Movie Reviews

‘Terrifier 2’ – Old School Horror at its Bloodiest and Goriest

Posted on by The Ultimate Rabbit

For those of you who thought “Halloween Ends” did not deliver in the way a horror film should, and I’m still not sure what you all were expecting with that one, “Terrifier 2” definitely delivers. While David Gordon Green and his fellow filmmakers looked to challenge what we have seen in the past, writer and director Damien Leone is more than happy to wallow in genre conventions as he gives us all the scares, blood and gore he possibly can, and then he gives us ten times more of it. But in the process of bringing Art the Clown back for more mayhem of the most vicious kind, Leone gives us a sequel which more than outdoes the original. This used to be a rarity, but the history of movies is always longer than we realize, so maybe we should stop being so surprised when this happens with follow ups.

“Terrifier 2” starts with Art the Clown (David Howard Thornton) laying waste to the coroner who was about to perform an autopsy on him, and he becomes the first of many examples of what Art can do to the human body before the heart and brain finally stop functioning. Just as John Doe did to the “sloth” victim in David Fincher’s “Seven,” he leaves a human body rotting in the most unimaginable way, and then we find out the victim still has a pulse. Remember how you as an audience member reacted to that? Wait until you see this.

Art prepares to move to the next phase of his murderous rampage while washing his bloody clothes, because somehow it is possible to wash blood stains off of clothing in a movie like this, and in the process, he comes into contact with a mysterious sinister entity named The Little Pale Girl (Amelie McLain) who comes to more or less follow him on his future murderous travels. There is a laundromat employee present, but he is laid waste to before he even realizes who has more quarters than the average customer.

We jump to a year later and are introduced to Sienna Shaw (Lauren LaVera), a young woman busy working on her Halloween costume which her late dad designed for her, and her younger brother Jonathan (Elliott Fullam) who has long since become fixated on Art the Clown and wants to dress up as him for Halloween. They are still dealing with the aftermath of their father’s death from a brain tumor, and their mother Barbara (Sarah Voigt) is trying to distract herself with her remote job as an insurance agent while being quick to dismiss the concerns of her children for no good reason other than the fact that reality has not been the least bit kind to her or her kids.

Seeing Sienna and Jonathan here and how they were written is one of several reasons why “Terrifier 2” outdoes its predecessor. The characters are far more interesting this time around as we become deeply invested in the crazy plight they get caught up in, and they never come across as your average horror movie stock characters. These two could have been easily typecast as the problem child and town wimp, but Sienna and Jonathan are not written or portrayed as either as this sequel only has so much time, if any, for cliches.

More importantly, both Sienna and Jonathan are stuck in an environment where the adults, including their mother, do not take the time to listen to them or their problems which are quite serious. This is a huge problem in real life as young adults are far more aware of what is going on in the world around them as opposed to the adults who are too busy blunting reality as it has long since become far too much to deal with. Watching these youngsters reminds me of the ending of Terry Gilliam’s “Time Bandits” in which the parents make the fatal mistake of not listening to their only child when they should have. The same thing applies here, and the consequences are far more brutal.

And unlike the original, this sequel has a much stronger story and narrative thrust. While the first “Terrifier” felt more or less like your average slasher flick, Leone gives himself more to work with this time around. It also benefits from the strong performances of its cast, particularly from Lauren LaVera who makes Sienna into more than the familiar final girl we see in most horror movies. Sienna does go through hell, but it is a hell which involves a lot more pain than other final girls have ever had to endure, and LaVera sells it for all it is worth.

Kudos also goes to Elliott Fullam for playing Jonathan as more than the average high school nerd I often see in movies dealing with teenagers. Yes, Jonathan is fascinated with death and serial killers like many were in their youth for a variety of reasons, but Fullman makes sure he never comes across as a mere type which I really appreciated. Furthermore, Jonathan is featured prominently in the film’s final act for good reason as he helps Sienna save the day in ways no other character like him could have.

And let us not leave out David Howard Thornton who once again gives us one of the scariest psychopaths the world has ever seen with Art the Clown. From start to finish, he gives the gory proceedings an unforgettable malevolence without even having to utter a single word. Art remains the same as he ever was, but his brutality is even more infinite than ever before as he lays waste to those in ways which do not allow for remorse or regret in the slightest.

While “Halloween Ends” looked to defy genre conventions, “Terrifier 2” is defiantly old school horror. Like AC/DC once said, “If you want blood, you’ve got it.” The viscera on display has already had many audience members reacting quite strongly, assuming the reports of fainting and vomiting in theaters are to be believed. Seriously though, the blood and gore we see here is quite the sight for those horror hounds who feel like they are not getting enough of it. There are even scenes where I imagine Tom Savini is watching this and saying, “Hey! I could have come up with that! No, seriously!”

As I write this, “Terrifier 2” has made more than $10 million dollars at the box office, and it only cost $250,000 to make. Part of me worries about Art the Clown becoming mainstream considering what ended up happening to Jason Voorhees, Freddy Krueger and, to a lesser extent, Jigsaw. Those murderous fiends proved to be ever so frightening, and then they became almost family friendly with each successive sequel we got year after year. As the post credits indicate, Art the Clown is not finished with is mayhem yet. There is bound to be another “Terrifier” in the near future, so let’s hope he doesn’t become too average before we know it.

John Carpenter is right, evil never dies, but its profitability can render it more harmless than it ever intends to.

* * * ½ out of * * * *

‘Casablanca’ Movie and 4K/Blu-ray Review

Posted on by The Ultimate Rabbit

The following review was written by Ultimate Rabbit correspondent, Tony Farinella.

“Casablanca” is a film which conjures up an immediate reaction from film fans whenever they hear the title.  It’s right up there with “Citizen Kane” as one of those films which film buffs and historians consider one of the greatest movies ever made.  There are many reasons for this, but the biggest reason is the love story between Humphrey Bogart and Ingrid Bergman.  There is also the dialogue and the many quotable lines which come to mind when thinking of this film.  I won’t be repetitive here and list all of them for you, but if you have seen “Casablanca,” you know the lines by heart.  It’s one of those films which means a lot to a great deal of people and for good reason.

Set in 1941, the film introduces the audience to Rick Blaine (Humphrey Bogart), the owner of the nightclub Rick’s Café Américain. He refuses to have drinks with any of the customers and mostly keeps to himself.  The audience can tell he’s cynical, unhappy, and something has happened to him to cause him to lose a big part of himself. He tends to stay neutral on almost every topic.  Even though he’s cynical, he’s still a good guy with a good heart.  His world gets turned upside down when his old flame, Ilsa Lund (Ingrid Bergman), shows up with her husband, Victor Laszlo (Paul Henreid), as he’s seeking protection from German Major Strasser (Conrad Veidt) who intends to arrest him.

Victor Laszlo is a fugitive Czech Resistance leader. Rick’s Café serves as a place for all sorts of types, good and bad, because of World War II.  A lot of people there are looking to keep a low profile while others are looking to find someone to arrest.  Rick has some war experience himself, but now he’s focused on his nightclub.  He starts to become very focused on Ilsa when he catches up with her again, and it’s clear there are still strong feelings between the two.  They were in love back in Paris, but when it was time to leave, she just left him hanging with a note that left him with more questions than answers.

Rick has letters of transit, which allow two individuals to get out of Casablanca safe and sound and start over without any consequences. Rick can give the letters to Ilsa, but that also means he will be giving her up as well.  Again, even though he stays neutral on most topics, he can tell the good guys from the bad guys.  He’s not afraid to lend a helping hand to someone in need. However, if he helps her and Victor out, he knows he will never see the love of his life ever again.  That was the beauty of some of the old Hollywood films: the romance felt urgent and very important.  It never felt frivolous or silly.  You can tell that two people really loved each other, and it made a huge impact on their lives.

“Casablanca” is an old-fashioned Hollywood classic in every sense of the word.  You have the black and white picture, the classic romance, and the big stars. You also have great supporting work from actors like Claude Rains, Sydney Greenstreet, and Paul Henreid.  It all feels vital and like it serves a purpose.  It’s old-fashioned Hollywood craftsmanship at its finest.  The story with the war can sometimes bog the film down a little bit, but it’s there to push the love story between the two leads.  They are the heart and soul of this beautiful picture.  Like fine wine, this is the kind of film which gets better with age.  Even if you have seen it multiple times and know how it’s going to end, you still can’t help but get swept up in the story.  “Casablanca” is the kind of movie Hollywood doesn’t make anymore, but I wish they did.

This is Bogart’s best performance in his storied career.  He has a certain vulnerability to him we don’t often get to see on film.  He’s also an everyman in this film, and it’s great to see him connecting with his black piano player, Sam (Dooley Wilson).  He respects people and does the right thing, but it doesn’t feel forced. It’s a completely natural performance. It’s not a big or showy performance, and it doesn’t need to be as we see everything in his face: all of the pain and the agony. Bergman is sweet, tough and very, very smart.  She’s the perfect actress to go toe-to-toe with Bogart in this film.  She looks absolutely stunning and gorgeous on screen.

I was sucked into “Casablanca” from start-to-finish, like I am every single time I watch it.  Even though I know how it’s going to end, I’m still on the edge of my seat when they get to the final scene.  The last line of dialogue is iconic and the perfect note to end this film on as well.  I’m a huge fan of old Hollywood when stars were stars, and they could light up the screen with their presence. It should also be noted that “Casablanca” won Best Picture in 1942 along with Best Director (Michael Curtiz) and Best Screenplay. This is Classic Hollywood at its finest!

* * * * out of * * * *

4K/Blu-ray Info: “Casablanca” is released on a two-disc 4K/Blu-ray combo pack from Warner Brothers Home Entertainment. It also comes with a digital copy of the film as well.  It has a running time of 102 minutes and is rated PG for mild violence.

4K Video Info: “Casablanca” looks pretty good on 4K.  The black and white and older films in particular play pretty well with light and darkness on HDR.  It’s not a fantastic upgrade, but I don’t know how much more they could have done to really upgrade a film from the 40’s. It’s better than the Blu-ray, but it’s not a huge improvement.

Audio Info: The audio for the film comes on DTS-HD MA: English 1.0, and Dolby Digital: French and Spanish.  It also comes with subtitles in English, French, and Spanish.  There isn’t a huge upgrade on the audio here, but it still sounds pretty solid.  I don’t really think this is the kind of film which needed a huge audio upgrade.

Special Features:

Commentary by Roger Ebert

Commentary by Rudy Behlmer

Introduction by Lauren Bacall

Warner Night at the Movies

Now, Voyager trailer

Newsreel

“Vaudeville Days” (1942 WB short)

“The Bird Came C.O.D.” (1942 WB cartoon)

“The Squawkin’ Hawk” (1942 WB cartoon)

“The Dover Boys at Pimento University” (1942 WB cartoon)

“Great Performances: Bacall on Bogart” (1988 PBS special)

Michael Curtiz: The Greatest Director You’ve Never Heard Of

Casablanca: An Unlikely Classic

You Must Remember This: A Tribute to “Casablanca” (1992 TEC documentary)

As Time Goes By: The Children Remember

Deleted Scenes

Outtakes

“Who Holds Tomorrow?” (1955 “Casablanca” TV episode)

“Carrotblanca” (1955 WB Cartoon)

Scoring Stage Sessions (audio only)

Lady Esther Screen Guild Theater Radio Broadcast – 4/26/43 (audio only)

Vox Pop Radio Broadcast – 11/19/47 (audio only)

Trailers

I can’t get too upset over the lack of updated special features, as they transported a ton of special features from previous releases. The fact you get two commentary tracks, especially one with Roger Ebert, is quite a treat.  There are A LOT of special features here.  This one is pretty simple for film buffs and physical media collectors out there—if you love classic Hollywood, you owe it to yourself to pick up this film on 4K and watch it in the best possible format.  As mentioned previously, it’s an upgrade over the Blu-Ray, even if it’s not a massive upgrade.  Nonetheless, this is a film you should add to your collection on day one with the slipcover. Personally speaking, I love a good slipcover on my favorite films, and if you want the slipcover, it’s always better to buy it sooner rather than later. This will make the film lover in your life very happy this holiday season!

**Disclaimer** I received a copy of this film from Warner Brothers to review for free.  The opinions and statements in the review are mine and mine alone.

‘Terrifier’ – A Routine Slasher Flick With An Unforgettable Antagonist

Posted on by The Ultimate Rabbit

With the current and stunning box office success of “Terrifier 2” (over $7 million grossed so far on a budget of just $250,00), I did the only thing I could do which was watch the original. I was not aware of this one till the sequel came out which was reported to have had audience members vomiting and fainting during screenings, so naturally I was intrigued at what gory chaos its predecessor had to offer. If nothing else, the clown featured on the posters is the kind of thing nightmares are made of. Still, this one is routine as slasher movies go.

“Terrifier” is a 2016 independent slasher film written and directed by Damien Leone, and it opens with television personality Monica Brown (Katie Maguire) interviewing a severely disfigured woman who was attacked by a menacing bastard known as Art the Clown. One look at her face, and you wonder why she is now quick to hide it from the world at large. Seeing her hideous facial features quickly reminded me of a scene in which a mechanic overlooks Michael J. Fox’s completely totaled Porsche in “Doc Hollywood” and says, “I can fix that.” I imagine there are plastic surgeons out there who will delude themselves into saying the same exact thing over this female’s face. Whether or not they can fix is not for me to say, but it is the first sign of just how brutal Art the Clown can be. If he does not kill all his victims, some of them may wish they were dead as he gives them a fate worse than being deceased.

Following this prologue which ends in a particularly brutal fashion, we arrive at a certain Halloween evening in which two friends, Tara (Jenna Kanell) and Dawn (Catherine Corcoran), going home after a drunken Halloween evening in which one of them may or may not have gotten a cute guy’s phone number. They notice Art the Clown looking at them from a distance as they make their way to Dawn’s car. Next thing we know, Art follows them into a nearby pizzeria where Tara continues to fear him from a distance while Dawn goes out of her way to get a selfie with him as if he were nothing to fear. Now Art has teeth which are crying out for the nearest dentist and/or orthodontist. Seriously, anyone specializing in oral care will be quick to look at this psycho and say, “My God, don’t you even floss?!”

After Art gets kicked out of pizzeria for something other than asking for extra cheese on his supreme pizza, he goes on quite the murderous rampage as he pursues both Tara and Dawn and all those who help them or come in his way. Remember that scene in “A Nightmare on Elm Street” in which Freddy Krueger told Nancy Thompson he was going to split her in two? Well Art does that and much, much, much more, and he does it all with a vicious smile which burns into your memory quite quickly.

The first thing I have to say is that “Terrifier” features one of the most fearsome antagonists the horror genre has seen in some time: Art the Clown. His makeup threatens to give Bill Skarsgård’s interpretation of Pennywise the Clown from “It” a run for his money as clowns have always been creepy, but few could be as creepy as this one. Portraying Art is David Howard Thornton, an actor who has appeared on stage, film and television, and he had previous mime experience before doing this particular horror flick. I don’t care what anyone says, acting classes do pay off eventually, and this man is proof!

As for writer and director Leone, he knows how to frame certain scenes to give us the best jump scares possible. This is worth noting as this movie essentially treads very familiar slasher territory. It kept my attention throughout even as it treaded over familiar ground more often than not.

But if there is anything which really sinks “Terrifier” for me, it’s the acting. It’s not all terrible, but there are moments in which the cast members could have really sold us on certain horrific scenes more vividly. When one character gets sawed in half, I expected a lot of Marilyn Burns “Texas Chainsaw Massacre” bug-eyed acting as that would really have been made sense considering the carnage on display. Instead, we get performances from those who look like they couldn’t be bothered enough to go completely ballistic given what they are forced to witness up close. It’s in moments like these where the movie lost it for me, and this one proved to be most damaging.

If nothing else, “Terrifier” really makes me want to check out the sequel. While this one is at best a run of the mill slasher flick, Leone has given himself something he can really build on the next time around. Considering the amount of attention and box office “Terrifier 2” is currently getting, it sounds like he has. This one isn’t terrible, but only does so much to lift itself above the common genre entry. It does, however, have one great thing: the inspired performance of David Howard Thornton.

* * ½ out of * * * *

‘Halloween: Resurrection’ – You Think ‘Halloween Ends’ is Bad? Check This One Out!

Posted on by The Ultimate Rabbit

As I write this, “Halloween Ends” has earned a box office gross of over $40 million in its opening weekend. Those are great numbers, and yet many fans have been rebelling against this installment with an everlasting passion. Listening to them makes me wonder if they have seen the other sequels because, when it comes down to it, “Halloween Ends” is way better than “Halloween: Resurrection” which I actually took the time to watch over the weekend out of morbid interest. If it were not for “movie ever. While certain entries in this series may age like a fine wine, this one never will.

This ill-begotten mess begins three years after the events depicted in “Halloween H2O: 20 Years Later” which ended with Laurie Strode (Jamie-Lee Curtis) decapitating Michael Myers once and for all. But, thanks to an ironclad clause in Moustapha Akkad’s contract, Michael cannot ever be truly killed off, and it turns out the man whose head Laurie chopped off with true precision was not Michael, but instead a paramedic whom Michael attacked, crushed his larynx so he couldn’t talk, and then took his uniform to walk away from the crime scene with relative ease. Keep in mind, this development was written for “Halloween H20,” but Curtis refused to do the film if this ending was featured in the final cut.

While I knew this ending was invented to make “Halloween: Resurrection” a reality, I can’t help but wonder what was going through Michael’s mind when he took out that paramedic. I imagine he was thinking, “Okay, maybe this isn’t the time to kill my sister. Perhaps another time in the near future. In the meantime, I am getting out of town for a bit. I have a timeshare waiting for me.” Michael was so close to killing Laurie, and yet he sensed things were not going to work out for him this time around. But how did he know what asylum Laurie was going to be residing in three years later? Oh wait, you don’t ask those questions in a movie like this.

As we all know by now, Laurie gets killed by Michael even though she has the upper hand. Laurie leads him into a trap, but she still needs to look under his mask to make sure she has the right guy this time around. A knife in her belly is all the proof she needs, and her lifeless body falls to the ground. This was to be Curtis’ last time playing Laurie as she did not want to make any more “Halloween” movies, but we all know how that turned out. The promise of anything final in a horror franchise always has us rolling our eyes and laughing uncontrollably, and this one is no exception.

We then move to a year later when we arrive at the campus of Haddonfield University, and we meet the students who have just won a competition to appear on an internet reality show entitled “Dangertainment” which is operated by Freddie Harris (Busta Rhymes) and Nora Winston (Tyra Banks). They include Sara Moyer (Bianca Kajlich) who proves to be the Laurie Strode of the group as she plays with her hair in the same way Laurie did, Jennifer ‘Jen’ Danzig (Katee Sackhoff) who, like Lucy Van Pelt, keeps signing her classmates up for events they never expected to participate in, Jim Morgan (Luke Kirby) who is looking to get laid on or off camera, Rudy Grimes (Sean Patrick Thomas) who quickly proves to be quite the cook, and Bill Woodlake (Thomas Ian Nicholas of “American Pie” fame) who is looking to score even though the ladies are understandably quick to reject him. Their mission, spend a night in Michael Myer’s childhood home and determine what led him to kill so many people.

Now the key thing to keep in mind about “Halloween: Resurrection” is that these participants are being equipped with head-cameras so we can see what they see as they walk through Michael’s childhood home, and this threatens to make this sequel more promising than it has any right to be. While this one came after “The Blair Witch Project,” it came before the glut of reality shows and found footage movies like “Survivor” and “Paranormal Activity” which Hollywood burned through before the profits ran dry. Still, while this installment could have done a number of clever things with these genres, it instead devolves into the same old thing to where nothing on display feels the least bit surprising.

The one thing which got me excited about “Halloween: Resurrection” was that it was directed by Rick Rosenthal. This is the same man who directed 1981’s “Halloween II,” a sequel I came to appreciate because I first saw it years after its initial release. I thought Rosenthal deserved more credit than he was given at the time and having a veteran “Halloween” director at the helm of this installment seemed like a really smart idea.

Right from the start, however, Rosenthal quickly fumbles the ball as the art of subtlety is completely lost on him here. With his previous venture in this franchise, he knew how to keep the action and characters grounded in a reality we all knew and understood, just like with the 1978 classic. But here, the volume is turned up way too loud to where the suspense is all but neutered, and the characters are unable to speak quietly if at all. Like a certain character Will Ferrell played on “Saturday Night Live” who had vocal modulation issues, these ones make you want to turn the volume all the way down. Okay, maybe that’s pushing things a bit, but these characters got annoying ever so quickly.

The one actor I feel bad for here is Katee Sackhoff who did this film long before she broke through into our collective consciousness on SyFy’s rebooted “Battlestar Galactica.” This is not Sackhoff at her best and, like Stacy Nelkin in “Halloween III: Season of the Witch,” she has to play her last scene without a head.

I should add there is also a subplot involving a college freshman named Myles “Deckard” Barton (Ryan Merriman) who has been communicating online with Sara Moyer for months. While at a college party, he watches this virtual reality series play over the internet and invites other students to watch it with him. This could have led to some interesting moments as the characters try to disseminate what is real and what is fiction, but the performances by everyone here are too broad to where we mock these foolish characters instead of relating to them.

And there is Busta Rhymes who is the first thing anyone thinks about when it comes to “Halloween: Resurrection.” For what it’s worth, he is an entertaining presence as reality show entrepreneur Freddie Harris, but he also takes this sequel into “Batman & Robin” territory as he turns the proceedings into a complete joke, the kind which makes you wince more than laugh. Seeing him trying to take Michael Myers out via martial arts made my eyes roll, and seeing him end things by speaking to television reporters about violence in the media is insulting and a bitch slap to everything we just watched.

When it comes to the recent “Halloween” movies like “Halloween Ends,” they were made by filmmakers who wanted to try something a little different while giving fans some of the things they came to expect. “Halloween: Resurrection,” however, was made by a committee which was designed to take this installment through a number of test screenings in an effort to hopefully give audiences what they wanted and get a return on their investment in the process. If Rosenthal has any artistic aspirations with this sequel, they are all but snuffed out as soon as we realize how cheap the opening credit titles look.

It’s no wonder the Akkad family went out of there way to reboot this franchise yet again after this misbegotten entry. Sure, Michael’s eyes open wide before the screen goes to black, but who gives a shit?

* out of * * * *

‘The Return of the Living Dead’ Movie and 4K/Blu-ray Review

Posted on by The Ultimate Rabbit

The following review was written by Ultimate Rabbit Correspondent, Tony Farinella.

“The Return of The Living Dead” was released the same year I was born, 1985.  Even thirty-seven years later, it is clear to see the impact the film had on horror movies, specifically zombie movies.  It was a film which was truly ahead of its time. I remember watching and enjoying the Scream Factory Blu-ray when it was released many years ago, and I enjoyed it even more on 4K Ultra HD. The blood, the gore and the colors really are vibrant and stunning on this release.  This is a tremendous release from Scream Factory, and it is being released just in time for the Halloween season.  It’s a perfect addition to your 4K horror film collection.

The film is just as funny as it is gory, which is truly saying something. This is not a simple task to pull off, as sometimes zombie films have a hard time with that balancing act.  “The Return of the Living Dead” opens up by introducing us to two lovable but goofy factory workers named Freddy (Thom Mathews) and Frank (James Karen), as they work together at the aptly named Uneeda medical supply warehouse. Frank is hoping to look cool in front of Freddy by showing him some of the dead zombie bodies they have lying around the warehouse. According to Frank, the filmmakers behind “Night of the Living Dead” were ordered by government officials to change certain aspects of the film in order to hide from the public that zombies are indeed real and were used for military purposes. Unfortunately for them, when toxic gas is released from one of the meat lockers, the zombies start to rise from the dead.

The only thing that will take away the pain of the zombies is eating brains.  These zombies really love brains, and they move a lot quicker than zombies we have seen in previous films.  Also, if you take off their head, the rest of the body is still mobile and able to attack.  The only way to truly kill these zombies is to burn them completely.  Before long, there are hundreds of zombies, and the police and the medics can’t keep up with them. Burt (the late Clu Gulager) is trying to navigate this situation as best as he can, but he’s also looking to save the good name of his company and not let the public know that two of his workers are responsible for this mess.

Freddy is part of a punk rock gang that likes to raise hell, listen to music and have a good time with sex, drugs, and rock n’ roll. Freddy’s gang is looking to help him, but they are also finding themselves in over their heads with all these zombies coming for them left and right. Freddy has a girlfriend named Tina along with some friends named Spider, Trash, Chuck, Casey, Scuz and Suicide. Meanwhile, Burt looks to his friend, Ernie (Don Calfa), for help in disposing of the cadaver zombie that was released thanks to his co-workers. Ernie wants to be helpful, but this is above his pay grade as a mortician.  Even though burning a zombie can kill it, it can also lead to toxic rain falling from the sky. This creates even more problems as it burns the skin and also brings more zombies to life from their graves.

This is one of many great things about “The Return of the Living Dead.”  There is nothing about the film which is cut and dry.  There might be a solution around the corner, as mentioned, but it doesn’t come without casualties or consequences. You also tend to feel a little bit of sympathy for these zombies, especially when you notice that Freddy and Frank are starting to become zombies.  They don’t want to eat brains, but it is the only thing that will stop their suffering and pain.  The zombies are also beautifully designed and look fantastic on screen.  Sometimes they pop up out of nowhere, and sometimes they come in large packs that move really, really fast.  These are complex and interesting zombies. These are not your average, run-of-the-mill zombies, and this is a big reason why this film has had such staying power.

“The Return of the Living Dead” also has a ton of quotable lines and quirky characters.  I don’t think I can keep a straight face when I hear the line, “It’s not a bad question, Burt.”  Every time I watch this film, I gain a new appreciation for it.  In my eyes, it is the perfect zombie film.  If I had to choose only one tiny issue with this film, and it is a minor one, it is the fact it ends rather abruptly.  Besides this little picadillo, this is my favorite zombie movie of all time.  Of course, I respect “Dawn of the Dead” and “Night of the Living Dead,” but from a pure entertainment standpoint and for the rewatch factor, “The Return of the Living Dead” is simply horror movie heaven for yours truly.  It is the film which keeps on giving with its gore comedy, and quirky cast of characters.

* * * * out of * * * *

4K/Blu-ray Info: “The Return of the Living Dead” is released on a 3-disc 4K and Blu-ray combo pack from Scream Factory.  One disc is the 4K of the film, another disc is the Blu-ray, and the third disc includes the special features on a Blu-ray disc.

4K Video/Audio Info: We are treated to this film on an absolutely stunning 4K Dolby Digital HDR transfer. As soon as the film started, I was sucked into how beautiful and bright it looked on my television.  They have done a brand-new 4K scan of the original camera negative, and it makes it one of the best-looking horror 4K’s of the year.  The bloody reds are a thing to behold, and the darks are also spot-on with this transfer.  Scream Factory has been on a roll lately. The audio track on the film is DTS-HD Master Audio 5.1, 2.0 with English subtitles.  I thought the audio was perfect, especially during the scenes involving some of the punk rock music.  I didn’t have to adjust my volume on this film at all. I was able to keep it at the same volume throughout the entire film.

Special Features:

DISC 1 – (Feature Film – 4K UHD)

·     NEW 2022 4K Scan of The Original Camera Negative

·     In Dolby Vision (HDR 10 Compatible)

·     DTS-HD Master Audio 5.1, 2.0

·     Audio Commentary with Gary Smart (Co-author of “The Complete History of The Return of The Living Dead”) And Chris Griffiths

·     Audio Commentary with Actors Thom Mathews, John Philbin and Make-up Effects Artist Tony Gardner

·     Audio Commentary with Director Dan O’Bannon and Production Designer William Stout

·     Audio Commentary with The Cast and Crew Featuring Production Designer William Stout and Actors Don Calfa, Linnea Quigley, Brian Peck, Beverly Randolph and Allan Trautman

·     Zombie Subtitles

·     In Their Words – The Zombies Speak

DISC 2 – (Feature Film – Blu-ray)

·     2022 4K Scan of The Original Camera Negative

·     DTS-HD Master Audio 5.1, 2.0

·     Audio Commentary with Gary Smart (Co-author of “The Complete History of The Return of The Living Dead”) and Chris Griffiths

·     Audio Commentary with Actors Thom Mathews, John Philbin and Make-up Effects Artist Tony Gardner

·     Audio Commentary with Director Dan O’Bannon and Production Designer William Stout

·     Audio Commentary with the cast and crew Featuring Production Designer William Stout and actors Don Calfa, Linnea Quigley, Brian Peck, Beverly Randolph and Allan Trautman

·     The Decade of Darkness – Featurette On ’80s Horror Films

·     Theatrical Trailers

·     TV Spots

·     Still Gallery – Posters, Lobby Cards, Movie Stills and Behind-The-Scenes Photos

·     Still Gallery – Behind-The-Scenes Photos from Special Make-up Effects Artist Kenny Myers’ Personal Collection

DISC 3 – (Special Features – Blu-ray)

·     “The Return of The Living Dead” Workprint – Includes 20 minutes of additional footage (in standard definition)

·     More Brains: A Return to The Living Dead – The Definitive Documentary on “The Return of the Living Dead.”

·     The FX of “The Return of the Living Dead” – with Production Designer William Stout, FX Make-up Artists William Munns, Tony Gardner, Kenny Myers and Craig Caton-Largnet, Visual Effects Artists Bret Mixon and Gene Warren Jr. and actor Brian Peck (Expanded Version)

·     Party Time: The Music of “The Return of The Living Dead” – with Music Consultants Budd Carr and Steve Pross and soundtrack artists plus musicians (Expanded Version)

·     The Origins of The Living Dead – An Interview with John A. Russo

·     “The Return of The Living Dead:” The Dead Have Risen – Interviews with cast members Clu Gulager, James Karen, Don Calfa, Brian Peck, Thom Mathews, Beverly Randolph, Linnea Quigley and More…

·     Designing The Dead – Interviews with Writer/Director Dan O’Bannon and Production Designer William Stout

·     HORROR’S HALLOWED GROUNDS – Revisiting the locations of this film

·     A Conversation with Dan O’Bannon – His final interview

Should You Buy It?

Do you have a perfect zombie movie? Check.  Do you have an outstanding 4K picture transfer? Check. Do you have a boat load of special features? Check.  This film is a day one purchase without any hesitation whatsoever. It comes out on October 18, and it is a great horror movie to watch during the spooky season of 2022.  If you haven’t already, you should pre-order this film from Scream Factory.  I promise you that you won’t be disappointed.  I can’t say enough glowing things about this movie or its 4K transfer.  When you factor in how rewatchable this film is (it only runs at 91 minutes), it’s the kind of film that is going to bring something new to the table for viewers each and every time.  It’s a ton of fun, gory, well-acted, cheesy in a good way, and it truly had something new to offer to the horror genre. If you have seen this film before, you have probably already pre-ordered it and can’t wait to watch it again on 4K.  If you haven’t seen it before, you are in for a big surprise when you watch this movie.  Once again, “The Return of the Living Dead” gets a top recommendation from yours truly.

‘Halloween Ends’ – Expect The Unexpected

Posted on by The Ultimate Rabbit

I got to listen to the film score for “Halloween Ends” in its entirety before I sat down to watch the concluding chapter of this particular Michael Myers trilogy. Composed and performed by John Carpenter, Cody Carpenter and Daniel Davies, it reminds me of what Carpenter himself said about this installment: it is meant to be “more intimate” than its predecessors, and the music helps to illustrate this. But more importantly, it reminded me to go into this sequel expecting the unexpected as the previous installment was undone by too many expectations.

While 2018’s “Halloween” may have delivered the goods thanks to the return of Jamie-Lee Curtis and John Carpenter to the long-running franchise, “Halloween Kills” was treated indifferently as everyone looked at director David Gordon Green, Danny McBride and their team of filmmakers as if to ask them, “Do you even know what you are doing?” But it occurred to me that, like Rob Zombie did with his “Halloween” films, Green is not out to give us the same old thing, Instead, he is determined to add something new to a franchise which has burned itself out from fatigue more than once.

Four years have passed since the night Michael came home again, and everything in Haddonfield has more or less gone back to normal. Still, the physical and emotional scars of the townspeople are on display as people look to blame Laurie Strode for all the chaos and death which has occurred over the years. Nevermind the fact none of this was Laurie’s fault; everyone needs a scapegoat when the killer is nowhere to be found, and people these days tend to believe in the wrong things because they never bother doing the research.

As for Laurie, she has since procured a house for herself and her granddaughter Allyson (Andi Matichak) to live in, and she is working on her memoirs as a way to deal with all the evil and death which seriously derailed her life. Allyson now has a job at Haddonfield Memorial Hospital and is expecting a promotion any day now, Deputy Frank Hawkins is still quite sweet on Laurie even as she begs him to eat more vegetables, and Lindsey Wallace (Kyle Richards) remains a good family friend and continues to serve drinks at the local Haddonfield bar.

Into all of this enters Corey Cunningham (Rohan Campbell), a young man who, like Laurie, once had a promising future which involved going to engineering school. But this is all laid waste to after a child he babysat ends up dying in a freak accident. As a result, he is seen as a freak of nature by the townspeople who hate him with little in the way of shame, and he is reduced to working in his Uncle Ronald’s junkyard fixing cars and stuff. But soon he gets the attention and sympathy of Laurie Strode and also Allyson as they see him as someone to help and relate to, but it doesn’t take too long for things to become very sinister to where many are reminded of a force of evil often referred to as “the shape.”

Right from the start, it should be clear how Green is looking to give us a new slant on things with “Halloween Ends.” I expected this one to start off with Michael Myers making his first kill, but it goes a whole other way which I did not see coming. Also, the classic font from the 1978 film is dropped in favor of the font used in the opening and closing credits of “Halloween III: Season of the Witch.” As for the pumpkin, it keeps changing faces as to indicate to us how nothing is what it seems on the surface. Yes, he is defying our expectations in a way I personally welcome.

Truth be told, we don’t even get to see Michael Myers until almost a half an hour into “Halloween Ends.” The way I see it, the filmmakers see this sequel as a way of meditating on our collective relationship with evil; how we deal with it, how we can possibly overcome it, and how it can consume us beyond all repair. Laurie and Allyson have had their brutal experiences in this realm, and Corey is only getting started. This is why I find this particular installment so fascinating as I wondered who would prove to be more fearful, Michael or those who survived his wrath as a person’s dark side can easily overcome all else.

The fact “Halloween Ends” is getting such polarized views is not surprising to me. Fans go into them expecting certain things, and this one doesn’t always deliver on them for a variety of reasons. While fans may be begging for the same old thing, I always admire a filmmaker who is willing to take things in a different direction as franchises like these need any form of freshness they can get. Sure, there are some solid scares here, but this sequel is more about getting into your head psychologically than anything else as the dark side in all of us can easily consume our common sense and purpose in life before we realize it.

Andi Matichak remains a wonderfully strong presence as her character of Allyson maneuvers through a life in which she has lost so much and strives for any kind of normalcy she can get her hands on. Will Patton is still one of our most dependable character actors, and it is fun to see him try to warm up to Laurie Strode in a way few others could. And then there is Rohan Campbell who gives us a character in Corey who succumbs to an evil nature partly because life has given him few other avenues to pursue. In the process, Campbell gives us someone we empathize with and fear all at the same time.

But in the end, all praise goes to Jamie Lee Curtis who never fails in giving a strong performance in any motion picture she appears in. “Halloween Ends” is no exception as she makes Laurie Strode’s struggle to stay one step ahead of the evil which has destroyed much of her life all the more involving. Like Ellen Ripley from the “Aliens” franchise, she has been fighting her personal antagonist for so long to where she cannot remember a time when Michael was not in her life. Curtis represents the strong character a franchise like this thrives on as she strives, and encourages those around her, to not fall victim to a way of feeling which is inevitably destructive.

Many have complained about how “Halloween Ends” takes too long to get to the penultimate event we have all been waiting for; Laurie doing battle with Michael Myers one last time. Some need to be reminded of how the original 1978 acted as a slow-burn horror movie as it, aside from the key murder at its start, left the violence on hold until its latter half. Carpenter was more interested in creating an atmosphere of horror and suspense than in perpetrating violent onscreen violence back then, and Green mostly follows suit here. Also, this movie is not called “Michael vs. Laurie” for a number of reasons (and thank God it wasn’t by the way). I mean come on; this sequel is not just about these two.

Sure, it does contain a number of disposable characters who are just asking to be sliced and diced here. There’s a nurse who gets the promotion Allyson was hoping for, but that’s because she’s having an affair with the doctor the two are working under. Then there’s Allyson’s ex-boyfriend, a police officer who just won’t let their relationship, and there’s no forgetting the African-American DJ who never knows when to keep his mouth shut. They are all just begging for an exceptionally brutal exit from life, and one murder in particular would make Tom Savini proud, seriously.

In the end, I admired “Halloween Ends” for trying something different in the slasher movie genre. While it might not be completely successful, its ambitions kept my eyes glued to the screen, and it helps to bring closure to Laurie Strode’s constant fear of “The Shape.” Perhaps this ending will not satisfy everyone, but I can accept it for what it is.

Of course, it is hard to believe this will be the last “Halloween” movie ever. We have seen promising titles such as “Friday the 13th: The Final Chapter,” “Freddy’s Dead: The Final Nightmare,” “Saw 3D: The Final Chapter” and “Jason Goes to Hell: The Final Friday” throughout the decades, and they eventually became punchlines we still laugh at. For sure, this is definitely the last “Halloween” movie for Jamie-Lee Curtis, John Carpenter and Blumhouse among others as the rights to franchise will now revert back to the Akkad family.

What life has taught me and others is evil never dies. It simply changes shape, especially when money is concerned.

* * * out of * * * *

‘Lyle, Lyle, Crocodile’ – Fun for the Kids. Adults? Not so Much

Posted on by The Ultimate Rabbit

For some reason, I have found myself thinking about “The Muppets Take Manhattan” over the past few days. I’m not sure why as, while it is very good, it does not rank as highly for me as “The Muppet Movie” or “The Great Muppet Caper” do. Perhaps it came to mind because it was one of the last Muppet movies to appeal to both kids and adults at the same time. The equivalent to that these days are Pixar movies, and yet many of them end up streaming on Disney Plus instead of being shown on the silver screen where they belong.

When it comes to family movies these days, I always hope and pray they will appeal to both kids and adults, but that is often not the case. The latest example of this is “Lyle, Lyle, Crocodile” which is based on the children’s story of the same name by Bernard Waber as well as its prequel, “The House on East 88th Street.” Apart from featuring quite the cast of actors, it also contains songs from those who wrote the music for “The Greatest Showman,” and I still remember that cinematic musical as being quite invigorating. When it comes to this movie musical, however, the kids are bound to have a fun time, but adults will find the proceedings watchable at best.

“Lyle, Lyle, Crocodile” introduces us to Hector P. Valenti (Javier Bardem), an aspiring actor and musician who looks to make it big in show business and on a show which is the equivalent of “America’s Got Talent.” We quicky learn, however, that Hector has been around this show’s tryouts quite a bit, and those involved are quick to eject him from the premises before he embarrasses himself any further.

Regardless of his circumstances, Hector is still determined to become a big star no matter what, and he finds his key to success while visiting a pet store in downtown New York. While there, he comes across a young saltwater crocodile named Lyle (Shawn Mendes) who has the kind of singing voice which would wow the judges on “American Idol.” They quickly form a singing and dancing act which Hector believes will lead them to a life of infinite fame and fortune, Lyle, like Michigan J. Frog from the Merrie Melodies short “One Froggy Evening,” finds he is not up to performing in front of an audience. Due to financial necessity, Hector is forced to leave Lyle behind as he goes solo in an attempt to make the money he so desperately needs to pay off those he is in debt to.

Cut to 18 months later (Enya was right when she sang about how time flies), and Hector’s residence is now being inhabited by the Primm family which is made up of Joseph (Scoot McNairy), Katie (Constance Wu) and their son Josh (Winslow Fegley). These three have just moved from the suburbs to downtown because what better way to uproot themselves and their son. As you can expect, Josh ends up befriending Lyle in an unexpected way, and the two quickly bond as two strangers in a strange world can.

Like “Don’t Worry Darling,” “Lyle, Lyle, Crocodile” deals with a storyline which is as old as they come. Whether we are talking “E.T.” or “Mac and Me,” one of Paul Rudd’s favorite motion pictures ever, a young child alienated in their environment and befriending a creature who quickly becomes their best friend has been done to death. Judging from the reception I witnessed at the press screening I went to; young kids will very much enjoy this. As for the adults, they will get much enjoyment over how their children react to what is on the silver screen, but they may find themselves tunning out more often than not.

When it comes to Lyle, this is a crocodile you want to hug and keep Michael J. “Crocodile” Dundee away from as Lyle is not about to take anyone on a death roll. Directors Will Speck and Josh Gordon have gone out of their way to make this creature a lovable one to where kids will be begging their parents for a crocodile of their own come Christmastime. To this, parents will be wondering if they actually want a real one or if a stuffed animal will do.

The best things about this movie is, of course, Javier Bardem who makes the wannabe actor and magician Hector P. Valenti all the more charismatic. What seems like a simple two-dimensional character on the page is made all the more complex as Bardem makes you love, despise and pity Hector all at the same time. I figured a role in a movie like this would seem like a walk in the park for him, but clearly this is not the case.

As for the other human actors, Winslow Fegley makes Josh Primm into an appealingly alienated young dude whose earnestness is well earned. Constance Wu gives her a scenes a wonderfully physical and comedic flair while Brett Gelman wastes no time in making us see why his character of Mr. Grumps has the name he has. As for Scoot McNairy, I get the feeling he would rather be in another picture than this one.

When it comes to the songs by Pasek and Paul, the same duo who penned the music for “La La Land” and “The Greatest Showman,” for me they went in one ear and right out the other. Sure, they have a boisterous quality to them and get the adrenaline going for a minute, but they also don’t leave much of an aftertaste. Some musicals you come out of humming a tune or two, but this one had me struggling to remember any lyrics.

Shawn Mendes does have quite the voice as Lyle sings to communicate with the Primm family and others, but it eventually got to where I wanted this crocodile to speak as well as sing. I wanted Lyle to discuss how he felt about movies like “Crocodile Dundee,” or if he found the 1980 cult classic “Alligator” in any way offensive to his species. Or perhaps this is just my way of saying that my wandered from time to time as the events unfolded, and that is never a good sign.

You know what? “Lyle, Lyle, Crocodile” is not a bad movie. It is watchable and at times a lot of fun, but it seems rather generic as compared to so many others from this genre. I have no doubt kids will enjoy this, especially the very young ones. As for the adults, hopefully they will enjoy how their children react to what they see on the silver screen.

For me, it’s not enough for a movie to be passable at best, and this is especially the case with family or children’s’ movies.

* * ½ out of * * * *

‘DC League of Super-Pets’ Movie and 4K/Blu-ray Review

Posted on by The Ultimate Rabbit

The following review was written by Ultimate Rabbit correspondent, Tony Farinella.

“DC League of Super-Pets” is a film which, on paper, sounded like it would be an enjoyable and entertaining animated film for families to enjoy on a rainy day.  I was especially drawn to the cast of the film, which features such actors as Dwayne Johnson, Kevin Hart, Kate McKinnon, John Krasinski, Natasha Lyonne, Keanu Reeves and Olivia Wilde. However, this feels more like a 10 to 15 animated short than it does a feature length film.  There isn’t a lot of material for the actors to work with here as far as the story is concerned.  It also appears that some of the actors are phoning in their voice performances.

The film opens up by introducing the audience to Superman (John Krasinski) and his best friend, Krypto, a Labrador Retriever, voiced by Dwayne Johnson.  They do everything together, including their daily walk-o’clock.  Krypto, however, is starting to become jealous when he notices that Superman is spending an awful lot of time with Lois Lane (Olivia Wilde), and worries he will be left behind.  After all, who is Krypto going to watch The Great British Bake off with?  He’s feeling left out and drowns his sorrows with ice cream and Taylor Swift songs to deal with the pain.  Meanwhile, Superman is hoping to get a buddy for Krypto, so he doesn’t depend on him so much.

While looking for a friend for Bark Kent (Krypto’s day-to-day dog persona), he stumbles into a shelter with a variety of animals, such as a boxer named Ace (Kevin Hart), PB, a potbellied pig, voiced by Vanessa Bayer, a turtle voiced by Natasha Lyonne, and a red squirrel voiced by Diego Luna. The one bad egg in the bunch is a hairless Guinea pig named Lulu, who has been under the guidance of Lex Luthor (Marc Maron). She was a test subject at LexCorp, and now has evil powers of her own, which help her capture The Justice League.  It is up to all of the animals to work together in order to save The Justice League and stop Lulu.  They now have superpowers of their own which they must harness for good in order to restore peace.

This should have been a film which hit just the right notes in terms of appealing to young kids and also having some adult humor as well.  There is adult humor here, but it feels very on-the-nose and not at all natural or organic.  All of the flying around mixed with the superhero powers makes the film feel very tedious to sit through at times.  There is a story behind Ace becoming a shelter dog that adds some layers to his character, and there are also individual moments in the film which are funny and work within the structure of the film.

Overall, though, I can’t imagine too many kids getting all of the adult jokes which are forced into ‘DC League of Super-Pets” periodically.  I also can’t picture parents or adults enjoying the stuff intended for kids.  The film ends at around 95 minutes even though it has a 105-minute running time.  It still felt too long, and I found myself clock-watching.  It’s a case of a film where they thought as long as they had the right voice actors and the DC name attached to it with pets, they were good to go.  They didn’t take the time to actually craft a script which was worthwhile, interesting or well-developed.  They got lazy when it came time to putting the screenplay together.

I had high hopes for this one, but in the end it fell flat.  What is most frustrating about “DC League of Super-Pets” is the potential that can be seen here for a good movie.  There are some backstories and relatable moments which work quite well, but they are not consistent enough throughout the course of the film. It’s an example of an average movie with good scenes sprinkled throughout.  There is a good movie waiting to come out, but it never fully gets on track because of mediocre writing, lackluster voice work and a very lazy plot.  This is a film with a ton of potential which could have been one of the better animated films of the year, but is instead instantly forgettable.  It’s truly a shame, as this is one of the best casts I’ve ever seen for an animated film.  They should have utilized this cast and gave them interesting things to say in a comedic fashion.  Kevin Hart is subdued and for good reason (when you discover his character’s backstory), but no one really stands out here.  Kate McKinnon even seems to be reaching here.

* * out of * * * *

4K/Blu-ray Info: “DC League of Super-Pets” is being released on a two-disc 4K/Blu-ray combo pack from Warner Brothers Home Entertainment.  The film is rated PG for action, mild violence, language and rude humor.  It has a running time of 105 minutes.  It also comes with a digital copy of the film.

Video Info: The 4K of the film is very bright and colorful.  I will say this—the 4K looks simply stunning with its vivid colors. Certain animated films really pop on 4K HDR, and this is one of them.

Audio Info: The Dolby Atmos track is also on point throughout the film, as it never gets too high or too low, even during the action scenes.  It’s just right. Subtitles are included in Canadian French, English and Latin Spanish.

Special Features:

How to Draw Krypto

Behind the Super Voices

Super-Pets Animation 101

Find the Easter Eggs

The World of Super-Pets

Deleted Scenes

Should You Buy It?

I think it’s safe to say from reading my review that the answer is no.  I felt very bored and disinterested while watching “DC League of Super-Pets.”  As stated in my review, the plot is run-of-the-mill and the characters are so underdeveloped. I love animals, as my wife and I have four of our own.  I know they are animated here, but still; they can be cute and funny in animated form.  Another problem with this film is you know certain actors are voicing the parts.  When you can clearly notice their voices, that’s a problem. It means they haven’t really allowed themselves to get into character fully.  Instead, they are simply reading lines right in front of them without any change to their delivery or speech. This is an average film.  It’s a one and done film for me.  For everyone else?  I can’t recommend you check it out, even as a rental.  The film looks and sounds great, but that isn’t enough to make it worth watching or owning.

**Disclaimer** I received a copy of this film from Warner Brothers to review for free.  The opinions and statements in the review are mine and mine alone.

‘Unplanned’ – It’s Not Pro-Life, it is Anti-Woman

Posted on by The Ultimate Rabbit

It is only with morbid curiosity and the fact it was available to view for free on Tubi that I found myself watching the 2019 anti-abortion drama “Unplanned.” Now those who know me know I am forever pro-choice, am very angry at the overturning of Roe vs. Wade, and I am a staunch supporter of Planned Parenthood, so clearly this film was not made for someone like me. Still, I dared myself to sit through this motion picture to see if I can provide any sort of objective criticism on it. So, whatever side of this issue you are on, pray for me.

“Unplanned” is based on the memoir by Abby Johnson who worked for years at a Planned Parenthood clinic before eventually becoming a staunch anti-abortion activist. Abby is played by Ashley Bratcher, and the film opens up on her being asked to assist in an ultrasound-guided suction aspiration abortion for a patient who is 13 weeks pregnant. As she assists, she watches the monitor and sees the fetus trying to fight back against the doctor’s attempts to remove it. So overwhelmed by what she sees, she goes straight to bathroom and cries her eyes out. From there, the film flashes back to eight years earlier when Abby first joined Planned Parenthood and of her experiences with both management and the anti-abortion protesters she later befriends.

Okay, let me start with what I like about “Unplanned,” and that is Ashley Bratcher’s performance. Regardless of how you feel about the subject matter, she does give a strong and convincingly emotional performance as she makes Abby’s inner conflicts quite palpable. In the process, she gives us one of the best performances you could ever hope to find in a Pure Flix production. And let’s face it, their films are not known for having Oscar caliber performances.

Also, the filmmakers do feature a scene which, ever so briefly, serves to separate certain pro-lifers from others. One ani-abortionist screams at a woman entering the clinic for not keeping her legs crossed, but others are not quick to engage such unnecessarily harsh language.

And I do have to say that “Unplanned” does end with one of the biggest laughs I have had at the movies recently as the filmmakers give us an end card stating that Planned Parenthood had no involvement or participation in this film’s production. Wow! Really?! You think?!

Well, I have clearly reached the tipping point here, haven’t I? While everyone is entitled to their opinions and beliefs to where all need to be heard, none of this changes the fact that “Unplanned” is shamelessly manipulative, full of propaganda and outright lies, and its presentation of Planned Parenthood as being like the evil Empire from “Star Wars” is defamatory and borderline criminal. Clearly the filmmakers were not the least bit interested in being unbiased, and I am obligated to hold them accountable for the bullshit parade they have given us here.

Let us start with the opening ultrasound abortion scene. The special effects are truly awful as no fetus recoils like that at 13 weeks, and this is a scientific fact. If a fetus could recoil in such a way, I have no doubt the filmmakers would have used real ultrasound footage to bolster their case. Also, we never do learn exactly why this patient is getting this specific kind of abortion. Was she raped? Is her overall health in danger? Was there a strong chance of her dying if she didn’t get this abortion? Well, no one here seems interested in such questions.

As for the scenes of Abby’s abortions, particularly her second one, writers and directors Cary Solomon and Chuck Konzelman are completely shameless in making it look both bloody as hell and life-threatening. With all the blood on display, it’s no wonder this is the first Pure Flix production to earn an R rating. The truth is, abortions are actually safer than childbirth, which itself can be very dangerous. But yeah, there are people who hate science for all the wrong reasons and are determined to remain willfully ignorant.

I also found its portrayal of Planned Parenthood as nothing more than a corporate monolith interested in profiting from abortion not just repellent, but completely and inescapably reprehensible. Much of this is corrupted view of the non-profit organization illustrated through the character of Cheryl, director of the clinic Abby works at. Played by Robia Scott, Cheryl comes as a smug as hell individual who is far too cold hearted to be the least bit believable as a fighter for abortion rights. For the filmmakers, Cheryl is essentially a Darth Vader-like character who spouts a lot of crap about how abortions are Planned Parenthood’s cash cow, and that the organization should be run no differently than a fast-food restaurant. Seriously, I kept waiting for her to tell Abby, “I find your lack of abortions at this clinic disturbing.”

And, like many faith-based features, “Unplanned” suffers from a low budget, cheap cinematography, a music score designed to assault your emotions as opposed to simply manipulating them and, as expected, a lot of bad acting. While Bratcher shines, everyone else emotes or acts as if they are reading off of cue cards which are just a few feet away. Granted, they are reduced to spouting many ridiculous and dangerous talking points, particularly towards the movie’s conclusion, but they are in serious need of acting lessons more than anything else. As for Brooks Ryan who plays Abby’s second husband, Doug, he acts as though he barely has a pulse. In the scene where she gives birth to their daughter, he is far too serene and calm to be the least bit believable as an expectant father, and it got to where I wanted Abby to, as Robin Williams once said, grab his scrotum and pull it up over his head.

But what enraged me the most about “Unplanned” is how the filmmakers deny Abby not just her personhood, but her womanhood more than anything else. While she has a loving husband and parents, they cannot help but look down on her as they are defiantly pro-life while she spends most of this movie being pro-choice. When Abby eventually does her 180 on abortion, they come to embrace her fully in a way that they always should have regardless of their differences. Plus, there is a scene in which Doug forgives Abby for her past abortions, and it feels like he is saying to her, “It’s okay. Because you are pro-life now, I can truly see you as a woman now.”

That’s right folks, “Unplanned” is not as pro-life as it is anti-woman. The implications of this are so deep that I have a feeling the filmmakers may not even realize this. The women here are viewed as being selfish and thoughtless for taking on jobs instead of being stay at home mothers. The men, however, are portrayed as such angelic creatures who look to save these women from their own ghastly impulses. Look, not everyone needs to be saved, and if history has taught me anything, it is that women have never been the gentler or weaker sex, ever. Seriously, this is as chauvinistic and misogynistic as any film I have seen in recent years, and there is no excuse for that.

Oh, and Mike Lindell, the My Pillow guy and one of “Unplanned’s” executive producers, has a cameo as a tractor driver who gleefully pulls down a Planned Parenthood sign after the clinic is shut down. But looking deep into his eyes, Lindell looks more like he is vicariously destroying a sign of a local chapter of the Better Business Bureau, and we know how the Better Business Bureau feels about him.

Well, have I given you all an objective review of “Unplanned?” I want to say yes, but with movies like these, is almost impossible not take a side, and this one will simply reinforce those on both aisles of the abortion debate.

Look, maybe the world would be a better place with no abortions, and it should be clear that no one really wants to get one. There has to be a movie out there somewhere in which people on both sides of the abortion debate can find some common ground, and it would be great to find any common ground in such divisive times. “Unplanned” is not that movie, and it was never designed to be as it was made by people who choose to be willfully ignorant, and those people end up making life more difficult for everyone.

To be completely honest with you, “Unplanned” proves to be one of the most infuriating and intellectually insulting motion pictures ever made by human beings. Then again, it was made by the same people who gave us “God’s Not Dead.”

* out of * * * *

‘Don’t Worry Darling’ – Well, Actually, You Probably Should

Posted on by The Ultimate Rabbit

Going into “Don’t Worry Darling,” I wondered if the hype for this film had inadvertently hurt it. This is the second directorial feature from Olivia Wilde whose first film, “Booksmart,” was one of my favorites of 2019, and people like myself became ever so excited to see what film she would tackle next. It also features quite the cast with Florence Pugh, Harry Styles, Chris Pine and Nick Kroll among others, and the trailers have shown it to have a very striking look. In recent months, the behind-the-scenes stories have taken an annoying precedence over everything else such as Wilde’s relationship with Styles which started during production, or the on-set conflicts between her and Pugh which led to what was allegedly quite the screaming match. It also had the added pressure of being promoted as a serious Oscar contender and raising everyone’s that high can ultimately lead to an inescapable disappointment even if the end result is not bad.

Well, “Don’t Worry Darling” has now arrived at movie theaters everywhere, and this allowed me to watch the film outside of all its gossip and with a full audience in attendance, For the record, I think Wilde is still quite the director as she gives the proceedings a beautiful visual look thanks in part to cinematographer Matthew Libatique, the music score by John Powell is unlike others he has given us in the past and is quite effective, and there are many strong performances to be found here throughout. But when all is said and done, Wilde and her fellow filmmakers have given us a film with a story which is old, old, old. Despite everyone’s best efforts, the plot here represents a path which has been walked and trodden down far too many times.

As the film opens, we are taken back to the 1950’s where a several married couples are enjoying an evening of endless fun and drunken games in their hometown of Victory, California. Among them is Alice (Florence Pugh) and Jack Chambers (Harry Styles) who love one another to such an infinite degree as a certain scene at the dinner table will show you. As Jack gets into his car to drive to work, we see the other husbands doing the same and at the exact same time. It should go without saying how this is the first sign of things being too good to be true. While the husbands work their butts off at work, their wives stay at home either taking care of the kids or preparing the best dinner anyone could ever hope to eat, assuming it was not accidentally burnt to a crisp. Everything seems to be going in unison, and it’s only a matter of time when someone upsets the balance of things.

For Alice, it doesn’t take all that long before she realizes something is amiss. One day she cooks eggs and bacon for her husband and discovers some of the eggs are hollow. She notices a plane crashing into the mountains while others claim complete ignorance. Like all the other husbands, Jack never tells her exactly what he does for a living. And yes, there is that one neighbor who acts like Kevin McCarthy in “Invasion of the Body Snatchers” or Crazy Ralph in “Friday the 13th” as she tells anyone who is listening, “We’re being lied to! Don’t you see?” Of course, not enough people bother to listen to such cryptic warnings until it is too late.

By this description, it should be plainly obvious as to where “Don’t Worry Darling” is going, and is painful for me to write that Wilde is unable to bring anything new or fresh to the material. A friend of mine has compared it to M. Nigh Shyamalan’s “The Village,” and I don’t blame him. For me, it is a combination of “The Village” and Cameron Crowe’s “Vanilla Sky” as the revelations characters make here are never the least bit surprising, and the line between what’s real and what is not is stunningly lackluster. I even kept waiting for one or more characters to throw up their arms and scream out loud, “TECH SUPPORT!” No such luck though.

Heck, “Don’t Worry Darling” even reminded me of season eight episode of “The Simpsons” entitled “You Only Move Twice” in which Homer, Marge, Bart, Lisa and Maggie leave Springfield and move to the all-too perfect town of Cypress Rock. Homer gets to work for a surprisingly sympathetic boss named Hank Scorpio who is later revealed to be a supervillain bent on creating a doomsday device. Of course, this is all lost on Homer who barely registers the chaos Hank is wreaking on the world. Then again, who wants to quickly admit the perfect world they live in is not all that perfect?

Things become even more obvious as we get to know the Hank Scorpio of this movie, Frank, played by the always terrific Chris Pine. Frank is the founder of this utopia everyone lives in called the Victory Project, and he demands everyone’s loyalty in the most passive-aggressive way. But while he encourages the wives not to question their husbands’ work and to keep their distance from the project’s headquarters, he’s also gleefully daring them, Alice in particular, to get to the truth about the project just to see if they possibly convince anyone else of it.

Even as the movie staggers through the bleeding obvious, there was one thing which kept me engrossed from start to finish: the performance of Florence Pugh. She is dynamite here as Alice and so emotionally raw that it was impossible to take my eyes off of her. Even if the chemistry between her and Harry Styles, who is good but not great here, is a bit lacking, she makes up for it and helps elevate this material to a level it doesn’t deserve to be at. I also loved the scene between her and Pine at the dinner table in which they essentially play a mental chess match with one another as Alice tries to make everyone see through the web of lies they are caught up in.

It really sucks to say “Don’t Worry Darling” will forever be upstaged by its behind-the-scenes stories as they now prove to be far more interesting than what unfolds here on the silver screen. Again, Wilde is not a bad director, and I know she will rebound from this. While the hype machine may have gone into overload on this cinematic endeavor, it still does not change the fact that this is a case of “been there, done that.”

* * out of * * * *