Tuesday, September 2, 2014

Film Review: Alien Abduction (2014)

Alien Abduction (Review)
United States/2014
Format Viewed For Review: Netflix Instant
Netflix Streaming: Yes
Amazon Prime: No

"...there is some decent suspense and some solid scares."

During their vacation camping trip, a family encounters aliens...

It's really that simple. Alien Abduction is told through the perspective of a young boy named Riley, who uses a camera to cope with his autism -- a unique concept, much better than the "we have to record everything." Anyway, much like Absence, the film begins with the routine family vacation tapes; unlike Absence, though, this segment only takes 15 or 20 minutes instead of an hour. Afterwards, the family simply runs always from the alien force and try to avoid being abducted. The ending was abrupt and underwhelming; also, there is almost 11 minutes of credits in this film with a very short scene during.

Alien Abduction is very simple yet somewhat creative. Most found-footage films nowadays revolve around ghosts and exorcisms, so I applaud Alien Abduction for focusing on, well, aliens. However, the film is severely hindered by found-footage genre clichés. The characters are run-of-the-mill cutouts, there's the classic shaky cam, and the "stop recording, we're arguing" scenes. Oh, and the "something's going on, but the camera's malfunctioning" scenes.

Aside from the found-footage clichés, there is some mild suspense. Not nail-biting, but at least slightly engaging. The climax for most of these scenes are the aforementioned camera malfunctioning scenes, so they're weak. You hear a lot of screaming -- and I mean a lot of screaming -- but you rarely get the opportunity to see what's going on. The small peeks we get at the aliens are decent, but it doesn't quite quench the thirst. The first encounter with the aliens is great, though, I liked the buildup and execution.

The acting is okay from most of the cast, especially considering the genre. The only complaint I had was from Riley Polanski who, of course, plays Riley; maybe it was his delivery or maybe it was the editing, but his voice always sounds disconnected from the rest of the film, almost like a voiceover. Otherwise, it's pretty much a standard found-footage film. The shaky cam is often nauseating, though. Director Matty Beckerman has an intriguing concept, but the reliance on the simple found-footage clichés makes this film feel like just another entry on a genre grown stale.

Overall, Alien Abduction is a mediocre film. I like the concept -- by that, I mean I like the aliens -- and there is some decent suspense and some solid scares. But, Alien Abduction ultimately falls into generic territory, which makes it even more disappointing considering I enjoyed the concept. It's better than similar films like Absence, but never reaches its full potential. If you like aliens and found-footage, you might find some enjoyment in this -- it's barely longer than an hour, so it won't be wasting much of your time, anyway.

Score: 4/10
Parental Guide: Some violence and blood.

Monday, September 1, 2014

Film Review: 100 Ghost Street: The Return of Richard Speck (2012)

100 Ghost Street: The Return of Richard Speck (Review)
United States/2012
Format Viewed For Review: Netflix Instant
Netflix Streaming: Yes
Amazon Prime: No

"...one of the most generic and cliché films I've seen..."

Paranormal investigators visit the site of Richard Speck's killing spree for a documentary.

That's it. There's not much else for me to say regarding the plot because the plot is nearly nonexistent. The paranormal investigators enter the facility after setting up cameras, lock themselves in, shoot some b-roll, then witness paranormal events. The events become more and more aggressive causing the crew to want to leave but, you guessed it, they're locked in. Finally, it reaches a nauseating climax of characters running around from something you can barely see and a predictable ending.

Fortunately, 100 Ghost Street: The Return of Richard Speck doesn't pretend to be more than it really is: a generic found-footage clone. This keeps the filler to an appreciated minimum. It doesn't waste time on poor character development like many found-footage films do --this film knows its characters are cliches cardboard cutouts. Unfortunately, it also feels a bit on the repetitive side, especially without the filler -- I guess it's a lose-lose situation for 100 Ghost Street.

As for its horror, it has some light suspense and a few decent jump-scares. There are a couple of scenes with some great subtly and great use of shadows, but these are easily outweighed by the jump-scares. There are a lot of scenes where the character gets dragged away -- I don't know if that's supposed to be scary. Also, the film barely makes use of its setting; it's just a bunch of hallways with dirt on the walls, nothing memorable or even creepy. I didn't find any of it frightening, per se -- it's fun and occasionally exciting, but I won't lose a second of sleep.

Considering this is one of the most generic and cliché films I've seen in a while, the acting caught me by surprise. It's actually decent -- nothing particularly impressive, but far from terrible. Otherwise, it's a standard found-footage horror film. The lighting is decent, but it does have some cool shadows. 100 Ghost Street suffers occasionally from the shaky-cam; it's mostly controlled, but it it occasionally nauseating. Director Martin Andersen and writer Nancy Leopardi do a good job copying and pasting every found-footage movie before it -- in other words, I don't think there was much directing or writing going on, looks like they winged it.

Overall, 100 Ghost Street: The Return of Richard Speck is a bad found-footage horror film. It's extremely cliché and generic from beginning to end, and offers nothing new to the genre. In fact, 100 Ghost Street is practically a clone of Grave Encounters, but with less concept, less story, and less horror. If you love the genre, this might be worth your time; if you're tired of the genre, this will likely be exhausting.

Score: 3/10
Parental Guide: Some violence and gore, some (ghost) sex and nudity.

Sunday, August 31, 2014

Film Review: Oldboy (2013)

Oldboy (Review)
United States/2013
Format Viewed For Review: Netflix Instant
Netflix Streaming: Yes
Amazon Prime: No

"...it's not a bad film because it's a remake, it's simply a bad film."

In 1993, advertising executive Joe Doucett (Josh Brolin) is mysteriously kidnapped and imprisoned in a hotel-like room. After 20 years, he's released and forced to find out why and who abducted him.

Oldboy follows Joe. He doesn't do much in the hotel-like room, but witness world events from his television. Eventually, he starts to train for his "redemption." And so, he's released, and he goes on his mission for vengeance. He's aided by a nurse named Marie (Elizabeth Olsen), and soon afterward meets The Stranger (Sharlto Copley), who's responsible for Joe's kidnapping. At this point, Joe tries to find out the aforementioned why and who. Not much mystery, though, thanks to the handy iPhone. He beats and kills some people, then meets up with The Stranger for the climax. The idea behind the climax packs a punch, but the execution is flawed; it has no burn, it happens in a snap without any buildup whatsoever. The ending was also weak.

Oldboy is a disappointing revenge thriller. A remake of Park Chan-wook's Oldboy, this film tries to differentiate itself, but always comes off as half-baked -- it always ends up in the same place as the original. The film ends up suffering from these slight changes because it makes the story feel extremely contrived; it also cuts the natural flow and consistency in the story, so the scenes feel disconnected. Unfortunately, there isn't much mystery here, either. The power of the internet and iPhone basically hands everything to Joe -- there is no investigation, and it makes it feel too simple. The film overall lacks the subtly in character and story, as well; it's in your face and shoved down your throat, without any character depth or proper story development.

As I stated previously, there is a severe lack of suspense and tension. This makes the daring climax feel forgettable, and it causes the rest of the film to drag. You'll often ask yourself: "Was that important? Was that the climax?" However, there are some exciting and bloody action scenes. Joe comes out of his prison as the Hulk, he can use his fierce punches and kicks to launch his opponents and snap necks. Okay, it's not very realistic, I know, but it's at least decent. It also, ironically, gives the film some life -- it helps you wake up. The violence is hindered by the obvious computer effects, though; why use the obvious computer blood?

The acting was mediocre. Josh Brolin is decent, but when the role becomes demanding, he just can't hit the high notes. Sharlto Copley was surprisingly bad -- I'm not sure what he was aiming for, but he was laughable. Elizabeth Olsen is a saving grace, despite her limited screen time. The film is shot nicely; I thought the cinematography was good. The music was mediocre, though; it's a very standard and generic soundtrack, especially compared to the original. Director Spike Lee lacks a confident and distinct vision. I get the feeling he didn't want to make this film. I think the studio and producers wanted this film to be made as soon as possible and picked a random director out of a hat, and Spike Lee was the unlucky one. It's just a too generic, too soulless film to be a Spike Lee film.

Overall, Oldboy is a bad film. And it's not a bad film because it's a remake, it's simply a bad film. The story is contrived, bland and disconnected; the climax is poorly setup and rushed; the acting is bad, as is the music. As a standalone film, it's bad; as a remake, it's half-assed and uninspired. If you absolutely hate subtitles and dubs (i dislike the latter myself), you might find some enjoyment from this film. Otherwise, stick to the far superior original.

Score: 3/10
Parental Guide: Strong violence and blood, sex and nudity.

Saturday, August 30, 2014

Film Review: Wreckage (2010)

Wreckage (Review)
United States/2010
Format Viewed For Review: Netflix Instant
Netflix Streaming: Yes
Amazon Prime: No

"Aaron Paul and Scoot McNairy can't save this film."

After their car breaks down during a race, a group of friends seek aid in a nearby junk-yard only to find themselves a target to a mysterious killer...

Wreckage begins with a laughable attempt at family drama. Then, it skips 15 years into the present for an almost decent serial killer intro. Finally, you reach what felt like never-ending credits. If you don't like this introduction, stop the movie, and try watching something else -- it doesn't get better. The rest of the plot basically follows Jared (Mike Erwin), who runs off for help early in the film, as he plays superhero to save his friends from an unknown assailant. It's boring and bland, and it leads to a predictable ending.

First and foremost, most of Wreckage is unintentionally hilarious. It's not bad enough for the story to be cliché-riddled, it's also filled with laugh-out-loud dialogue, stupid characters, and laughable acting; blend them all together and you have an unintentionally hilarious horror film that's funnier than most comedies nowadays. For example, Jared's dialogue is unintentionally hilarious because of how it's written and performed; his character is made out to be some super soldier military vet, but he looks and sounds more like he played too much Call of Duty. Even worse, the film doesn't have a shred of horror. There is no suspense or tension, and its jump-scares have no jump. Thrills? None of that, either.

Okay, aside from the unintentional humor, there was some genuinely funny comic relief. It's not a lot, but it was enough to conjure at least a handful of laughs. This comes in the form of the humorous nephew of the junk-yard owner, played by Scoot McNairy, who offers a quirky and funny character. Of course, this isn't a comedy, so it doesn't help much. It's not so funny, it's scary -- it's more like so bad, it's funny.

The acting is mostly bad from the cast. Mike Erwin lacks the charisma and delivery for a leading man. The cast during the family drama segment I mentioned are the worst offenders, though. Aaron Paul is decent, but his character is generic and his dialogue is bad. Scoot McNairy is a beacon of light, a saving grace for this film -- okay, maybe not a saving grace, but he definitely helped me get through the film! The music is bad. The cinematography is mediocre. The special effects are low-budget computer graphics -- nothing special or terrible. Director John Asher doesn't do much directing -- I mean, the dialogue and performances are so bad, and the film has no horror.

Overall, Wreckage is a bad film. It's not scary or thrilling, and it has more unintentional humor than intentional. The acting is mostly bad, and the cast get little help from director John Asher. Aaron Paul and Scoot McNairy can't save this film.

Score: 2/10
Parental Guide: Some violence and blood.

Friday, August 29, 2014

Film Review: Thinner (1996)

Thinner (Review)
United States/1996
Format Viewed For Review: Netflix Instant
Netflix Streaming: No
Amazon Prime: No

"...holds up as fun and creative after all of those years..."

After obese lawyer Billy Halleck (Robert John Burke) negligently kills an elderly gypsy woman, Billy finds himself cursed to lose 40 pounds a week...

Thinner is a simple yet entertaining story. The story continues to follow Billy after he kills the elderly woman and escapes any criminal charges. He's cursed by the gypsy's father and begins to lose weight -- too much weight. Anyway, he finally becomes convinced about the curse and hunts down the man that placed it on him. It feels a little rushed and abrupt during the final act, but I thought the ending was great.

Thinner is a body horror film. I didn't find any of it horrifying or even gross, but it was pretty damn cool. The concept was really interesting, and the execution makes for a very entertaining ride. It was a fantastic transformation to watch. There's also some cheeky humor blended into the film, which helps create variety and a handful of chuckle-worthy moments. There are some scenes that don't have much logic, though. In fact, the entire concept doesn't seem very rational; I mean, not to absolve Billy of his responsibility or anything, obviously he's guilty, but this old gypsy guy kills several people because his daughter wandered into the streets without looking both ways? I mean, you have gypsy powers, maybe you could just torture him with nightmarish visuals of guilt until he confesses?

The acting was good from most of the cast. I think Robert John Burke did very well as the lead. Kari Wührer was bad, though; her dialogue, her shouting... it was all bad. Otherwise, the film is a standard horror film. The cinematography holds up, and the music is good. The special effects and makeup are great, although it does occasionally look like the fat suit might fall apart at the seams. The high definition version available on Netflix Instant is great, too. (it expired, oops!) Director Tom Holland does well in executing the creative theme; I especially enjoyed the fast and consistent pacing, and great balance of body horror and humor; the film does lose momentum and focus towards the end, though.

Overall, Stephen King's Thinner is a very good film. It's a very fun and entertaining horror film. The story holds up as fun and creative after all of those years, the direction is great, and its all-around well-made. The story runs out of steam towards the end and there's a lack of rationale, but it's definitely worth watching.

Score: 7/10
Parental Guide: Some strong violence and blood, some very brief nudity and sexuality.

Thursday, August 28, 2014

Film Review: Re-cycle (2006)

Re-cycle (Review)
Format Viewed For Review: Amazon Prime Instant Video
Netflix Streaming: No
Amazon Prime: Yes

"...a great horror-adventure hybrid."

Bestselling romance novelist Ting-yin (Angelica Lee) struggles to write her new book about the supernatural. As she gains traction, her book comes to life...

Re-cycle follow Ting-yin as the discarded content of her book comes to life. At first, she begins to witness odd occurrences in her home -- she sees shadow figures and finds hairs that don't belong to her. Eventually, she stumbles upon a world of abandoned ideas and people. In order to get out of this bizarre world, Ting-yin must reach the Transit, and to do so she receives help from a young companion. The ending was great; it is ambigious, so I'd say it's open to interpretation, and what from what I interpret, it's great.

Re-cycle starts off as a traditional horror film, and a very good one at that. It's loaded with great suspense, effective jump-scares, and spooky visuals. About 40 minutes in, Re-cycle becomes more of an adventure film with horror elements. It's not necessarily bad because the world we're introduced to is both refreshing and creepy -- it kind of reminded me of Silent Hill. It does mean that the film becomes less scary as the film progresses, though, and that is somewhat disappointing considering how frightening the first act is. If you're as open-minded as I am, you'll likely love the world the film builds, despite the horror imbalance.

The film's themes of abandonment were also very interesting and even some what thought-provoking. This theme blends in well with the story, it's not something that was simply tossed into the mix. It does have a few plot points regarding abortion and abandonment, but it doesn't preach. It's simply a plot point, not necessarily a commentary. If you want something that preaches, check out The Unborn Child. (that film literally ends with a PSA.)

The acting was great. Angelica Lee is a great leading lady, very charismatic and genuine. There is one scene where the acting was mediocre, though. The film looks amazing. I loved the set design for the different worlds the film goes through. The music does well blending with the film; that is, the film sounds like a horror film during the first thirty minutes and like an adventure film during the latter half. The visual effects are also great, especially for a horror film. The English subtitles for the Amazon Prime Instant Video stream are very good -- very few noticeable flaws. The Pang Brothers show great direction; the horror is very effective during the first half, the adventure is very exciting during the second half, and the film is all-around refreshing and entertaining -- what else can you ask for from a director?

Overall, Re-cycle is a great horror-adventure hybrid. The film is scary and exciting, the story is great and original, and the world is immersive. It is unfortunate that Re-cycle isn't a pure-breed horror film, though, especially considering the terrifying first act. It's an overlooked film worth watching, don't skip it.

Score: 8/10
Parental Guide: Some disturbing visuals.

Wednesday, August 27, 2014

Film Review: Below (2002)

Below (Review)
United States/2002
Format Viewed For Review: Netflix Instant
Netflix Streaming: Yes
Amazon Prime: No

"...a great job in building an eerie and ominous atmosphere..."

During World War II, the USS Tiger Shark rescues the survivors of a British hospital ship. Later, the crew face a German ship, as well as their own sanity.

Below mainly follows Lieutenant Brice (Bruce Greenwood) and Ensign Odell (Matthew Davis), as well as Paige (Olivia Williams), of the British ship. They face a German ship on their tail, as well as their own psyche. Is the submarine haunted or is the crew hallucinating from a lack of oxygen? They do, in fact, hallucinate and hear voices, and they also bicker and fight amongst each other. The story leads to a great resolution; the ending has some corny dialogue, though.

Below does a great job in building a sense of paranoia. You can have an idea, but you really don't know if it's sabotage or supernatural. Below also does a great job in building an eerie and ominous atmosphere; this, in turn, amplifies the suspense and tension aboard the USS Tiger Shark. On that point, the setting is immersive and... well, cool. Submarines are awesome, to be blunt. There are some creepy visuals and some jolting jump-scares, as well.

One of the issues I had was with Paige's character. This character is conniving, demanding and disrespectful. The other characters aren't exactly drenched in charisma, but at least give me a reason to tolerate Paige's self-righteous and arrogant behavior. (that reason never comes by the way.) Otherwise, the rest of the film has room for improvement, but there aren't many glaring and staggering flaws to be found; I guess you can say the room for improvement is small but notable.

The acting is all-around good. Bruce Greenwood and Matthew Davis are good. Despite having issues with her character, Olivia Williams did well, too. The film looks great; like I said, I loved the setting, and the great cinematography helps it shine. The music is standard horror/thriller music; works for the genre, but nothing distinct. Director David Twohy does a great job in crafting the atmosphere and developing genuine suspense; the story has some flaws, and it occasionally loses momentum, but it is a spooky and effective film thanks to Twohy's direction.

Overall, Below is a very good horror-thriller. It's a slow-burn film with a great suspense and and a spooky atmosphere. There's room for improvement and one character is a rotten apple for the film, but it works out to deliver an entertaining and even frightening film. Don't overlook Below.

Score: 7/10
Parental Guide: Violence and blood.

Tuesday, August 26, 2014

Film Review: The Legend of Hell House (1973)

The Legend of Hell House (Review)
United Kingdom/1973
Format Viewed For Review: Netflix Instant
Netflix Streaming: Yes
Amazon Prime: Yes

"...more of a goosebumps-inducer than a jumper"

Physicist Lionel Barrett, his wife, and two mediums are paid to investigate the Belasco House, also known as Hell House due to its infamous past...

The Legend of Hell House is fairly straightforward. The film starts off quickly as the group are hired and sent to the haunted house. They have a week to investigate and report their findings regarding survival after death. The group have conflicting beliefs regarding what is causing the anomalies, so they occasionally bicker as well. I thought the story, as simple as it may seem, was insightful and even spooky. I especially enjoyed the details about the house's history. The ending offers an interesting take on the haunting -- it's a bit of an open ending where you don't definitively know what's going to happen, but it was interesting, nonetheless.

The Legend of Hell House moves through the days rather quickly, but I'd say it's a bit more of a slow-burner than a fast-paced jump-scare gallery. In fact, The Legend of Hell House is more of a atmospheric, suspenseful horror film. Obviously considering its age, it's definitely old-school in its approach. If you're looking for jump-scares, this doesn't really have many. It focuses a bit more on visual scares and developing its ominous atmosphere -- more of a goosebumps-inducer than a jumper. Some of the characters are not really likable, though, and some of the dialogue was mediocre. And, although I enjoyed the ending, I thought the final act was longwinded.
The acting was good, nothing special or terrible; it's on the melodramatic side, but as were many 70s films. I really liked the cinematography -- I thought the film was beautifully shot. Some of the camerawork and angles were a bit odd, but it was also very distinct in its style. The set design was elegant. The music was helpful in creating the great atmosphere. John Hough's direction is good; like I said, some of the stylistic choices were odd, but at the very least, he builds up great suspense and atmosphere, which is the main purpose of a horror film.

Overall, The Legend of Hell House is a very good horror film. I'm a big fan of atmospheric and slow-burn horror films, and Hell House delivers on both. It has some pacing and story issues, but it's still worth watching.

Score: 7/10
Parental Guide: Some violence and blood, partial nudity.

Monday, August 25, 2014

Film Review: Devils on the Doorstep (2000)

Devils on the Doorstep (Review)
Format Viewed For Review: Netflix Instant
Netflix Streaming: Yes
Amazon Prime: No

"...brilliant blend of black humor and war drama..."

During the final years of the Second Sino-Japanese War, Chinese peasant Ma Dasan (Jiang Wen) is forced by a mysterious man -- at gunpoint -- to take custody of and interrogate two Japanese prisoners.

Devils on the Doorstep follows Ma Dasan and the other villagers as they deal with the two prisoners, who are from the Japanese army. One is a self-preserving translator and the other is an arrogant and vicious soldier. Dasan and the villagers basically interrogate and hide the prisoners from the occupying Japanese army, and each set of characters face their own conflicts and arcs. This brilliant blend of black humor and war drama leads to a mesmerizing climax and awe-inspiring ending.

The story may seem simple, but it's actually really deep. The characters are complex and interesting, and there is plenty of story to fill the two hour fifteen minute runtime. It's a spectacular balance of black humor and drama. The humor is black, but not irreverent or offensive; I laughed out loud more than a few times. The drama is emotionally powerful -- the type of drama that conjures that lump in your throat, the one that's hard to swallow. It balances both elements well to deliver a moderately paced and and, well, balanced film.

Fans of historical films will like this one the most. I thought it was very insightful and interesting. It's even more surprising knowing the film was produced in China. This isn't a film that outright demonizes the Japanese, like many other Chinese war films have in the past. Instead, this film focuses on telling an entertaining and effective story, and subtly delivers its social commentary -- a commentary about people and the society at the time. Definitely a film to make you think, and maybe even make you study up on the subject.

The acting is all-around superb. Jiang Wen, who also directs, delivers a standout performance; a strong pillar for a powerful film. The rest of the acting is also impressive, especially considering there aren't many big names attached -- I think it made the film feel more raw and realistic. The soundtrack is superb, I loved the traditional music, and I also loved the music during the credits. The film looks beautiful; the black-and-white helps the film stand the test of time, and it helps give the film a distinct style. Director Jiang Wen masterfully crafts a vivid portrait of people during war time; his direction is magnificent.

Overall, Devils on the Doorstep is a masterpiece. It's an immensely entertaining film thanks to its black humor, and it's emotionally-powerful thanks to its meticulously crafted drama and story. The film is also a technical marvel featuring magnificent direction and acting from Jiang Wen, elegant cinematography, and lovely music. It's a must-watch film.

Score: 10/10
Parental Guide: Strong violence and blood, some brief sex and nudity.

Sunday, August 24, 2014

Film Review: Rites of Spring (2011)

Rites of Spring (Review)
United States/2011
Format Viewed For Review: Netflix Instant
Netflix Streaming: Yes
Amazon Prime: No

"...partly spoiled by bad acting."

Two young women are abducted after a night at the bar, while a group of criminals execute their own unrelated kidnapping...

Rites of Spring starts by following these two young woman, particularly Rachel (Anessa Ramsey), who are abducted for a ritual -- a ritual meant to satisfy a strange, locked away creature. Meanwhile, a group of criminals, particularly Ben (A. J. Bowen), kidnap the daughter of a rich businessman. Eventually, the two unrelated kidnappings interlink -- in more ways than one -- and the creature is unleashed. The film leads to a mediocre ending, at the very least -- it's abrupt and leaves some unanswered questions, but it doesn't really have any where else to go, so I don't know how harshly to fault it.

Rites of Spring is a unique spin on the traditional crime/kidnapping film, obviously as it blends creature-feature horror elements into the formula. And I liked it. It's a simple yet creative story. The crime elements offer some tension and twists, and the horror offers some moderate suspense and gore. It doesn't reach nail-biting levels, but it's pretty damn satisfying. There are some dull moments, but the short runtime is forgiving. The creature isn't fully-explained or all-that fleshed out, and it could've used more back-story, but at least it looked decent and ominous.

The acting is the deepest pitfall for the film, though. A. J. Bowen is okay, but he definitely underperforms. Anessa Ramsey, on the other hand, ridiculously overacts. Her shouting, screaming, and grunting was more humorous than believable -- and that all she does after the first 5 minutes. Ramsey was terrible. (Should've tried for Sara Paxton -- they look similar and Paxton can act much better.) The film is shot well, though. I liked the camerawork, too. The music was great, really blended well with the film. The special effects and makeup were decent; there is some blatant use of computer blood, though, which looks bad. Writer and director Padraig Reynolds delivers a creative story with some decent suspense and thrills; however, there is some inconsistent pacing and he failed at controlling Anessa Ramsey's overacting.

Overall, Rites of Spring is a simple and decent film. It's story is easy to jump into and it's entertaining, and there is some solid suspense and tension. The short runtime makes this a solid time-killer, too. There are a few moments where the film loses momentum, though, and the film is partly spoiled by bad acting.

Score: 6/10
Parental Guide: Strong violence and gore, and a 5-10 second shot of full nudity.