OMENS Recap

Here endith a wonderful month of fresh new movies watched and reviewed. Didn't get to watch all of the movies on my Que I had wanted to see, but I had the opportunity to watch enough that I'm immensely satisfied. I hope readers enjoyed some, if not all, of the choices. Also major happiness: I only missed a day! A world of w00t!

It feels good to see the wide range of ratings. Mostly three star features, but that in on itself ain't bad at all.

I loved doing this feature, and when I start Netflix back up (after the last movie, I had to put it Netflix on hold again cos of lack of money), I just might try this again, maybe in September when life at school is easy peasy again. Thanks for stopping by, and if you haven't read all the reviews, they are included below - complete with rating - for your easy access pleasure. Cheers!

Five Stars
An American Werewolf in London
Black Dynamite
Butch Cassidy and the Sundance Kid
Centurion
This Film Is Not Yet Rated

Four Stars
The Blob
Empire Records
The Girl Who Kicked the Hornet's Nest
The Lost Boys: The Thirst
Superman/Batman: Apocalypse
Quills
Young Sherlock Holmes

Three Stars
Angels & Demons
Astro Boy
Attack of the 50 Ft. Woman
Dalekmania
Franklyn
La Femme Nikita
The Machinist
Mortal Kombat
The Ten

Two Stars
The Beach
DeepStar Six
I'm Still Here
The Lost Boys
The Lost Boys: The Tribe

One Star
Sorority Boys

OMENS: Empire Records

Empire Records

Starring Anthony LaPaglia, Maxwell Caulfield, Debi Mazar, Rory Cochrane, Johnny Whitworth, Robin Tunney, Renée Zellweger, Ethan Embry, Coyote Shivers, Brendan Sexton III, Liv Tyler, James 'Kimo' Wills, Ben Bodé
Written by Carol Heikkinen
Directed by Allan Moyle
Release: 22 September 1995
Regency Enterprises, 106 mins., NR

Plot: The lives of record store employees on one 'exceptional' day.

Heard a lot of good things about this one, and it didn't disappoint. Clever writing and powerful - and not to forget mentioning fun - performances that make what could have been a exercise in redundancy actually a enjoyable and recommendable film.

Similar to CLERKS, the events that unfold in EMPIRE RECORDS transpire in one day. Money is 'borrowed' by a employee in order to secure further financing for the store's future (it's about to be transformed into something else if the company has its way), goes terribly wrong, and furthermore, a famous singer will be appearing at the store later that day (just to add onto the stress), and the employees are acting crazier than usual. As expected, it's a day where characters realize truths about themselves but end up improved and better than ever as night comes by.

It's not necessarily brand new material the movie is exploring, but the success of its indulgence rests entirely on the script and cast. Fine pacing doesn't hurt matters, either, which is the case here.

EMPIRE boasts an exceptional cast, but the real standout performance here is Anthony LaPaglia as the store owner, Joe. He's a unique character who defied my expectations, making him definitely memorable and me wishing I have a boss like that in the future. Renee Zellweger plays the promiscuous role that inevitably has a conflict with Liv Tyler (through be told, I initially mistook Zellweger for Joey Lauren Adams). Next to LaPaglia, the other memorable role that deserves recognition, thanks to performance and script, is Brendan Sexton III as Warren, a young adult who resorts to illegal, crazy antics in order to get a job.

A not-bad music selection [coming from me, that's a compliment; I'm a tad picky], interesting characters that reach a endpoint that doesn't feel contrived [albeit a little 7TH HEAVENy, and the finale romance that seems to come out of nowhere], stellar performances, and most of all - entirely fun. It may not resonant with me nearly as strongly as other teen comedy/dramas from the nineties, namely CAN'T HARDLY WAIT and AMERICAN PIE, but it is nonetheless a strong effort that excels and deserves recognition and to be watched.

Netflix Rating: Really Liked It

OMENS: DeepStar Six

DeepStar Six

Starring Taurean Blacque, Nancy Everhard, Cindy Pickett, Miguel Ferrer, Matt McCoy.
Written by Lewis Abernathy, Geof Miller
Directed by Sean S. Cunningham
Release: 13 January 1989
TriStar, 99 mins., Rated R

Plot: Underwater scientific station DeepStar Six is under siege by a giant monster.

Sounds a lot more exciting than what it ends up being. I love monster movies, I bloody well love them, and I dug the atmosphere director Sean S. Cunningham displayed in the original FRIDAY THE 13TH. Here, that works against him, making DEEPSTAR SIX a absolute bore from beginning to end. Initially the model work was impressive enough to keep my interest, and I tried my hardest to find myself invested in at least one of the characters, but as the time wore on, and the hour marking was coming upon us, I admit I was really, really losing interest. Aside from a blip on the radar, no monster had yet appeared, and nor would it for another ten minutes. I'm usually all for placing character and atmosphere ahead of the scares, but in this instance, I just wanted my motherfrakking monster fix, ladies and gents. However you feel about Renny Harlin's DEEP BLUE SEA over a decade ago, that movie did a great job at balancing the human drama with the flesh-eating Mako sharks. At least I thought so. Cunningham and Co. epically failed here.

When the monster does appear, the overall design of the creature is very impressive. It definitely had the feeling of being a beasty you don't want to cross, and was most definitely threatening. Sometimes I got a little confused concerning the size of the monster, as it goes from room to room in such tight spaces it really shouldn't. One scene it looks like a big ass monster, the other times, small and slender enough to fit through the doors the writer and director proposes is plausible. No matter the huge lack of screentime, I still liked the design, had a very Stan Winston-vibe to it, and my only other complaint concerning it is that I wish we had a better, larger shot to gain a proper image of it (and, of course, for it to appear earlier in the film).

In the end, DEEPSEA SIX does not succeed as a entertaining monster movie, although it had the makings to be such. Ultimately what I'm sure the writers and director felt were the wise choices - staying close to the characters, allowing them room to be, er, 'established' - ended up being the wrong ones. None of the actors have the caliber to keep us entertained until the big showdown, and when the monster finally does arrive, it's a welcome distraction of the permeating 'blah'ness of the rest of the movie. Still, I give you all props for trying.

Netflix Rating: Didn't Like It

OMENS: The Machinist

The Machinist

Starring Christian Bale, Jennifer Jason Leigh, Aitana Sánchez-Gijón, John Sharian, Michael Ironside, Larry Gilliard Jr.
Written by Scott Kosar
Directed by Brad Anderson
Release: 22 October 2004
Paramount, 101 mins., Rated R

Plot: Trevor Raznik hasn't slept for a year, and that's doing a number on his psyche.

The unfortunate consequence of watching THE MACHINIST is not all the hype and news surrounding the film, it's that as obsessive film watchers, we tend to pick up on things rather quickly and spot similarities to other movies which in turn make whatever 'twist' at the end that explains all the weirdiness from the previous hour and a half a bit predicted. The people who aren't there that plague Trevor's mind, the conversations he never had, the mysterious notes, the red car, and even his physical appearance - ultimately guessable for those who have watched plenty of movies.

BUT

That doesn't stop THE MACHINIST from being captivating, highly intriguing, atmospheric, and making me more then willing to come along for the ride. When the credits roll up and the complete narrative is revealed to us, I 'get' the structure and story Kosar set out to write and Anderson brought to realization. The truth of the matter is MACHINIST is so splendidly made that I was sucked up by every second of it, and even figuring out the whole story not even halfway through deterred me from thoroughly enjoying all of it.

MACHINIST unfolds at a fine pace, allowing the mystery and overall freakiness to leave their impact, in addition to the relationships he forms with a 'entertainer' and his waitress. Christian Bale's performance is just as bizarre, mesmerizing, and complex as mentioned by everyone out there. Bale's in every scene, and he takes that honor and friggin' grabs us from the quasi-comedic opening scene to the satisfying and dark finale. The supporting cast is just as stellar, although I think a call-out to Jennifer Jason Leigh as Bale's favored company is in order for her stealing the scenes from Bale she's in. When the two of them are onscreen, it's definitely some good material.

Overall, MACHINIST nearly fulfills the critical rave and promise of something interesting everyone's been saying about it. The only real downside is the simplicity and predictability of Trevor's year-long sleepless life. Perhaps I wanted something more complex, or unique or original, but what we got wasn't what the doctor ordered. In the end, MACHINIST remains a movie I recommend to all parties: it's compelling, Bale is amazing, and the visual style alone (and holy God the trippy music) yell 'watch me'!

Netflix Rating: Liked It

OMENS: La Femme Nikita

La Femme Nikita

Starring Anne Parillaud, Jean-Hugues Anglade, Tchéky Karyo, Jeanne Moreau, Jean Reno, Philippe Du Janerand, Marc Duret, Patrick Fontana, Alain Lathiere

Written & Directed by Luc Besson
Release: 21 February 1990
Gaumont, 117 mins., Rated R

Plot: Faced with a life sentence, Nikita is given a rebirth as a operative for the government.

With sixteen episodes of The CW's Maggie Q-starring NIKITA under my viewing belt, I figured what the hell, give the original French NIKITA a chance.

Overall, very 'meh'.

Excluding a few scenes here or there, LA FEMME NIKITA lacks much in anything that kept my interest or indicated the cultural phenomenon it would become. Although an entire movie is dedicated to this character, I frankly was at a loss as to who Nikita is as a individual. We're introduced to her as a troubled kid who acts out. She shoots/kills people, she likes to yell to a super obnoxious degree, she dances around without a care in the world, and she pretty much hates everyone. As the movie progresses, and she abruptly chooses the life of an assassin, her character just wants to have a normal life, a yearning that just comes out of nowhere based on what has already been established with this character. Basically, Nikita is inconsistent, and the overall ten to fifteen minutes of her being recruited into the government organization goes by far too quick without the necessary information presented. The movie is more concerned with visual style over substance. More explanation of the agency would have been appreciated, or a reveal of exactly what it is they do and what their function is. Before I knew it, Nikita was authorized to blow some guys away, and I don't think we were adequately given the opportunity to see Nikita accept the world she was about to embark on.

Guess I'm just a sucker for the finer details. The whole first hour honestly zooms by. Nikita the Yelling Crazy Bitch is the first thirty, Nikita entering the agency about twenty mins., and then Nikita on her first mission about fifty minutes. That was some good stuff. And then Nikita is let out into the world on her own and the movie sorta just loses it. There's no steam, nothing all too engaging until the final fifteen when Nikita does a job which eventually brings in Jean Reno (being kickass as ever). In the end, she's on the run from the people who hired her, no longer wanting anything to do with killing people, and leaving the man she 'loves' behind (seriously lame development in that relationship).

Arguably, NIKITA could be considered slow pace so we can get a deeper understanding of the titular character. That'd be fantastic if we actually got to know this woman. She yells, she cries, she gets painted into corners, but she's far from a interesting, developed, or remotely well crafted character. Definitely a flick that could use a big screen remake. Maybe Paul Greengrass would be interested.

One of the more noteworthy aspects of LA FEMME NIKITA, Jean Reno's name drop down aside, is the presence of That One Guy. In this case, Tchieky Karyo. He's got quite a hefty resume under his belt, and I pinpointed where I initially knew him: Jet Li's KISS OF THE DRAGON. By golly, Karyo is the most menacing, deadpan faced men I've seen in a looong time. Screw Nikita, give us a film on that dude (cleverly named 'Bob', although I can never hear that name and not think LAST SAMURAI).

Overall, skip NIKITA. If you want to see how the saga started, by all means, power to ya, but you're not missing anything at all by not seeing it.

Netflix Rating: Liked It

OMENS: Black Dynamite

Black Dynamite

Starring Michael Jai White, Salli Richardson-Whitfield, Arsenio Hall, Tommy Davidson, Kevin Chapman, Mykelti Williamson, Mike Starr, Kym Whitley, Phil Morris, Nicole Sullivan, Buddy Lewis, Brian McKnight, Nicole Ari Parker
Written by Scott Sanders, Michael Jai White, Byron Minns
Directed by Scott Sanders
Release: 16 October 2009
Icon Entertainment, 84 mins., Rated R

Plot: Black Dynamite's brother is killed, and Black Dynamite ain't gonna let this stand!

Judging by the trailer, MACHETE was poised to be a hilarious, awesome ride back in September 2010. It ended up being boring and lacking more than hitting all the right notes. I also saw a trailer for BLACK DYNAMITE some time before that, and the trailer was spectacular. Similar to MACHETE in some ways, but concentrated on a different genre of old action films, I was interested, but nonetheless hesitant. Would the film be another case of a movie not fulfilling the promise of the exceptionally well done trailer?

A universe of no, it turns out.

BLACK DYNAMITE is perfect. It embraces and spoofs the blaxploitation films of the 1970s (when Pam Grier was everywhere) as well as kung fu films. The action pieces are insane, like A-TEAM proportions crazy. There’s an awesome bar brawl, an island attack, helicopter assault, kung fu ass kicking, and last but not the least, a karate chop delivered by the ghost of Abraham Lincoln.

Part revenge flick, part gangsta, BLACK DYNAMITE breaches many different genres, maintains the same BADASS tone, boasts a highly quotable script, and will instantly become one of your favorite movies, a classic film you’ll want to show your friends and family.

I think it’s safe to say less about BLACK DYNAMITE, because no words can do this brilliance justice. Any movie fan in the world owes it to themselves to watch BD, to experience the BADASS Dynamite in action. But I will say this:

Michael Jai White, I am in awe of you. How you kept a straight face saying some of the most brilliant yet ridiculous dialogue I have ever heard. How you Kung fu’s six dudes in a bar brawl. How you made that hilarious face after jumping out of the helicopter. How you fought Dr. Wu. Okay, the last three bits were Black Dynamite, but simply put, Michael Jai White is motherfrakking Black Dynamite.

From a technical standpoint, I’m quite impressed by the visual style. Sanders achieved the feel of 1970s films, the scratchy, dotty, soft film print with the occasional unsynced dialogue blooper. Frankly, Sanders & Co. accomplished a feat Rodriguez failed to do on two occasions (PLANET TERROR and MACHETE) and Tarantino only slightly tried (DEATH PROOF). BLACK DYNAMITE, for all intents and purposes, looks and feels EXACTLY like a movie from the 70s (minus a bad CG moment near in the end), and that’s about the best compliment anyone can give the movie. It 100% succeeds in being what it’s honoring and spoofing.

BLACK DYNAMITE, I can dig it.

Netflix Rating: Loved It

OMENS: Angels and Demons

Angels & Demons

Starring Tom Hanks, Ewan McGregor, Ayelet Zurer, Stellan Skarsgård, Masasa Moyo, Victor Alfieri, Yan Cui, Shelby Zemanek, Jonas Fisch, Kristof Konrad, Curt Lowens.
Script by David Koepp and Akiva Goldsman.
Based on the book by Dan Brown.
Directed by Ron Howard.
Release: 15 May 2009.
Columbia Entertainment, 146 mins., Rated PG-13

Plot: Them pesky Illuminati are coming out of hiding after 400 years to screw with the Vatican, and the Vatican don't like being screwed, so they unenthusiastically enlist the aid of symbologist Robert Langdon to save their lives (but not their souls, cos that's already dealt with)!

Fact: I fell asleep for ten minutes at the theater watching THE DA VINCI CODE.

Fact: I rather enjoyed ANGELS & DEMONS, although it most definitely could be better, it is all around an improvement over the Howard/Hanks original.

The cinematic sequel to the literary prequel, ANGELS & DEMONS is a pretty interesting ride with some nifty ideas and scenes that just can’t come together to make a truly riveting thriller. Ultimately the lack of urgency on screen – despite characters and title screens telling us we’re running out of time, but it’s never truly felt (I mean, c’mon, Howard and Zuer don’t even break into a sprint often or talk fast cos each second counts; it’s like they have to walk a little tiny bit faster to get to the spa instead of saving thousands of lives at the Vatican) – is detrimental to the overall enjoyment and integrity of the film. Really, how hard would it be to watch a few episodes of 24 to get a overall vibe of how to create a sense of ‘Shit! We really gotta get moving on this thing or this antimatter stuff is going to blow this place to smithereens!’? Not too much.

And God bless Hans Zimmer, he tries valiantly to invoke urgency and epicness and running-out-of-timeyness with giant orchestral and vocal cues that neat block out the dialogue. Still, it’s a pretty cool soundtrack well worth a solitary listen.

Yes, it’s an improvement on DA VINCI CODE, and I don’t mean just Tom Hanks’ hair is normalish again. But unfortunately, all I can seem to do is concentrate on its downfalls. For example, Ayelet Zurer’s character Vittoria Vetra’s relevance to the plot is basically confined to two scenes, and both involve the bomb. Otherwise, she frankly could have been exercised from the movie entirely without missing anything crucial a quick rewrite wouldn’t fix. Secondly, the ultimate villain of the piece is a bit predictable, but thanks to a fine performance, they do succeed in possibly making one second guess themselves. Third, the movie still is plagued by pacing problems. A hour and fifteen minutes in, I felt like I had already watched the whole two hour ten minute film, and there was still tons of material to get through. Fourthly, the revelations and discovers Langdon makes isn’t nearly as interesting as DA VINCI CODE, despite the concept of the Illuminati springing up to take revenge on the Vatican sounds awesome. Fifthly, the movie rides the fine line of outright dissing the Vatican while also supporting religion. Interesting. Sixth, there’s some really bad special effects here. Like, a bit embarrassing.

But despite my complaints, I still dug the movie. Hell, I’d still be game for a movie adaptation of THE LOST SYMBOL, which last I heard the script was being written by the novelist, Dan Brown, so that just might be beneficial. And no offense to Ron Howard, but maybe it’s time to have another director step in to take the mantle, someone who understands that there’s a reason time is such a important part to Brown’s novels. Overall, glad I saw it finally.

Plus, the cronie doing the Big Bad's work is way more bad ass then DA VINCI CODE's Silas. This dude's got a Silencer, glasses, and a nice suit. And he has some pleasantries. Nice man. *cough. Moving on. Rating time? Rating time!

Netflix Rating: Liked It

OMENS: Astro Boy

Astro Boy

Featuring the voices of Freddie Highmore, Kristen Bell, Nathan Lane, Eugene Levy, Matt Lucas, Bill Nighy, Donald Sutherland, Charlize Theron, Nicolas Cage, Sterling Beaumon
Written by Timothy Harris & David Bowers
Directed by David Bowers
Release: 10 October 2009
Summit Entertainment, 94 mins., Rated PG

Plot: Unable to deal with the loss of his son Toby, Dr. Tenma creates a robot in his sons image, complete with memories, but realizing what he has done, rejects his creation and disowns him/it.

ASTRO BOY tries to be a lot more than just a family friend movie about a robot with a conscious. There’s environmentalism (not as extreme as WALL-E, to be sure), political maneuvering, dealing with death (the loss of a child), the loneliness of being orphaned, and robot rights. And then, of course, there’s a super epic awesome robot battle when Astro Boy fights this MEGA sized robomonster that involves a lot of blown-to-bits buildings and MEGA damage! So it’s all cool.

The movie can have its messages – after all, the key demograph isn’t really privy to those aspects of the film and it’s not like it’s so heavy handed they become detrimental to the overall enjoyment factor. But the monster movie fan geek in me was just about having a MEGA geekgasm during the final 15 minute battle royale on Cloud City – er, I mean Metro City. That was some truly epic stuff, ladies and gents. Absolutely one of the coolest giant sized fight scenes I’ve seen in a long while, far surpassing MONSTERS VS. ALIENS. I can only imagine how stunning that would look on Blu-Ray. Cue salivation.

As for the film itself, giant robo fights aside, it’s your standard kid fare. I mean, take HOW TO TRAIN YOUR DRAGON and substitute dragons for robots. A bit of a stretch, but watch the two movies and you’ll see the similarities, all the way down to Astro finding himself a female friend who has a uncannily resemblance to Hiccup’s girlyfriend. So in general, ASTRO BOY doesn’t offer much in the way of originality (awesome robo fight scene!!!), therefore determining the watch factor depends on how it is executed.

Very well done. The animation is solid. Unique in its own right (done by the studio who animated TMNT), not a carbon copy of DreamWorks or Pixar, the style pays homage to the original Japanese animated series, embraces it, and uses the state-of-the-art digital effects to their disposal, making the movements fluid, laser blasts, battles and the works flawless. Really quite good work. Animation aside, the script does elicit a few giggle-worthy moments, mostly dealing with the robot dog Trashcan, who is instantly adorable and makes you want one ASAP.

Featuring a stellar list of voice actors, I’ll confess it was a bit distracting to hear Big Daddy and Davvy Jones taking part in a children s film. It’s instances like these where I can’t become engrossed in the flick and instead just seeing Nicholas Cage smoking a joint in his living room recording his material off the couch, script in hand.

ASTRO BOY was a helluva lot of fun, and definitely worth Instant Streaming if you have the time. Not the bestest kids movie in recent years, but it has heart, and it has style. And besides: MEGA robot battle in Metro City!!!

Netflix Rating: Liked It

OMENS: Centurion

Centurion

Starring Michael Fassbender, Dominic West, Olga Kurylenko, Noel Clarke, David Morrissey, JJ Feild, Axelle Carolyn, Riz Ahmed, Dave Legeno, Ulrich Thomsen
Written & Directed by Neil Marshall
Release: 23 April 2010
Pathe, 97 mins., Rated R

Plot: Quintas Dias and his Roman buddies are on the run from bloodthirsty bad guys.

Now that was some awesome shit.

Future young Magneto Michael Fassbender leads a bruised and battered group of Roman soldiers back home after their army was attacked and pretty much destroyed, but they face opposition: the blood hungry Etain is on their trail, and she will stop at nothing to butcher every last Roman out of revenge.

So let’s see what CENTURION offers: a sword-and-sandals epic with great production at a reasonably reserved budget; plenty of bloody carnage; a cat-and-mouse chase picture; and a drama about the last surviving members of an army banding together to live. Sounds brilliant, and it is brilliant. It does hurt – not in the slightest – that this movie is handled with care and creativity by the hands of writer/director Neil Marshal, who arguably delivered one of the best horror movies of the last decade (THE DESCENT). And now he unleashes another flick that is just as mesmerizing and unforgettable.

It’s a simple plot, I’ll give you that, but Marshal and the actors milk it. The cinematography is breathtaking. Absolutely beautiful. The sweeping helicopter shots of the snow covered lands, the threat of each tree, the beauty of running water, the menace and uncertainty of mist – if there is one irrefutable truth about CENTURION that not even the nonlovers can deny, it’s how gorgeous this movie looks.

Those looking for a bloody good time – and I mean that literally, as in blood spurting all over the place – you’ll most definitely be pleased with the amount of swordy carnage that is in display here. Each Roman soldier is ready to die for their commander, but hell if they won’t do everything in their power to take out as many enemies as they can. No part of the body is safe from a death blow.

The cast is brilliant, as expected. Neil Marshall has a talent with getting some magnificent performances from the people under his charge, and this is no different. They each play their part terrifically, displaying the camaraderie in the more intimate night scenes where they have a moments break to just chill and talk about the past and their lives, displaying the never-give-up mentality of the Romans, and all around being likable and charismatic blokes. But there’s one performance that shines above all the others.

Believe it or not, but when it comes to Olga Kurylenko, I’m going to resist commenting on her natural beauty and give a huge compliment: she was magnificent as Etain. CENTURION’s protagonists are the Romans, sure, but this movie is about Etain as much as it is about them. Olga was fine in QUANTUM OF SOLACE, but holy shit, this is a tour de force, I’d go as far as saying. It’s a cliché to comment on actor’s eyes and the emotion they bring, but in this case, it’s bloody deserved. Look at the screencap to the right for proof. Olga’s Etain is the embodiment of rage and revenge and war, and she sells it. Bloodthirsty, ready to strike in a second like a snake – it’s mesmerizing. If you’re on the fence about CENTURION, I’d recommend it just for her. Frakkin’ frightening, ladies and gents.

And I would be a horrible DOCTOR WHO fan if I didn’t note that two actors from that show appear here: Noel Clarke, who plays Roman soldier Macros, was Mickey Smith, boyfriend of Rose Tyler, for two series of the show when it came back in 2005/2006. David Morrissey, who plays Roman soldier Bothos, was Jackson Lake, a man who believed himself to be The Doctor after his brain was zapped by a memory capsule containing information about The Doctor. And yes, I’m going to point out every DOCTOR WHO actor no matter the subject, cos I’m that obsessed. I need therapy.

In case the following rating and the review didn't cement it: watch CENTURION. It's awesome, bloody, compelling, and the time will just fly by and you'll want to watch it again very soonish. Well, at least I want to. Imminent purchase!

Netflix Rating: Loved It

OMENS: Young Sherlock Holmes

Young Sherlock Holmes

Starring Nicholas Rowe, Alan Cox, Sophie Ward, Anthony Higgins, Susan Fleetwood, Freddie Jones.

Written by Chris Columbus
Directed by Barry Levinson
Release: 4 December 1985
Amblin Entertainment, 105 mins., Rated PG-13

Plot: The early adventures of Sherlock Holmes and John Watson at boarding school while they investigate mysterious deaths.

YOUNG SHERLOCK HOLMES takes great pains to assure us that this film doesn’t follow the cannon set forth by Sir Arthur Conan Doyle, nor are the events inspired by any of his novels. Instead, this should be regarded as a fantasy movie, a “what if?” a young Sherlock and John Watson met each other at some Academy and formed a friendship? Although I’m sure any die hard fans of the HOLMES franchise would cry fowl at all the retconnes and inaccurate representations of Holmes’ life, the film is nonetheless a wild wide of adventure and nicely remains true to the Sherlock Holmes character I’m familiar with.

Except the whole thing with Sherlock fancying Elizabeth. Correct me, but has Sherlock ever fancied a gal? Similar to Spider-Man, isn’t action his reward? Being on the case and solving the case? Granted, my Sherlock history and knowledge isn’t what I or anyone else would call deep, but Sherlock getting smoochy-face just doesn’t jab right. Then again, this is the young Sherlock Holmes. Not even a case of triple murders can thwart teenage hormones.

Anyways. Produced by Steven Spielberg and written by Chris Columbus, the movie dabbles in both childrens fantasy and young adult darkness. There’s lots in Columbus’ script that is reminiscent to the kid-friendly tone and dialogue of his two HARRY POTTER films, and his poor choice of using narration by a elder John Watson brings about plenty of groan-worthy dialogue as it regurgitates cliched lines at a unfortunately high rate. As I said, though, YOUNG SHERLOCK does have a tinge of darkness in it. The culprit(s) behind the series of murders is actually a clan of folks decked out in this really neat underground temple that is really reminiscent in design to the Thuggee lair in TEMPLE OF DOOM a year before. Death of loved ones, betrayal, and confronting ones emotions and bettering themselves are themes in the movie Sherlock must face, and the quasi-Gothic atmosphere assists in that.

As the titular character, Nicholas Rowe is actually quite impressive and it’s easy to see how this man will grow up to become the legendary detective he will become. Currently I’m watching the Steven Moffat SHERLOCK series, and Rowe’s interpretation has quite a few similarities. The manner in which Holmes walks with complete confidence, the off-hand and semi-boastful way he divulges the obviousness of the clues to Watson or any open ears, even the frizzled hair (after all, why would Sherlock care about hair style, y’know?). With YOUNG SHERLOCK being his second feature film, Rowe does have facepalm-worthy moments, but for the most part, very impressive. Alan Cox doesn’t fare as good, however. At no point did I think this would be the John Watson we’re going to see someday, instead coming off very much like Sean Astin in THE GOONIES with an unquenchable taste for chocolate. Sophie Ward fulfills her duty as Elizabeth, Holmes’ love interest, who ultimately isn’t given enough screentime to become anything else than exactly that – the love interest, and eventually the damsel-in-distress. Missed opportunity, ultimately.

One of the greatest assets to YOUNG SHERLOCK HOLMES is the score provided by Bruce Broughton (LOST IN SPACE). Adventurous, dark, ‘witty’, all the things that a score for the great Sherlock Holmes demands, Broughton delivers.

But maybe the best thing I can offer YOUNG SHERLOCK HOLMES is that it is undeniably fun. Watching Sherlock solve the case of the hidden vase in one hour on a dare from the obnoxious kid in the school, seeing Sherlock engage in sword combat, and generally witnessing this young man gain the traits that are familiar to any fan of Sherlock Holmes. The movie has a brisk pace, and the not-all-that-challenging mystery and captivating and fun cast come together nicely to make an enjoyable film that held my interest. Yes, some of the effects are outdated, but they are nonetheless impressive. As noted, the mystery isn’t all that complex, or dare I say enthralling. But it’s Sherlock Holmes, it’s fun, and you’ll enjoy the adventure.

Netflix Rating: Really Liked It

OMENS: An American Werewolf in London

An American Werewolf in London

Starring David Naughton, Griffin Dunne, Jenny Agutter
Written & Directed by John Landis
Release: 21 August 1981
Universal, 97 mins., Rated R

Werewolf movies. Difficult to make a good one, it seems. Not like I’ve had a helluva lot of experience outside those paranormal teen romance things, but I haven’t seen anything quite like AN AMERICAN WEREWOLF IN LONDON. And that’s a compliment. The movie is quite impressive, and not only just because of the werewolf make-up and all that jazz. AMERICAN WEREWOLF works on multiple levels.

First and most obviously, it works exceptionally well as a horror movie. The scene near the ending in the subway will continue to haunt my brain for many weeks to come. Not as terrifying as the Nothing from NEVERENDING STORY, but nearly at that point. Director John Landis excelled at creating and maintaining atmosphere. The opening twenty minutes when David and Jack are walking around the Yorkshire field and are surrounded by this strange beastly noise until (HOLY SHIT!) it attacks. The speed and suddenness of the attack, complimented by the frakking horrifying sound of the werewolf, literally made me jump in my seat, and that successfully happened at multiple instances later in the movie when Jack’s transformation is complete. So, yea, the scares definitely succeed in the jump category. Anyway, back to atmosphere, that good ol’ sense of dread and the expectation of something really shitty about to happen is absolutely abundant in nighttime scenes (the movie almost takes a 360 turn into the world of, dare I say, comedy during daytime sequences), and the tension when an character, no matter who, is in a desolate place and we just know the wolf in getting ready to pounce on its prey. Kudos John Landis, you sucked me into this movie and literally wouldn’t let me go.

That thing I said about a comedy tone – yep, not lying. David is a bit of a funny guy, either through actually saying a joke or just being honest or his dumb interactions with people, laughter and smirking will ensue. Another unforgettable scene that happens later in the movie that’s so bloody funny and weird and so perfectly British at the same time is when Jack is confronted by the people he killed the evening prior in his wolf state at a porno theater. It’s brilliant, absolutely brilliant, and the dialogue is just as brilliant. I’ll just say it now: the script, also by Landis, is top-notch. Dimensional characters (give or take), got that. Good if not great werewolf bits, absolutely check. Nudity, oh yes. Actually succeeding as a horror movie: check again.

Hell, even the human side of the movie – the part everyone, including myself, expects to drag and just waste running time – is just as compelling as the werewolf. They may not be the most realistic couple (moving into her flat, professing his love two days later, etc.), but David and Nurse Alex are freakin’ adorable and lovable. All the scenes with the two of them are highlights of the movie, I kid you not. I loved their relationship, and if I have one complaint about the final seconds, it doesn’t allow either Jack or Alex to have that letting go moment, or a few seconds of grief. Bahg! And thanks to the casting of David Naughton as, ahem, David, and the very clever script by Landis, David becomes an awesome, relatable, funny guy, and the inevitability of the film has a certain sadness and tragedy because you actually like the guy. Sorry if I seem so astonished by this fact, but I can’t say I’ve been too in love with the human part of werewolves from what little experience I’ve had. Just last year, Benicio del Toro’s Lawrence Talbot was utterly flat and carried zero dimension. His fate – couldn’t care less. David’s – it was like I was watching a friend’s life go down the bucket.

Other fantastic elements of the movie already highly remarked on is the ironically upbeat soundtrack that is just so perfectly juxtaposed scenes of great horror and pain and the make-up effects by Rick Baker. David’s transformation exactly an hour in is awe-inspiring and beautiful. As for the wolf face, it’s still very impressive, but Baker will successfully outdo himself years later with 2010’s WOLFMAN, displaying some absolutely gorgeous wolf makeup. But as far as transformations go, I find myself more in love with this 1981 take over the digital effects heavy 2010 version.

AN AMERICAN WEREWOLF IN LONDON is about as close to perfect as I can imagine for a werewolf movie. I loved it, and I plan on owning it in the immediate future. Watch it now.

Netflix Rating: Loved It

OMENS: Dalekmania

Dalekmania

Featuring Yvonne Antrobus, Steve Arnott, Toby Aspin, Roy Castle, Bernard Cribbins, Jill Curzon, Peter Cushing, Gary Gillatt, Marcus Hearn, Dave Hicks
Directed by Kevin Davies
Released 24 July 1995
Lumiere Films, 57 mins., Unrated

Tagline: A documentary concentrating on the two live-action DOCTOR WHO movies with Peter Cushing.

A DOCTOR WHO documentary on Netflix Streaming, how could I resist? Overall, the less-than-a-hour documentary isn’t as thorough or enlightening as I hoped, instead spending an unfortunate amount of time replaying snippets of trailers of the two movies covered here. DALEKMANIA is specifically interested in exploring the two Dalek movies starring Peter Cushing in 1965 and1966, DR. WHO AND THE DALEKS and DALEKS INVASION EARTH: 2150AD. Additionally, there’s a short bit dedicated to Dalek merchandise and the price they initially sold for and the value of them now.

Archival footage of script writer and Dalek creator Terry Nation provides some nice background detail about the thinking process about what went into making them, as well as showing Nation’s love for his creations and intent on maintaining their integrity through the television series and feature films. Two of the female stars from each picture give the most interesting behind-the-scenes tidbits, Roberta Tovey (who played The Doctor’s granddaughter Susan) and Jill Curzon (the Doctor’s niece). Discussion ranges from interactions with other actors and a game played with the director involving money and number of takes. Although any interview footage of Cushing as The Doctor is absent, the cast do reminisence and remark on their time working with the iconic actor. The documentary concludes noting that a third DOCTOR WHO feature film was to be put into development, but the lack of success with the second Dalek movie proved the audience just wasn’t as enthused anymore.

Overall a decent enough documentary delving into two areas of DOCTOR WHO’s history I’m not particularly familiar with. My only complaint is the lack of behind-the-scenes information that I was hoping would be abundant. As it stands, for DOCTOR WHO fans, DALEKMANIA is a sure thing to watch, but one won’t necessarily find themselves captivated or too enlightened by the material presented here.

Netflix Rating: Liked It

OMENS: The Blob

The Blob

Starring Kevin Dillon, Shawnee Smith, Donovan Leitch, Jeffrey DeMunn, Candy Clark, Joe Seneca, Del Close, Paul McCrane
Script by Chuck Russell & Frank Darabont
Based on a 1958 script by Theodore Simonson & Kay Linaker
Directed by Chuck Russell
Release: 5 August 1988
TriStar Pics, 95 mins., Rated R

Plot: An meteorite crash lands near a small town and contains a giant mutating blob that sucks the life out of its victims!

A perfect example of how remakes can be beneficial – improving on the original idea of the first film with a bigger budget, more intricate visual effects, and lacking in the eye-rolling corny dialogue. I’ve heard a lot of positive things about THE BLOB, and I’m happy to report that the movie lives up to expectations and was immensely enjoyable. I mean, after all, it’s co-written by Frank Darabont (THE WALKING DEAD), how could it not be good in some capacity? Truth be told I was simply looking for a Creature Feature that had some fine city destruction and monster special effects, and in that respect alone the movie delivered hugely. The blob effects and the oftentimes hilarious kills make this movie, no doubt.

Future SAW returnee Shawnee Smith and I-need-a-haircut Kevin Dillon are the front and center roles, the two people who just have to survive the monster attack and end up saving the day (which, of course, they do). Shawnee doesn’t do more than look pretty and run a lot, which is a shame because I was rather hoping her character would take more initiative. That being said, there’s a awesomely hilarious sequence in the sewers where she is trying to save her little brother and his friend in the sewer, and the boys friend falls in and gets eaten by the blob. Unexpected and amazing. They completely just said ‘F-U!’ to the horror convention of never killing children. Just had to mention it. Kevin Dillon is the Dark Knight, dressed all John Travolta-like in his Grease get-up and hair and motorcycle. The human characters are the weak link of the script, but in a monster movie, it’s entirely forgivable. As I said, I want me some city destruction, and I’m satisfied.

And THE BLOB has that in spades. There’s an death at a restaurant involving a sink that is just so absurb and wickedly beautifully done in its execution it is most definitely going to be on a Top 20 list of memorable deaths. The blob effects are actually very good and quite effective, invoking a huge amount of ‘ew!’ factor as well as menace – especially at the scene in the movie theater where the blob destroys the evening of perfectly content moviegoers watching a horror flick.

BLOB gets major points for giving kudos and nods to the tropes of 1950s sci-fi films, embracing it and using it as well as making the best product they could. That’s respectable. Ways it embraces the sci-fi conventions: way to defeat the monster and its subsequent containment, and, of course, the corrupt government more intent on studying the monster than saving the town.

Overall funness. You like monster movies? You like interesting death scenes and nifty special effects? You'll dig THE BLOB. Also a nice case for endorsing remakes.

Netflix Rating: Really Liked It

OMENS: Mortal Kombat

Mortal Kombat

Starring Christopher Lambert, Robin Shou, Linden Ashby, Cary-Hiroyuki Tagawa, Bridgette Wilson, Talisa Soto, Trevor Goddard. Script by Kevin Droney. Directed by Paul W.S. Anderson. Release: 18 August 1995. New Line Cinema, 101 mins., Rated PG-13

Plot: Three people - Liu, Johnny, and Sonya - are selected by the Gods to participate in a interdimensional tournament called Mortal Kombat that will decide the fate of the universe!

MORTAL KOMBAT is a member of the small category of films that are a perfect marriage of badness and greatness. By all means, this is a bad movie. The XENA and HERCULES series got a lot of flack for being corny in general and cheesily acted, but ladies and gents, they are masterpieces compared to the hilarity that is on display here. Hell, I gained a bigger appreciation of actors' ability to display emotion from any given season of POWER RANGERS than MORTAL KOMBAT. It's laughable, but the real beauty about it, is that it's so damn enjoyable. So, in the bestest way, MORTAL KOMBAT is a true guilty pleasure. Much like DRAGONBALL: EVOLUTION a year or two ago. Both are bad, bad, baaadd movies, but they are just so efficient in their execution in that regard that they can't help but be loved and marveled at.

At the video store I work at people often come by and ask for MORTAL KOMBAT, and often we're sold out because that is one of our top selling martial art films (next ton ONG-BAK). A lot of people have told me it was a pretty good movie, stored that in my memory bank, and checked them out. Not many people bought the sequel, ANNIHILATION, so if they're willing to buy this and not get the other, I can't imagine how bad it must be. Yikes. But truth be told, I'd buy MORTAL KOMBAT and rewatch it, and subsequently show it to my friends. It's like TROLL 2 in that regard.

So what works with MORTAL KOMBAT? It's the fact the movie is so damn enjoyable. The badness equals greatness. What other film will we have Christopher friggin' Lambert play some god-like figure who enlists the help of three paper-thin characters and shoot blue lightning from his hands and eyes and wearing a dumb outfit? There is no other, I say! The inclusion of Lambert, his attire, and his supernatural powers and cringe-worthy dialogue is very nearly worth an standing applause and 100% recommendation alone. At the very least, seeing the ex-Highlander in another role is cool enough.

But in all seriousness, the acting in general is just bad. And frankly, I do use the term 'acting' loosely. Robin Shou is the main protagonist that we're meant to identify with, Liu Kang, who primarily is giddy for the tournament so he can kill Shang Tsung, (Cary-Hiroyuki Tagawa) the antagonist who murdered Liu's brother. Both Shou and Tagawa are just so bad. Tagawa seems to talk in slow-motion, and also enjoys pointing when ordering people to kill each other or snatching up another soul. For some odd reason, watching Tagawa enunciate his words becomes more compelling than the fighting scenes...of which there are many. Shou I wished was dubbed over, because his many grunts and ACTION! strikes are giggle-worthy, let alone his 'dramatic' dialogue: 'I am the Chosen One'.

Linden Ashby is perhaps not only the seemingly most skilled with the fight scenes (rather surprising), but also the funniest and relatable person as Johnny Cage, an actor who feels harassed by the press who don't believe he does his own stunts. So, of course, entering in a tournament that will decide the fate of the universe is the best way to convince people. And then there's Bridgette Wilson. Frankly, I haven't a clue why she's there. Well, for that matter, I guess Ashby falls into that category, too. Both Ashby and Wilson do their own little fights, but stay to the sidelines when the final fight gets going.

About the fights. Sad to say, they're pretty lame. As in unconvincing. When there's actually hand-to-hand combat. There's a lot of kicking, leaping, and soaring through the air. Jet Li/Jackie Chan-esque fights these are not. Plus they're shown in slow-motion often, and the awkwardness of the 'fight' becomes even more apparent. So the fights - basically the one thing that audiences are expecting to be amazing beyond everything else in an martial arts movie - are rather disappointing and sloppily done. Although the majority of the fights are below average, there are two that are definitely worth mentioning. A fantastic fight between Johnny Cage and this skull ninja dude in a fiery environment is not only cool in setting, but also execution. Plenty of physical contact...and even fire balls! And the final fight between Shou and Tagawa is pretty brutal and living up to the title, but it's difficult to get into sometimes thanks to the unintentionally funny 'AHHHHHHHH!!!'s and 'HIYEEEEEEEE!!!'s.

One aspect of filmmaking I don't often comment about is set design. Why? Hell if I know. I think it's cos I just usually don't pay too hard of attention to that area. But MK features some rather gorgeous and creative sets and models. The dimensional the protagonists are transported to blends gothic and mystical very well, full of dark blue lighting barely peaking through, statues of gargoyles and other imaginative creature creations, and other miscellaneous decorations that originated from the creativity of the designers and artists. It's pretty impressive stuff, truth be told. The buildings, the castles, the interior sets: all very way cool. The creatures themselves are awesomely designed and executed. Well, the non-CGI ones; those are quite horrendous. Specifically I'm speaking of Goro (pictured right), a beast of a killing machine that both intrigues me with its mechanics and impresses me with how splendidly he's pulled off. The lip movement (I assume dubbing was involved), the fighting choreography, etc. Pretty cool accomplishments, all things considered.

MORTAL KOMBAT is awesome. Yes, the movie is bad, laughably often. But it's also fun and enjoyable and highly, highly entertaining. I will recommend it to anyone, and will now happily converse with the customers picking this baby up and giving my opinion. Hell, maybe someday I just might check out the sequel. Unfortunately MK ends streaming tonight, but that shouldn't stop you. Nothing should stop you. Like TROLL 2 before it, MORTAL KOMBAT demands to be seen, to be loved, to be enjoyed. But I would not be opposed to a remake. With the rather intriguing premise it holds and some new martial arts experts, a fresh MORTAL KOMBAT movie may just be spectacular.

Netflix Rating: Liked It

OMENS: The Beach

The Beach

Starring Leonardo DiCaprio, Virginie Ledoyen, Tilda Swinton, Guillaume Canet, Robert Carlyle. Written by John Hodge. Based on the novel "The Beach" by Alex Garland. Directed by Danny Boyle. Release: 2 February 2000. 20th Century Fox, 119 mins., Rated R

Plot: Michael seeks some excitement by going to a undisclosed island with two mates he just met cos he fancies the chick.

That was nothing like what I was expecting. See, a long time ago I saw the poster for THE BEACH, and it looked cool, really peaked my interest. And for eons and a half I never saw the flick, and then thanks to the graces of Instant Streaming I had my chance. I was expecting a supernatural thriller, based on the comments I (thought) I read/heard back in the day. Instead, we have a flick that doesn't really go anywhere, becomes absolutely nutters a bit over a hour in, and ends rather abruptly with no finality, no sense that the overall experience was, in a way, worth it.

The one thing BEACH has going for it is the phenomenal, breathtaking cinematography as directed by Danny Boyle. Visually, this movie is stunning. I guess I shouldn't have expected any less coming from Doyle, but it's a welcome change from the visually flat films I've been watching lately. The beach, the sun, the grass, the trees, the water - they probably have never looked more majestic on film.

Everything else though, not a huge fan. Sure, the girl Leonardo DiCaprio sets his eyes on is hot, indeed. No denying that. But the contents on the movie? Meh. Robert Carlyle (STARGATE: UNIVERSE) shows up as crazy man Daffy for the beginning and a few quick shots here and there, ultimately serving nothing more as a plot device to get Michael (Leo) and his two peeps to the island. When they get to the island, there is literally no plot. It's the three of them just forgetting about their worries and having fun. I guess that makes sense because the whole thing with the film is 'Freedom, man!' There is a bit of rivalry going on with Michael and Étienne over the affection of Françoise (Ledoyen), but that concludes rather quickly. And then an hour and a half in, Michael begins losing his mind, basically. And then there's conflict with the natives. It's resolved. The End.

Um. A two hour movie for all that? Perhaps it was simply my expectation that a movie directed by Danny Boyle, starring the usually awesome Leonardo, and boasts a pretty snazzy poster would be good. It didn't have to be the supernatural thriller I was hoping it would, it just needed to be...y'know, good. In the end, THE BEACH gets two stars for two reasons: hot girl and gorgeous cinematography. Ah, and I shan't forget it has a pretty rad soundtrack.

Netflix Rating: Didn't Like It

OMENS: This Film Is Not Yet Rated

This Film Is Not Yet Rated

Featuring Kirby Dick, Jack Valenti, Kimberly Pierce, Becky Altringer., Kevin Smith. Directed by Kirby Dick. Release: 7 September 2006. IFC Films, 97 mins., Not Rated

Plot: Kirby Dick investigations the Motion Picture Association of America's rating system.

With the publicly known battles with the MPAA concerning recent films like BLUE VALENTINE and Kevin Smith's outspoken words concerning JERSEY GIRL, the MPAA is ripe for a documentary investigation, and what we get is one hell of an enlightening, frightening, and compelling film that will make you roll your eyes, laugh at the absurdity of it all, and quite possibly strongly dislike this organization. As a movie fan, one owes it to themselves to watch THIS FILM IS NOT YET RATED.

The film is all about the rating system and some of the stupid choices made as well as the secrecy surrounding the raters. Filmmakers like Kevin Smith discuss JERSEY GIRL, how Liv Tyler talking about masturbation was not favorably looked upon by the MPAA, and Matt Stone, discussing the reaction from the MPAA concerning the SOUTH PARK movie compared to TEAM AMERICA. When Stone independently came out with SOUTH PARK, the MPAA apparently didn't give that much of a shit, but the big studio production of TEAM AMERICA got them their asses handed a few hundred times over. Michael Tucker (GUNNER PALACE) talks about language in violence in film, actress Maria Bello (THE COOLER) on nudity, and Jamie Babbit about the confusion of what exactly is allowed or not when it comes to what can be seen (BUT I'M A CHEERLEADER). NOT YET RATED delves into the MPAA's decisions about sex, masturbation, violence, language, and drugs. Comparisons are made between the U.S. and foreign filmmakers and the taste of explicit sexuality.

Her's two interesting tidbits:
- When making a case concerning a rating on their movie, a filmmaker cannot cite another movie. As in, say a penis was shown in their film, they can't cite SCARY MOVIE's penis/bathroom gag as a reason they should get a R instead of NC-17.
- There are two clergymen who watch the movies, too. Huh.

Oh, and do be warned, watching NOT RATED streaming in a public vicinity is probably not the wisest move. A lot of sex scenes are shown, and although you'll be hard pressed to find me objecting to one of 'em, the idea of folks watchin' you watchin' a couple dozen sex scenes probably isn't high on the list of 'fun' things to do.

Whatever your opinion of the MPAA - they're a force of good that saves the innocence of children or whatever, or they're oppressing artistic freedom - this documentary presents the facts upfront and has a bit of fun doing it. There's also quite a lot of opinion from filmmakers and Kirby's humorous smirks and chuckles at hearing about his own films' rating and subsequent argument with Joan Graves.

Overall, watch it. Now. It's interesting.

Netflix Rating: Loved It

OMENS: The Girl Who Kicked the Hornet's Nest

The Girl Who Kicked the Hornet's Nest

Starring Noomi Rapace, Michael Nyqvist, Lena Endre, Annika Hallin, Anders Ahlbom, Tomas Köhler, Micke Spreitz. Based on the novel "The Girl Who Kicked the Hornet's Nest" by Stieg Larsson. Script by Ulf Rydberg & Jonas Frykberg. Directed by Daniel Alfredson. Release: 27 November 2009. Zodiak Entertainment, 147 mins., Rated R

Plot: Lisbeth Salander versus a group of old men who did bad things.

What a beautiful title, and so appropriate and powerful to the narrative and the preceding two chapters. This is the end of the Millennium Trilogy [although there is allegedly a fourth manuscript written for the fifth book], and the end of the Swedish adaptations, signaling the beginning of David Fincher's Americanization. THE GIRL WITH THE DRAGON TATTOO introduced us to Lisbeth Salander, a goth girl who has a personality that is uniquely her own, strong willed and full of attitude and brains, she was an unforgettable character. Luckily we didn't have to forget her - or wait long at all - cos its sequel, THE GIRL WHO PLAYED WITH FIRE [review here], came out relatively quickly. Whereas the first one presented this odd but compelling characters, FIRE provides us with backstory of who she is and what exactly has happened to this woman to make her...say we say, fractured in some areas. FIRE was also the more action oriented as Lisbeth battled her own father, Alexander Zalachenko, and her half-brother, Niederman. In the end, she had been beaten up, shot, and literally crawled out of a grave. THE GIRL WHO KICKED THE HORNET'S NEST is the fallout where pretty much everyone wants a piece of Lisbeth. There are two parties: those who want Lisbeth dead and gone, and those who want to acquit her. Largely a drama with moments of tension, HORNET'S NEST is a satisfying culmination of everything that came before, but as a individualized film, it is plagued by pacing problems and a plot that is just so clogged with names and other tidbits that it can get a bit confusing sometimes.

At this point, Rapace and Nyqvist are these characters, no acting involved. Just as well, Rapace has this amazing ability to give so much with just her eyes. The courtroom scenes could not be nearly as compelling if it wasn't for the fire in her eyes, even the half-concealed smirk when her prosecutors found themselves in a bit of a puddle. All that being said, it is unfortunate that Lisbeth doesn't give as much screentime as she deserves, and the two leads are largely apart through most of the movie.

Largely, with the film being centered around this giant conspiracy that revolves around Lisbeth, a few hundred names are dropped around often, and frankly, I was lost. I pretty much resigned myself to being in the dark and letting the story flow. After all, the important part is Lisbeth and getting her revenge on in the end. I'm quite sure that a back-to-back viewing of FIRE and NEST would alleviate that pain, but as a standalone film, NEST is hella confusing. And with all these different characters comes more scenes dedicated to these people, taking up precious time that should be spent on our leads. With all these characters, new and old, it boosts the running time, and inevitably, the film does lag a bit. Not fatally, no, just noticeably. The first half hour is pretty decent with the setup, suffers for the hour after, and when Lisbeth's court appearance is due, that's when everything picks up again. Ultimately, Lisbeth pretty much saying "F U" to everyone who ever screwed her in the past - literally and figuratively - isn't as satisfying as it should be. Maybe it was direction, or the editing, or the lack of a audible score, but watching the bad guys being dragged away by the police didn't have that hand-in-the-hair "Yes!" moment. Truth be told, I was being reminded of David Fincher's amazing direction with 'court' scenes in SOCIAL NETWORK and how it would have been beneficial in this case.

As the concluding chapter, HORNET'S NEST mostly delivers. As noted, I would have appreciated more with Micke and Lisbeth, even if it was just one scene more to sort of solidify the friendship. The end with Lisbeth and Niederman was pretty sweet, though, so that nearly makes up for it. In the end, as one connected body of work, the "Millennium Trilogy" was quite successful. Great performances that were simply riveting, pretty good scripts, and pure dedication to the material. Yes, there is room for improvement, not only for this film but the entire series, mainly in the pacing department, but it was a fun, compelling ride that I'm glad I went on. I never read the books, and I frankly don't see that in my horizon, but I wouldn't hesitate to recommend any of these flicks. The Girl is worth it, and she's one of the most interesting characters audiences have come across in a while.

Now with one trilogy completed, let's see how the Americans do it.

Netflix Rating: Really Liked It