Reviews

There's nothing more to see in this endlessly chaotic, and done-to-death franchise. We all remember the line "you don't know what death is..." from the only REAL Halloween 2 we'll ever need. Welp, now, we DO know what death is. This insulting, rancid disservice to the original Carpenter film is TOTAL DEATH.

To retcon the literal Crap out of the misfire that this franchise had become, was an interesting, and even commendable task...at least on paper anyway. The idea of bringing JLC as Laurie Strode back to the game was not a novelty, but certainly wasn't a bad idea after 40 years, countless rip-offs, and a franchise as a whole, which was shot to hell after numerous attempts to keep it running. Alas, when the Halloween requel of 2018 saw the projector light of day, it was sworn to be the last of this wretched gamble known as capitalism in LaLa Land. Still, in true form, that would NOT be the last of it.

Here, we continue the reign of terror from the 2018 Requel installment. No tension, no pacing, and absolutely no interest whatsoever in the cheap, grab-n-go way that Blumhouse has been churning out these requels, sequels, and cockamamie. It could ALMOST be admirable that they want to go down a few different roads with the story, and the characters. The filmmakers take us into some carefully plotted plot points and backstories, which they obviously hoped would flesh out the characters. In fact, they take great pains to spend more than enough time annoying us with it. Unfortunately, on all levels, these so-called backstories invade the original source material, creating complete, far-fetched fodder that disrupts the original 1978 film, and makes a complete ass out out of just about everyone who was involved. JLC, Charles Cyphers, Nancy Stephens, and Kyle Richards should all bow their heads in shame for,, essentially, taking a dump on the work they provided 42 years prior. More insulting still...a moment of attempted reflection during a wild riot in the hospital setting, proves disastrous and inept. Completely out of place in this franchise. You can't believe this is Laurie Strode, or Tommy Doyle, or Lindsay Wallace, or Marion Chambers. None of them. Just faces and familiarity to appease the common movie goer with BAD writing and characterizations.

No no, this is NOT an exorcise in good filmmaking, Not an exorcise in any continuance of professionalism with handling a product that need be generated for the large masses, and appeal to those with a niche for the genre and franchise specifically. Blumhouse and co. Have Killed any possibility of taking this any further in any good way, shape, or form. We get to witness the filmmakers stab the franchise in the back, jab it a few times in the gut, and ultimate slit it's throat with a REALLY BIG KITCHEN KNIFE before pinning it to the wall for future generations to gawk at and make fun of because of how laughably awful it is. I can see it now. One young'un will point hysterically and figure that it shouldn't have been made in the first place, and to his young credit, he will be correct.

Director/Writer Ann Hu has a small library of work, sporadic and brief in measure, but boy, can it pack a punch in those 3 independent pictures. More like an explosion of...well, Confetti. In 2021, ironically after the well noted attack on Asian Americans and their culture, we have a delightful slice of that very lesson we need to learn, or have the potential to learn. Ann Hu insures this with a very detailed and imaginative script that brings about the struggles of the impressive Zhu Zhu as a young mother in China, desperate to see that her little girl will receive the best levels of education depite learning disabilities. It might sound simple, but as the mother and her daughter sojourn to New York City, you realize learning disabilities, language, and culture, are not the only barriers they will have to defeat.

Hu introduces a varied set of supporting characters involved in this case. A compassionate teacher, A cranky woman with years of baggage, and an instructor. Zhu Zhu portrays the lead beautifully. We are given a wide range of different moments which show her struggle, and how it relates to the culture she was raised in. She delivers the part with stamina and balance. Helen Slater and Amy Irving are a most marvelous pair to see in this little movie. We don't see either of them as often, and so thus their involvement is a sight to behold, and they're both great in their roles. The young Harmonie He is a real treat. Adorably focused and poised with umph and discipline. She's a young talent on par with Shirley Temple who just might go far.

Hu sprinkles her narrative with hints of the back story for the mother of the story, and how she has struggled too, similarly and without help. We are gifted to instances wherein our view of the world becomes momentarily distorted when we see the world through her eyes. It's at this point that we begin to see where things are TRULY deeper than they appear. We come to learn everyone has a story, and everyone struggles. There is also, a fantastic presence of unity suggested by such circumstances. Suddenly, this situation is not black and white, cut and dry, iron and steel. None of it. People are complex, life is complicated, and most dilemmas do not get fixed easily.

Hu's message is ultimately positive, wrought with reconciliation and acceptance on life, who we are, where we are and come from. It's a definite thinking picture, but on terms of people and only people, not a societal whole like most american films are desperately trying to do today. This film is personal, it's deep, and it's powerful. Such a move as this on Hu's part, plays out more like a celebration of cultural and societal differences, and here we see the sweet imaginative way we connect through our own beings, and the way to do that, is us.

If you're in need of some entertaining medicine, you've come to the right hospital, er, program. Cheryl Ladd was a main fixture of Television back in the 1980s, and like her 'Charlie's Angels' co-stars, it took some work to get past the imagery and stigma of "Jiggle Show" and other Vampy connotations that followed them all around after the show ended. A few of them, such as Cheryl Ladd here, had great moments away from that, which have been sorely forgotten, or swept under the rug in the past 30 years. 'Deadly Care was a made-for-television picture which, like many TV Movies at the time, reached out beyond the typical fare of network cash-ins on bigger films, and/or extended pilots and series concepts.

In a straight forward, tells-it-like-it-s kind of way, 'Deadly Care' isn't as "Lifetime" as it sounds.. It's rather well done. An honest script by Lane Slate, and some great direction by Director David Anspaugh get this little movie on point. It's never a happy story by any means. We 're introduced to Cheryl Ladd as Annie Halloran, a top nurse who is already dependent on the cushioning balance that pills and barbiturates provide for the stressed out. Unfortunately, for her, life is very depressing, and like many encumbered by life's unfair inconveniences (stressful job, loss of a relative, loneliness et al) it's not too far a jump to the bottom. And that's exactly where our tragic Nurse Annie ends up in a very slow, heart shattering, emotionally painful decent.

Great performances are all around in this one. Cheryl Ladd proves to be a surely impressive actress at this point. Very melancholy, but in tact. She has a good grip on her character and she slides ever so ingloriously down the rabbit hole of the actors journey. This was a goods role, and she was a darn good choice. It's a shame this performance isn't recounted more often as Mrs. Ladd has maintained a streak of nostalgia for her 'Angel' days. Still, that also makes it all-the-more-exciting to run across, and still manage to be a topical subject today. Veteran 'Exorcist' actor Jason Miller supplies excellent support as a heart surgeon controlled by his profession. Early Brian De Palma alumni Jennifer Salt gets something too. She's the moral Compass to Cheryl Ladd, and she sets the scene effortlessly. Most notably though, is the great performance by character actress Belinda Balaski. Such a heartbreaking and concentrated scene, with which, the wonderful Ms. Balaski shatters our hearts like glass. A wonderful decision for casting.

Director Anspaugh makes some great set pieces in the hospital, and uses his narrative with sharp, clever technical skill as he builds the rest of the world around it. Clearly, aside from the anti-drug message that rang ad nauseam that time, there is care put into this for maximum engagement and complete sympathy on our parts. Its not an easy story to take so it's not always easy to tell it, but let humanity and compassion be your guide here. The film itself discusses various stages of life...and death. Perhaps it's one more thing to remember before we misuse our own advantages.

One of the best things to be said of this Super hidden gem is the positively good intentions, and the greatest of care the filmmakers put into it. There is tender heart, funny humor, and formulaic superheroics. Everything you'd expect from a major motion picture of it's kind, produced in 1983/4. What many have stated, and even contested to it's merits , is that the writing is the weakest link in the chain of command here. If trivia serves us correctly, it was re-written several times before production started, and even after that, re-writes still persisted from time to time. That's just the business. It's also easy to loose focus when in the midst of such chaotic circumstances. We mustn't fault the filmakers. They notably gave 110 % to deliver a golden ticket. What we have is a slick, polished model that looks terrific, but doesn't quite fit the mold, and that's what makes the film special.

The story doesn't stray too far from the source material, Kara, Superman's cousin resides in Argo City, a small corner of Krypton which was spared from destruction. She comes to earth on a secret mission, and not to present herself as staged as Kal-El sometimes did. Her anonymity is essential to the source material as well. All the same she must do battle with a surreal Faye Dunaway as a power hungry witch in order succeed and return home safely. This here is where we needed to make her story a little more like DC's interpretation and less like the Star Wars inspired epic fantasy blockbusters at the time. Sure, the formula worked, and under a different title, with a different protagonist this could have fared much better. People weren't expecting the Superman franchise to expand on these terms, which was an upset to the fan base, though it's not an altogether destructive move. Just Different.

Jeannot Szwarc intended the film to be a move in the other direction, concerning the feel and texture and he succeeds. Though one must mention the rather European influence this film also contains. Much more time allowed to digest the scenes and take in the characters. Though, when you're not feeling the characters (As in the lousy choppy US cut) you won't be digesting much. Still, Szwarc creates some Epic set pieces on par with he original Richard Donner Superman (Argo City opening, Selena's fortress in the finale, and the Super eerie take on the Phantom Zone). Honestly this film has a little of everything. Major set pieces, down to the VERY Hammar Horror style look of Faye Dunaway's character at her carnival Funhouse domain. It offers something different that should be embraced, not shunned. Other notable mentions lending to the Super experience are Alan Hume's gorgeous cinematography and color palate , and Jerry Goldsmith's beautiful sweeping score.

Helen Slater provides outstanding work, and manages very well against the all-star cast she is saddled with. She radiates positive energy, courage, innocence, and determination. Conversely, Faye Dunaway exacts the opposite with an uneasy tension that makes for an alarming, and unsettling character. Perhaps she was too intimidating for a Superhero picture? Still, the quirky, off-kilter encounters between the two are mesmerizing to say the least. They're a perfect fit, really. Except they don't quite pull off what, according to formula, they should be pulling off. And yet, maybe they do. When dissected akin to that of the original comics, it's exactly what you'd see. Bad guy wants to rule the world, good guy steps in. A battle of wits much like that of a chess game follows. Nothing new here. It's just different coming from Faye Dunaway in creepy orange eye-shadow, and Helen Slater...almost too perfect for the role.

The strong effeminate nature of the film is also what brings forth an almost surreal abstract visual style. Light colors in Argo City, holistic, middle eastern meditative tranquility. Then extremely dark grainy shadows, fog, and smoke for Selena's funhouse (hammar influence). It still hold a very exuberant style with vivid, bold colors and designs. A patchwork of different influences that make it the perfect off-shoot it has become. It's a wonky film, and that's GOOD. It's fun, it's, strange, it's not what you're thinking but it DOES have heart and soul, and for that deserves more recognition for it's successes rather than it's failures.

So we have Starsky & Hutch on a train. Charlie's Angels, on a train. NCIS on a train. Blue Bloods on a train. NYPD Blue on a train. It's a cop show. It just takes place on the Snowpiercer. If that works for you, fine. I didn't see the film and don't plan to. I just want to see the lovely Jennifer Connelly working. on a more continuous basis. I remember 20 years ago when she was on a very ranchy FOX show called 'The Street' which I looked forward to eagerly as it meant seeing her on a weekly basis. Sad to say the show was a mess, and rightly so it was cancelled. A year and a half later Jennifer won the Oscar. Still, there is no such progress with this show. Jennifer is sadly brought in as the brand name, making her quota of appearances per episode, while the rest of the show, which is muffled cop boredom, fall flat.

Television has, thanks in many parts to Norman Lear, been a perfect module for current events both social and relative. Here, as with many a show today, we have a dramatized depiction of the exploitation of the have-nots by the haves. Maybe it's a coincidence that something very familiar about emergency and class is immediately identifiable as the show makes it premiere this month. Maybe not. Still, it collides with our little, shall we say, dilemma rather nicely, or fittingly in a not so complimentary fashion. We've seen nothing but the same problems-different piles, Social Awareness concept that is presented here in, say, 'White Collar', or Leverage'. Noting new here. Just recycled television formula in a stale, bland container shoved to the very back where 5 months from now it might still be rotting.

The acting/directing is non existent. Just lousy open-framed cinematography, tight close ups and cliched tension. Jennifer Connelly is capable of many things when given the right content, or good direction. Neither is present here. She may as well be playing herself, and not the fun intriguing parts I'm sorry to say. An interview from 2002 on Conan O'Brien is far more entertaining than her presence here. Her wallowing from cart to cart in a monotonous vain betrays her value and screen presence. She does more in Revlon commercials. She must be pretty bored and just grabbing the check because there ain't anything here but that;. The other acting is standard run-of-the-mill TV acting. No real rehearsal time. Set up, and go! Leaving very little for the actors to bring to us. Not very promising.

The writing is likewise, lacking. Very uninspired and cliched. Predictable characters. and formulaic arcs ad nauseum. I'm not even concerned about this alleged 'crime' that our starving-class detective is brought to the rich cars to solve. It's just not exciting and you want more from the characters first before you can see them get to work, We have nothing from them that elicits that kind of an emotional response. So thus the entire project falls apart before it even starts.

As a whole, it is still frighteningly realistic enough that society could fall to such a low state. They just needs a better way to set it up, and MUCH better writing to keep us hooked. I'll continue to watch for the Lovely Jennifer Connelly, and maybe, just maybe, the snowpiercer will pick up some speed.

The book of John Russo's 'Midnight' is a very taught, brief little thriller. The premise is an exciting one though. A young runaway, whom takes up with two college frat boys travelling cross country, runs into trouble with a satanic batch of siblings. This one line premise has all the makings of an excellent drive-in spectacular in the vain of The Texas Chain Saw Massacre, Race With the Devil, and The Last House on the Left. Not so surprising that it falls in line with such films as Russo was a co-writer of Night of the Living Dead, which set many genre standards in that period of time. Thus it further exemplifies the promise it does NOT add up to.

Sometimes the author has no business taking his material to a new medium, in this case novel to screen. Stephen King fared none to well with 'Maximum Overdrive' as well. 'Midnight' was probably around the time when producers were managing to get their hands back on final cut after the paramount decree, and with this film in particular, it's not hard to see why. The budget here is so non existent that it looks to have been filmed in someone's garage, and I guarantee you some of it probably, quite literally was. With more money, and some bigger producers putting some elbow grease into it, this could have worked much better. The novel wins you over right away, but here, Russo has no creative aspect to his direction. Just setting up a camera and filming. No tension to build up on, and without that, the shock moments are just as dull as the rest of the film. Also, he sets up a very poor and ineffective atmosphere. There is a total lack of vision for what the novel provides as an after school special gone to hell. This needed someone to oversee it on a more end-result basis to assure it was delivered properly and to the completed satisfaction of all parties involved.

The casting is WAY off save for Robin Walsh to rises emotionally AND physically to Cynthia as we are introduced to her in the book. Everyone else, including Romero alumni John Amplas, are simply thrown in and directed to move about as they're told, but with no clear motivation or actions driving what they're doing onscreen. The direction with them is totally uninspired and everyone looks like they'd rather be reading the original novel at the beach instead. Two or three of them (Ellie Wyler as Gwen) are downright horrendous to watch as they clearly have NO talent in this regard. I point out Ms. Wyler in specific because her character is supposed to be defiant and strong willed against the tormentors (Think Phyllis Stone in Wes Craven's 'The Last House on the Left). Here, the uncharacteristic Wyler is simply in a cage saying her lines to no distinction or direction. Very bland and embarrassingly cheap. More so obvious than anything else.

The film DOES have ONE thing going for it, the soundtrack! It features eerie organ music and a soft dark vocal Mass for the satanic rituals that fit quite properly. There is also a fun chirpy pop tune used repeatedly throughout as the theme, known as "Midnight Again". It is VERY addictive to hear and suits the novel much better than the film. Almost too good a thing to be heard here. Alas, moments with the score in tow are actually arousing and engaging enough but they are far and few in between the bad bland acting the the overall lack of proper direction.

It says, here , that a remake is in the works. It's definitely in need of one, but better yet...GO OUT AND READ THE DARN BOOK INSTEAD! The movie in your mind will far outweigh what has been provided here, and what might ever be provided again, if it is to be provided again.

Considering the times in which we live in (trump putting children into cages, #metoo et al) this is an ideal piece of work. Very well thought out and hits all the quadrants to deliver a horror show that caters to just about every designated viewer. We have a "steampunk" approach to an old formula. The Vampire to be exact. Hence the title is a new take on the old word Nosferatu...NOS4A2. This premise is based on a book written by, most unsurprisingly...Stephen Kings son. And he does indeed, bring about a similar feel that many a tale his father wrote beforehand, also had.

We've got #metoo in our lead heroine, 'Vic' played very well by our newcomer Ashleigh Cummings. She's a sweet combination of Dana Kimmell from Friday the 13th Part 3-D, and American born European sensation Bonnie (Lory) Bianco. Step by step we're with her all the way. Rivaling her is the always entertaining Zachary Quinto who delights in a nuanced performance that sways between cold seriousness and campy fun depending on which scene it is and what's happening. It's not all the time we have a combination of character and talent as this. Thus Quinto's brooding malefic Charlie Manx might just be the ideal villain for a new generation of horror. The rest of the cast lines out fairly well with stellar supporting actors, primarily Ebon Moss-Bachrach and Virginia Kull as dysfunctional parents.

The formula of man...er Woman against the Supernatural is not uncommon but never played out as well as it ought to be. In a time of Marvel and DC reigning on high, most viewers might forget the vulnerability and fragility of humanity with everything exploding and machismo ad nausium. Thus approaching the formula with a down to earth platform which allows plenty of room for suspension of disbelief might take us back to the way we like to see and experience horror as well as entertainment in general.

As a product of AMC, NOS4A2 is perfectly fit with the social climate of trump administration putting children into cages. We can see glimpses of that in Quinto's Charlie Manx abducting children, ripping them from families. In true horror tradition our lead protagonist is a female, and like many a female in franchises past she is unwittingly and unwillingly brought into this situation and must rely on her cunning and own experience. But times are different and putting a much more aware and agile female in the running is most appropriate.

A TV show in the genre of Horror isn't all that easy to pull off. I can see where this may have been a BIG summer blockbuster picture as well, but hour after hour of indulgence works much better when you have time to digest everything. It puts you right there waiting to see what happens next.

I certainly hope we see more seasons to come, and here's hoping AMC takes good care of this. It might go far...

Stay Hungry is a most appropriate title for this clunker. It simply whets the appetite but leaves one wanting more. Here we have rich kid Bridges as a real estate entrepreneur taking on some shady business to shut down a gym, quite unfairly. Once he gets to know some of the professionals therein, he has a change of heart as he realizes his shallow and sheltered life has had no meaning, and to expand his life makes all the difference. He falls in love, makes new friends, and learns some lessons about himself. Sounds a little too dramatic for a comedy? It is.

Our performances are up to par. Jeff bridges , who ALWAYS satisfies, is deliciously adorable. perhaps too much for his own good. Always likable and with no real room to grow, yet his character is supposed to, and when he finally does, we don't see much of a difference. Pretty monotonous from start to finish despite that he is enjoyable as usual. Sally Field is on target. Spunky, beautiful, charismatic and serious when called for. Being the token lead female leaves very little for her to work with but her talent for a blended cocktail of comedy and a downfall in her arc is zesty and spicy, with a trace of sugar. The only character that shows as much range with ingredients despite the fact that she doesn't have much to do. R.G. Armstrong is predictably, and I do mean PREDICTABLY sleazy and scuzzy. Nothing beyond the common sourness in his performance the accompanies his bitter characters. Then there's Arnie. Simply, Arnie in what is said to be his first role. A fresh meal of protein. Healthy, no?

The early appetizers are not delectable enough when they don't blend. performances are too serious when this should be a comedy. That alone leaves one begging for another dish. the main course is just as lacking as the story is too serious for it's own good. Rafelson tries to put mashed potatoes next to the olive tapenade and two invariably mash together for a rather nasty taste. It's a magnificent premise that could easily go wrong, and does. primarily in the last reel. We're given some that easily could pass as a #Me Too moment in 2018, before the cream pie is served for dessert. Should have sdome coffee with cream in the middle.

The film can't make up it's mind how serious it should be, or how funny. It's not catty or snarky, and the blandness eradicates any positive taste no matter how good it smells. Next time I'll opt for popcorn and leave it at that.

Hollywood was on a roll after ALIENS which set the tone for 'Terminator 2: Judgement Day' and 'The Long Kiss Goodnight'. The common denominator being a mother, or in Ripley's case, the motherly figure, forced to take down a baddie whilst caring/nurturing their brood. Here' it's the Smart cop Mother who is taking off her clothes to close the case and all the while wanted to care for her daughter, portrayed quite nepotistically by Moore's eldest Rumor.

It might seem an apple to ALIENS' orange, but when you look at the formulas...they're the same film more or less. What's even funnier is that this film never had a chance after following up another stripper picture...that of the over-the-top 'Showgirls' which was highly misdirected, but somewhat better on a scale of morale in which it was attempted to propel that feature. 'Striptease', on the other hand, offers nothing new, making it subpar. Perhaps if Demi Moore was busting out a machine gun in the 11th hour whilst in her sparkly bra and panties...it would have made for a much better sell. They could have even put little Rumor in her arm to the side like Ripley in the Poster of ALIENS. Film would have made at least 7 million more earning back it's budget. Whether it'd truly a good or bad film is up to the spectators at this point. 20+ yrs can be an excellent judge of character, and here it looks like the ruling is B-A-D as the film has been mostly forgotten since then.

The Massage Parlor Murders!. Exactly what it sounds like. Typical 1970s drive-in yarn from the 42nd St. grind house fare offering a LOT of medium local talent and a lack of budget for proper coverage of actors, AND dubbing.So many scenes are MOS, it suggests the problem of NOT having enough dough to re-shoot, or ADR. Still, these particular films from that segmented era of time bring forth some of the most fascinating artifacts. For starters, the mark of vintage NYC in the day when things couldn't have been for in-your-face blunt. There is certainly that. Also, it is commendable what some filmmakers can accomplish with such limited resources. There's plenty of ambiance and character (by character I mean NYC itself) to provide the common viewer with fascinating elements beside the random thrills.

What we have is, naturally, a homicidal nut , preying on the sleazy, lustful, and unfortunate looking women working Massage Parlors in the Times Square area. The premise alone could have been grounds for an ABC or CBS movie-of-the-week (MOW), however, the production company, big-wigs, whom-ever and however you wish to refer to them, needed a quota on nudity and cheap violence. Naturally, directors Chester Fox and Alex Stevens pad out the running time with said filler content to the point that it becomes predictable and boring. That's not always a bad thing, except that naked women with fake blood poured on their bodies hardly makes an impression.

Onto more positive aspects, we have a few great lead performances.George Spencer as lead Detective Rizotti. He's honest and straight-forward with a slight humor to him. Right out of a typical cop show of the times, thrust into the degrading and cheap sex and violence. As most films are time capsules, he is never-the-less entertaining and endearing in his own right. John Moser displays absolute charisma as side-kick Det. O'Mara. He has movie star looks, ferocious physical attributes, and a sensitive demeanor. A perfect leading man, who, baffling enough, only has an alleged "Dallas" episode as his following credit on this site! (?) It's a shame he didn't carry this one through as the head detective, and other higher budgeted projects like it. Then there's the always remarkable Sandra Peabody (nee Cassell) of original 'The Last House on the Left (1972') fame. It's assuredly criminal that she, herself, never rose above such tawdry affairs as this. She always displayed perfect commitment to pathos in every role she had in her short B-Movie career. Each performance finely tuned to fit not only the character, but the script and intentions themselves. Fans of her, and they are many, will be satisfied by this aspect alone, if nothing else.

The rest of the cast consist of obvious raw, inexperienced NY talent that bring forth endearing ambiance, which says a lot considering there isn't too much credibility among the rest of the production values amid the pedestrian circumstances. 'Massage Parlor Murders!' is none-the-less a film to be loved by it's adorning fans despite it's stance in a long line of sub par drive in fare which remains mediocre at best. Really, it's no higher than a Roger Corman picture from New World Pictures at that same time, yet all those films resonate positively and still hold up to this day. "Massage" and it's peer titles do not.

Nothing to see here in this poor attempt at a car chase/on-the-lamb drama, which plays more like a wannabe produced by Columbia Picture's heir Bruce Curtis, and starring 4 children of Hollywood stars. Dezi Arnaz Jr., Robert Carradine, Melanie Griffith, and Anne Lockhart. Film has a run-of-the-mill opening with catchy Electric Light Orchestra tunes introducing us to the uneventful lives of some 3 uninteresting late teen/early 20 somethings longing for something more (Arnaz Jr. Carradine, Griffith). They hatch a rather vague plan to head north to Alaska, something about owning a fishing boat. After landing less-than-desirable blue collar jobs in the cold North, these three upset the wrong people and end up on the lamb with an employee of the top corporation around (Lockhart...the only interesting cast member/character). The film flies south from it's already low standing by this point and there is never an absolution to what these brats want, nor is there any tact in how they go about trying to achieve it. The writing is terribly unmemorable, and the story is never completely clear. Director Ruben has no style in how he captures this uneventful series of even more so pedestrian events. Producer Curtis pulls out all the stops to deliver a product with car chases, sex, drugs, and rock n roll. SNORE. It is simply an afterthought cocktail of left-over iconographic elements which fit so awkwardly into it's own bowl of dry, tasteless crumbs. PASS.

There's really no way to pull off a sequel to the original classic, Basic Instinct. To do so would require much more than Sharon Stone who sizzles no matter what she is doing. She a fine actress, but surrounding her with unfamiliar actors in London, and handling a script that lacks everything witty and tight that Joe Eszterhas weaved in the original picture, is just disastrous.

Our story here has Ms. Tramell, notorious author from Basic Instinct at the epicenter of a death, accidental, or perhaps...intentional??? She is handled by Scotland yard in this one, a far cry from the San Fransisco PD and Detective Nick Curan, who is sorely absent. Rather than prance around with her sexuality tugging at the police, and seducing them blindly, she is more a bully here, and she pushes authoritative figures, especially Michael Glass the professional assigned to her case, into her game this time around.

Sharon Stone turns in a mostly witty and sharp (no pun intended) continuation of Catherine Tramell, Complete with incomparable physique, sexy sultry voice, and some more blonde poison. Her co-stars, however, do not measure up.U.K. veteran Charlotte Rampling is the only other cast member/character on Stones level. The rest of the cast are like fish out of water. I think it's part of why the film doesn't work. We have very stiff European authoritative figures, bent on the unraveling of the case, as well they should be, except it doesn't feel like Basic Instinct, and the good moments that are had, are reminders that it might have been better had they stuck with the original idea which was to have been set in NYC.

The production design and art direction are diabolical though (again, no pun intended), and it's a scene set greatly, if only the expectations were met. Ultimately I feel the writing was the biggest let down. It's as if Leora Barish and Henry Bean didn't know the character of Catherine, and thusly could not completely tell her story. Whatever they have for every one else is a more or less lacking shadow of what the original was.

Michael Caton-Jones is okay, but this flick, released in 2006, looks like EVERY other action thriller from that time period, and that's sad. The original was a cut (there I go again)above the rest of what was released back in 1992. It had so much style and charisma, and even charm, mixed with an extremely interwoven and complex, even abstract plot/story. This is just a run-of-the-mill follow up sequel that is as bland and boring as every other product that was churned out by studios at the time. It's all in your face at value, which is not very high. There is noting beyond the cheese & crackers. The cigar is just the cigar, and in this films case, it needed to be a highly intoxicating cigarette.

The film "Mommie Dearest" was based on the book of the same name written by Christine Crawford, and it was about her mother, Joan Crawford. It's safe to say that this may very well be the most hilarious and misguided film in history, and I will never grant it higher than a smoked ham, but I do feel sorry for Faye Dunaway. She was only doing her job as an actress. I can't help but feel that she was robbed of her dignity, and as most people would say she brought it on herself, or that she never had dignity to begin with, I will say otherwise. She's merely an actress, one of the best to be exact, and she was only jumping at the chance to star in what could have been a good film. Saddly the film was a disaster, even more sad, Dunaways character was the ruins of Hollywood glamor, and Dunaway was, I feel, wasting her time portraying cheap trash of the likes of Joan Crawford. I don't feel it was completely Faye who ruined the role, I feel the role was the role. Joan Crawford was just a cheap, ridiculous, impudent whore of Hollywood Babylon, who would do anything for anything. Faye Dunaway was just doing what she could to bring out that part of her that could empathize with the horrid actress she portrays in the film. The problem with the film is that it is about Joan Crawford, period. Anybody wasting their time on that stupid drama queen of a strumpet has to be out of their minds, god knows I'm out of mine for reviewing this movie that pays tribute to the most gruesome actress of all, but in Faye's defense, I think I'll say a bit more. Faye was not, and is not a bad actress, she's one of the best, and this movie, in all it's campy, inglorious flames, might prove as well as disprove. I say she portrayed the part perfectly. It's not that Faye Dunaway is a bad actress, but rather that Joan Crawford was just stupid, silly, over-the-top trash, simple as that. In recent days, Ms. Dunaway reserves the right to remain silent about this embarrassment, and why not, anything Crawford touched was ultimate trash, and she was herself trash, and Ms. Dunaway was and is sheer delight and talent, and nothing will change that. Hat's off to Faye Dunaway for doing what she could with what she had. as for Joan Crawford... rot in hell!