in THE WOLF MAN (1941) and its sequel FRANKENSTEIN MEETS THE WOLF MAN (1943)

Here’s a partial look at Knowles’  127 screen credits:

MEN OF TOMORROW (1932) – Kwowles’ first screen appearance.

THE POISONED DIAMOND (1933) – Jack Dane – Knowles’ first screen credit.

THE CHARGE OF THE LIGHT BRIGADE (1936) – Captain Perry Vickers – co-stars with Errol Flynn and Olivia de Havilland in this war tale based on the poem by Alfred Lord Tennyson. Directed by Michael Curtiz, who would go on to direct, among other things, CASABLANCA (1942). Cast also includes David Niven, Nigel Bruce, and J. Carrol Naish.

THE ADVENTURES OF ROBIN HOOD (1938) – Will Scarlett- co-stars in this classic adventure, also by director Michael Curtiz, again starring Errol Flynn, as Robin Hood, and Olivia De Havilland, as Maid Marian. Cast also includes Basil Rathbone, Claude Rains, and Una O’Connor.

ANOTHER THIN MAN (1939) – Dudley Horn – co-stars with William Powell and Myrna Loy in the third THIN MAN movie, another fun entry in the classic mystery/comedy series.

THE WOLF MAN (1941) – Frank Andrews –  the first genre credit for Patric Knowles, and he struck gold as the THE WOLF MAN (1941) is arguably the best werewolf movie ever made and is also on the short list for the best Universal monster movie ever made. It also features one of the strongest casts ever assembled for a Universal monster movie: Lon Chaney Jr., Claude Rains, Evelyn Ankers, Bela Lugosi, Ralph Bellamy, Knowles, Maria Ouspenskaya, and Warren William.

While THE WOLF MAN belongs to Lon Chaney Jr. in his signature role as Larry Talbot/aka The Wolf Man, and features dominating performances by Claude Rains and Maria Ouspenskaya, and even Evelyn Ankers, the entire cast is very good, including Patric Knowles in a small role as Frank Andrews.

Nonetheless, Andrews is integral to the plot as he works as the gamekeeper at the Talbot estate, and he’s engaged to be married to Gwen Conliffe (Evelyn Ankers), who just so happens to also be the object of affection of one Larry Talbot (Lon Chaney Jr.). As a woman who’s engaged to be married, she has no business spending time with Larry, yet she agrees to take that moonlit walk with him, and she’s with him the night he’s bitten by a werewolf.

Unfortunately, there’s just not a whole lot of things for Knowles to do in THE WOLF MAN, although his character Frank Andrews does appear in one of the more memorable non-werewolf scenes in the film, where, at a carnival, he, Gwen, and Larry are playing a target shooting game, and Larry, flustered when he sees a wolf target, misses the shot, and then Frank hits it dead center. I’ve always thought this moment should have foreshadowed that Frank would be responsible for the demise of the wolf man, but that’s not how the film plays out.

THE STRANGE CASE OF DR. Rx (1942) – Private Detective Jerry Church – Knowles plays the lead here, a detective trying to solve the case of a serial killer who sets his sights on mobsters. Also starring Lionel Atwill, Anne Gwynne, and Samuel S. Hinds. Church’s partner here, Detective Sergeant Sweeney, is played by one Shemp Howard!

MYSTERY OF MARIE ROGET (1942) – Dupin – Again plays the lead role in this mystery based on the story by Edgar Allan Poe. Also stars Maria Ouspenskaya and KING KONG’s Frank Reicher.

WHO DONE IT? (1942) – Jimmy Turner- co-stars in this Abbott and Costello comedy where Bud and Lou try to solve a murder at a radio station.

FRANKENSTEIN MEETS THE WOLF MAN (1943) – Dr. Frank Mannering – stars in this WOLF MAN sequel, also a sequel to THE GHOST OF FRANKENSTEIN (1942), where he plays a different role from the one he played in THE WOLF MAN (1941). Here he plays Dr. Frank Mannering, a doctor who tries to help Larry Talbot but later focuses his energies on restoring the Frankenstein Monster (Bela Lugosi) back to his full strength. As such, Mannering becomes the first movie scientist not named Frankenstein to revive the Monster. He wouldn’t be the last.

Probably my favorite Patric Knowles role. He takes what should have been a standard mundane role and makes Dr. Frank Mannering a rather real character.

HIT THE ICE (1943) – Dr. Bill Elliot – more shenanigans with Bud Abbott and Lou Costello.

TARZAN’S SAVAGE FURY (1952) – Edwards – plays the villain to Lex Barker’s Tarzan in this jungle adventure.

FROM THE EARTH TO THE MOON (1958) – Josef Cartier – co-stars with Joseph Cotten and George Sanders in this science fiction adventure based on the novels by Jules Verne.

CHISUM (1970) – Henry Tunstall – supporting role in this John Wayne western. Also stars Forrest Tucker, Christopher George, Andrew Prine, Bruce Cabot, Richard Jaeckel, Lynda Day George, and John Agar.

TERROR IN THE WAX MUSEUM (1973) – Mr. Southcott – Knowles’ next to last genre credit is in this atmospheric wax museum thriller that is ultimately done in by low-production values. Has a fun cast, which includes Ray Milland, Elsa Lanchester, Maurice Evans, and John Carradine.

ARNOLD (1973) – Douglas Whitehead – Knowles last movie is in this horror comedy which also starred Stella Stevens, Roddy McDowall, Elsa Lanchester, Victor Buono, and Jamie Farr.

Patric Knowles enjoyed a long and productive career. And while he was more than a character actor, often playing the lead in many of his films, for horror fans, he’s best remembered for two quality supporting roles in two of Universal’s better horror movies, THE WOLF MAN (1941), and FRANKENSTEIN MEETS THE WOLF MAN (1943).

Patric Knowles died on December 23, 1995 from a brain hemorrhage at the age of 84.

I hope you enjoyed today’s edition of IN THE SHADOWS and join me again next time when I look at the career of another character actor.

As always, thanks for reading!

—Michael

 

Movie Lists: Stephen King Cameos

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Stephen King in CREEPSHOW (1982)

Stephen King has a cameo in IT CHAPTER TWO (2019), the latest film adaptation of one of his novels.

Just how many cameos has King done over the years? Well, according to stephenking.com, he has made 22 of them.

Welcome back to MOVIE LISTS, that column that looks at lists of odds and ends in movies. Up today, the movie and TV cameos of Stephen King.

Here’s a brief look at those 22 appearances:

KNIGHTRIDERS (1981) – Hoagie Man- the first one, in this creative actioner written and directed by George A. Romero.

CREEPSHOW (1982) – Jordy Verrill – one of my favorites. King gets turned into a plant by a meteor. Again, directed by George Romero, and King wrote the screenplay. One of my favorite horror movies from the 1980s.

MAXIMUM OVERDRIVE (1986) – Man at Cashpoint (uncredited)

CREEPSHOW 2 (1987) – Truck Driver

PET SEMATARY (1989) – Minister

THE GOLDEN YEARS (TV show)  (1991)- Bus Driver

THE STAND (TV miniseries) (1994) – Teddy Weizak

THE LANGOLIERS (TV miniseries) (1995) – Tom Holby

THINNER (1996) – Dr. Bangor

THE SHINING (TV miniseries) (1997) – Band Leader

STORM OF THE CENTURY (TV miniseries) (1999) – Lawyer/Reporter – uncredited

FRASIER (2000) – Brian – in the episode “Mary Christmas” of this classic TV show.

THE SIMPSONS (TV series) (2000) – Himself in the episode “Insane Clown Poppy”

ROSE RED (TV mini series) (2002) –  Pizza Delivery Guy (uncredited

KINGDOM HOSPITAL (TV series) (2004) – Johnny B. Goode

FEVER PITCH (2005) – Himself

GOTHAM CAFE (2005) – Mr. Ring

DIARY OF THE DEAD (2007) – Newsreader

SONS OF ANARCHY (TV series) (2010) – Richard Bachman, The Cleaner – in the episode “Caregiver” – probably my favorite Stephen King cameo of all time. His “cleaner” makes bodies disappear. This guy would have been right at home on the set of BREAKING BAD.

UNDER THE DOME (TV) (2014) – Diner Patron in the episode “Heads Will Roll”

MR. MERCEDES (TV) (2017) – Diner Patron

IT CHAPTER TWO (2019) – Shopkeeper

And there you have it. A brief look at the TV and movie cameos of Stephen King.

As always, thanks for reading!

—Michael

Books by Michael Arruda:

New in 2019! DARK CORNERS, Michael Arruda’s second short story collection, contains ten tales of horror, six reprints and four stories original to this collection.

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Waiting for you in Dark Corners are tales of vampires, monsters, werewolves, demonic circus animals, and eternal darkness. Be prepared to be both frightened and entertained. You never know what you will find lurking in dark corners.

Ebook: $3.99. Available at http://www.crossroadspress.com and at Amazon.com.  Print on demand version available at https://www.amazon.com/dp/1949914437.

TIME FRAME,  science fiction novel by Michael Arruda.  

How far would you go to save your family? Would you change the course of time? That’s the decision facing Adam Cabral in this mind-bending science fiction adventure 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.

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Michael Arruda reviews horror movies throughout history, from the silent classics of the 1920s, Universal horror from the 1930s-40s, Hammer Films of the 1950s-70s, all the way through the instant classics of today. If you like to read about horror movies, this is the book for you!

 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, first short story collection by Michael Arruda.  

For_the_love_of_Horror- original cover

Print cover

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Ebook cover

 

Michael Arruda’s first short story collection, featuring a wraparound story which links all the tales together, asks the question: can you have a relationship when your partner is surrounded by the supernatural? If you thought normal relationships were difficult, wait to you read about what the folks in these stories have to deal with. For the love of horror!

 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.