John’s Horror Corner: Lowlifes (2024), a domestic survival horror that playfully toys with your expectations.
MY CALL: This was pretty good. The acting, writing, production, gore and violence are all executed well. But I won’t lie—I kind of wanted more. More meanness, more gore, more humor, more extremity, more suffering, more creative deaths, even yet more family drama… something more. MORE MOVIES LIKE Lowlifes: Maybe You’re Next (2013), Becky (2020) or Ready or Not (2019).
Suffering through a boring family vacation grilling out by the RV, Amy (Amanda Fix; Orphan Black: Echoes) and Jeffrey (Josh Zaharia) would rather be anywhere else. But things get even more uncomfortable when they are visited by hillbilly locals Vern (Richard Harmon; The 100) and Billy (Ben Sullivan), who seem anything but trustworthy. Their very polite but equally very nervous parents Keith (Matthew MacCaull; Monarch: Legacy of Monsters) and Kathleen (Elyse Levesque; Ready or Not) succeed in getting the dirty yokels on their way… but as experienced horror viewers, we all know we’ll be seeing more of them.
For such an unfamous cast and directors I never heard of, the writing and acting are a pleasant surprise. The dialogue is simple, direct and well in-character, even if clearly deliberately tropey at times. The family dad says all the things we’d expect, doesn’t listen to his understandably frightened wife, and makes the very mistakes of the genre’s design. So when they happen upon the same unsavory hillbillies again, this time with car trouble up the road, they give Billy an awkward ride to his remote family home where the phone reception is poor and neighbors are distant. It’s pretty amusing seeing the pressure of being well-mannered good Christians supersede our characters’ sense of danger and distrustful smiling strangers.
The country family includes Savannah (Brenna Llewellyn), Juli Ann (Cassandra Sawtell; Harper’s Island), their grandfather Neville (Kevin McNulty; The Uninvited), and the massive Big Mac (Dayleigh Nelson).
Another pleasant surprise from this movie is that it’s not going where we expect. When our family realizes the challenge presented before them in this remote house, the controlling “father knows best” allegory runs thick as Keith manages his wife’s nerves, his daughter’s sexual orientation and his son’s risky impulses—all while trying to survive this ordeal. And if you thought it was going to be a little campy, just wait until you see what’s in the meat freezer. Campy severed body parts galore.
The violence is gory and graphic, from visceral Achilles slashes and blood-spurting slit throats to slowly sawing off limbs, and it’s all on screen. But truly, the first hour of the movie packs little action and entertains more in the form of dangerous social situations. But in that third act we enjoy some solid gore gags and mean violence in this domestic survival horror.
Directors Tesh Guttikonda and Mitch Oliver’s first feature film is a decent one. I enjoyed this, and I’ll watch out for what they do next. Would I recommend this…? Sure. This is a low to moderate priority recommendation for someone who enjoys mean, gory, even somewhat cheeky horror.
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The Movies, Films and Flix Podcast – Episode 555 – The Proposal, Sandra Bullock and Romantic Comedies
You can download or stream the pod on Apple Podcasts, Tune In, Podbean, or Spreaker (or wherever you listen to podcasts…..we’re almost everywhere).
If you get a chance please make sure to review, rate and share. You are awesome.
Mark and Erik discuss the 2009 romantic comedy The Proposal. Directed by Anne Fletcher and starring Sandra Bullock, Ryan Reynolds, Betty White, and some unsweetened cinnamon light soy lattes, the blockbuster movie proves that Bullock is an all-timer romantic comedy star. In this episode, they also talk about rom-com tropes, movie posters, and coffee orders. Enjoy!
If you are a fan of the podcast, make sure to send in some random listener questions (we love random questions). We thank you for listening, and hope you enjoy the episode!
You can download the pod on Apple Podcasts, Tune In, Podbean, or Spreaker.
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Boy Kills World (2024) – Review
Quick thoughts – Grade – B – Boy Kills World is a gnarly delight that features solid performances from Bill Skarsgård, Jessica Rothe, Andrew Koji, and Michelle Dockery.
Paying homage to Jackie Chan, Japanese anime, and Monty Python and the Holy Grail (Boy Kills World has its own Black Knight-type character), Moritz Mohr’s film is wildly violent and it successfully avoids becoming too precious with its inner-monologue narration and stylish action. It’s hard to dislike Boy Kills World because all it wants to do is entertain and showcase Dawid Szatarski’s inventive action design that features Bill Skarsgård, Jessica Rothe, Andrew Koji and Yayan Ruhian beating people up in kitchens, hallways, and television studios. In an interview with The Hollywood Reporter, Director Moritz Mohr said that he made the film because “We wanted to make something that had some fun because Germany rarely has fun. There’s no action movies, there’s a few horror movies. It’s mostly arthouse.” You can tell that Mohr and his cast definitely had fun as they all look great and helped selI a high-energy experience that showcases what happens to an armpit when it meets a cheese grater.
Boy Kills World, revolves around a boy named Boy (Skarsgård) seeking revenge on Hilda Van Der Koy (Famke Janssen), the psychopathic leader of an authoritarian regime, who controls the populace by holding an annual event called The Culling. The event keeps the populace in check by forcing Hilda’s most outspoken critics to battle to the death inside a television studio that broadcasts the event around the world. Boy wants revenge because Hilda killed his family and left him hung up in a tree with a noose slowly strangling him. In a good news-bad news situation, Boy is saved by Mentor (Ruhian) and forced to endure a decade’s worth of training that involves copious drug use and enough martial arts training to ensure that when he’s unleashed, he’ll be able overcome his demons (which include visions of his deceased sister that make him freeze during fights) to defeat Hilda and her murderous bodyguard named June 27 (Jessica Rothe).
In a unique twist, Boy becomes a deaf mute after Hilda’s attack, and since he cannot remember his own voice, his inner-narration comes from one of his favorite video game characters voiced by H. Jon Benjamin. It takes a few minutes to get into the rhythm of Boy Kills World as H. Jon Benjamin’s joke-heavy narration rules over the proceedings and makes you wonder if the unique storytelling device is a one-note gimmick. However, as the action kicks into gear and we are introduced to more of the world, it becomes easier to sit back and relax while Boy battles the world. The supporting cast made up of Michelle Dockery, Andrew Koji, Sharlto Copley, Brett Gelman, and Isaiah Mustafa is excellent, and they all get moments to shine as they complain about owls or push carts (instead of fighting) during action scenes.
It took seven years for Mohr to get his film made in South Africa, and he credits producer’s Sam Raimi and Roy Lee for helping him get funding after he and Dawid Szatarski showed them a proof-of-concept trailer and pre-viz reel that showcased the inventive fight scenes. The long delay helped clean up the script – which is a good thing because the movie successfully walks a tight-rope of stylish action and cheeky humor that could’ve easily slowed the move to a halt if it wasn’t handled correctly. In the end, the committed performances (Rothe and Skarsgård got shredded for this movie), likable characters, and inventive fight scenes win the day and I totally recommend that you watch Boy Kills World.
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The Movies, Films and Flix Podcast – Episode 554: Legion (2010) vs Priest (2011), Paul Bettany, and Rock Throwing
You can download or stream the pod on Apple Podcasts, Tune In, Podbean, or Spreaker (or wherever you listen to podcasts…..we’re almost everywhere).
If you get a chance please make sure to review, rate and share. You are awesome.
Mark and Nathan pit Legion (2010) and Priest (2011) against each other to see which Paul Bettany film reigns supreme. It’s an incredibly close matchup that will be decided by 10 categories that cover topics like rock throwing, monotone monologues, and final fights. Enjoy!
If you are a fan of the podcast, make sure to send in some random listener questions (we love random questions). We thank you for listening, and hope you enjoy the episode!
You can download the pod on Apple Podcasts, Tune In, Podbean, or Spreaker.
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The Ministry of Ungentlemanly Warfare (2024) – Review
Quick thoughts – Grade – B+ – The Ministry of Ungentlemanly Warfare is an unabashedly violent and cheeky World War II caper that features well-dressed people being sent on an impossible mission. I love it.
Based on a true story (but still heavily fictionalized) and inspired The Ministry of Ungentlemanly Warfare: How Churchill’s Secret Warriors Set Europe Ablaze and Gave Birth to Modern Black Ops by author Damien Lewis, Guy Ritchie’s film about a special ops team blowing up boats in West Africa is an absolute delight. It brings together everything that Ritchie loves (cheeky characters, great sweaters, Henry Cavill, and heists), and blends them perfectly into a crowd-pleasing romp that features Alan Ritchson annihilating dozens of Nazi soldiers with perfectly shot arrows. The ensemble cast featuring Henry Cavill, Henry Golding, Eiza González, Cary Elwes, Babs Olusanmokun, Til Schweiger, Alex Pettyfer, and Til Schweiger is well curated, and you can tell that they understood the assignment while looking incredible in outfits designed by Loulou Bontemps (The Gentlemen – Netflix, The Covenant). The movie has been described as “Guy Ritchie’s Inglourious Basterds,” which feels obvious, but you should look at it more as “Guy Ritchie’s Cheeky WW2 romp that feels like The Dirty Dozen met Snatch and then hung out with Operation Fortune. If you haven’t watched any of the mentioned movies, just know that it is a delightful action film with simultaneously low and high stakes.
The Ministry of Ungentlemanly Warfare revolves around a group of ne’er-do-well operatives led by Gus March-Phillips (Cavill), who are tasked with blowing up German boats that transport important filters and parts for the German U-boats that terrorize the Atlantic, and prevent the United States from entering the war. The mission is off any official books due to the German’s running operations out of Fernando Po, a Spanish-controlled island off the coast of western Africa, which means any interference from British troops would push Spain into the war on the side of Axis. This forces the crew to sail through dangerous waters, team up with spies embedded on the island, and battle hundreds of well-armed Nazi troops who occupy the island. It would be a shame to give away too much more of the plot, just know that the movie features excellent grenade usage, nipple torture, and Henry Cavill at his most comfortable and charming.
The Ministry of Ungentlemanly Warfare is the type of film that is always welcome because all it wants to do is make the audience smile. It’s cool seeing Eiza González getting bigger roles and I still think Henry Golding will become an action star (despite the Snake Eyes setback). I have a feeling that it will play well on streaming because of its rewatchability and likable cast, and I hope that it does well at the box office because I’d love to see more adventures featuring the cast.
Final thoughts – Go watch it. It’s a good time.
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Bad Movie Tuesday: Visitors from the Arkana Galaxy (1981), the bonkers Sci-Fi B-movie you didn’t know you needed to see.
MY CALL: Just weird, bizarre, Sci-Fi lunacy with one part love story and one part creature feature slapstick horror poured over a half-baked bonkers roast. MORE MOVIES LIKE Visitors from the Arkana Galaxy: Let’s keep things bonkers, shall we? So I’ll recommend Demon Seed (1977), The Visitor (1979), Altered States (1980), and Flash Gordon (1980).
Science fiction writer Robert (Zarko Potocnjak; The Rat Survivor) describes the other-worldly characters of his current book project. Led by the she-robot Andra on a mission to investigate Earth, the humanoids of the planet Tugador in the Arkana Galaxy have divine powers. Robert is the most genuine of Sci-Fi geeks. He wears a replica astronaut helmet as he records his ideas, discusses plot twists with a friend in place of casual conversation, and frustrates his girlfriend Biba (Lucie Zulová), who claims she is neglected in favor of Robert’s precious and fictitious Andra.
Manifesting in reality shortly after Robert’s own realization of these ideas for his book, Andra (Ksenia Prohaska; Transylvania 6-5000) and her alien offspring land on Earth, bringing with them the almost Lovecraftian monster Mumu. Her emotionless children are mildly eerie with Village of the Damned-platinum blond hair. These aliens have the power to alter time, shoot deadly eye lasers, change their form and the form of others, and employ telekinesis.
As if the very concept of this movie was not yet deeply rooted enough in fantasy, there are some truly bizarre moments. For example, a father spontaneously grows breasts to breastfeed his infant; one of Andra’s offspring lasers off her finger, which she regenerates, and then punishes him by whipping his hands with finger lasers; Biba is transformed into a small metal cube; and a large group of people strip buck naked (because nothing says I come in peace like nudity) in a seaside cave to welcome to the aliens to Earth.
As weird little things keep happening, the plot seems to be going nowhere fast. Andra takes it upon herself to assume a more domestic role. She manifests a vacuum extension to her arm, tidies Robert’s home, manifests super-mini steak and fries from her abdomen microwave oven, and dispenses coffee and milk from two of her fingertips. There is even a sensual scene with Andra which leads to a sexy competitive outburst from Biba. Don’t try to take Biba’s man!
And now for something completely different. Eventually Mumu is unleashed on a household where it spews green slime gore all over the place, and all over people. Mumu is a gloriously ridiculous rubber monster suit of an alien horror covered in horns and projections of generally strange morphology. You’d think this scene was from a totally different movie! The creature comically decapitates and dismembers guests at a high society dinner party, and then gouts poisonous gas from tubercles on its back and spews flames from its prehensile trunk, which also projects a long tongue to strangle victims. Mumu is pure lunacy on the screen.
For 1981, Yugoslavian director Dusan Vukotic did well enough that I wish he did more like this. This film starts slowly, very slowly. But it truly does build cumulative entertainment value as it progresses to increasingly ridiculous scenarios in this occasionally slapstick, science fiction fever dream. Does it ever reach B-movie greatness? Not quite. But this is just one-of-a-kind enough to make up for a lot of its shortcomings.
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MY CALL: Slow and plotty, perhaps quite overly thought out, and slow as a consequence. But this film has a lot of intriguing ideas for the patient, thoughtful, and entomophilic viewer. MORE MOVIES LIKE The Sect: For more solid Italian horror of the era, consider The Church (1989) or The Wax Mask (1997).
What did I just watch? I thought I was walking into a breasty, campy, gory Italian jaunt that would struggle to exceed 80 minutes. But this was unexpectedly 116 minutes long, quite pithy (even overly so), and only features nudity in ways that made scenes more visceral (and not at all salacious).
An older man (Herbert Lom; The Dead Zone) of questionable health and even more questionable purpose is helped by schoolteacher Miriam (Kelly Curtis). She brings him to her home, which is strangely familiar to the man, and helps the man to rest. In her sleep, the man awakens and purposefully places a rove beetle (Staphylinidae) on her face which crawls up her nose. Then the man dies with his handkerchief tightly affixed to his face… like, weirdly tightly affixed.
This seems quite plotty for something so marginally interesting. There’s a lot of dialogue that just idles on. Every now and then there’s a really intriguing detail… but then it seems to take way too many boringly pithy scenes in order to reach the next item of substance.
Apparently there is a vast sewer system, boiler room and a well deep beneath Miriam’s home. The old man, who we learn was a long-missing (since the 70s) scholar of Satanism, clearly intended to come to Miriam’s home, find this secret well, and infect it with… something. Blue worms? Whatever.
The mother of one of Miriam’s students is an academic studying arctic fossil insects (rove beetles) which we are told have religious significance (a symbol of fertility and evil). This fictitious account of rove beetles suggests they lay their eggs in your brain (like the urban myth of an earwig). So is that what the old guy was doing… planting a preggers beetle on her to infest her brain?
Miriam’s co-worker Kathryn (Mariangela Giordano; Burial Ground, Patrick Still Lives) is attacked by the bewitched handkerchief that was on the old man’s face when he died—perhaps the influence of gypsy’s possessed handkerchief in Drag Me to Hell (2009). Now perhaps possessed herself, Kathryn out of nowhere seduces a trucker, who then is caught stabbing her to death and is horrified to discover what he’s done. It’s senselessly insane, but told with a calm straight face. Then, naked and bloodied and pronounced dead by a surgeon, Kathryn leaps up alive and well and attacks Miriam in the operating room and then slits her own throat! Lunacy.
More weird stuff? Sure. The old man leaves a message on Miriam’s answering machine that he left his diary at her house. But this diary fell from his hands when the coroner removed his dead body from her house earlier! Later, the message on her machine is not there. A ghost message! Dun dun dunnnnnn!
A bunch of hippie types and their kids camping in southern California are murdered (all off-camera) by a Jesus-like wanderer and his Lucifer-praising biker friends in a 1970 flashback. The murders show the swing of the knife hand and blood in spilled milk, but not the stab there-between. So, generally unsatisfying. As is most of the horror of this movie. Although the “stork attacks” were weird delights in this clunky Italian horror. Clunky, but satisfying. There’s also a very strange sewer water birth scene.
So that Jesus-like guy from California in 1970, well here he is in Germany 21 years later to do more Devil-worshipping stuff. It turns out that Kathryn’s ER doctor is a part of his trans-continental Satanic cult, and so is the husband of the paleo-entomologist who studies rove beetles. This cult gathers in the woods and plays with Hellraiser (1987) hooks. It’s one of the few effects we see realized on screen. They cut and snare a ring of hooks around their victim’s face, forehead to neck, and then yank and peel off her face, placing it over the dead old man’s face to bring him back to life. So yeah, a lot is going on here… although it’s not adding up to anything sensible by my math.
I wasn’t particularly pleased or impressed with this movie. But it wasn’t bad at all, it was way better than I expected, and much more serious of a filmmaking endeavor than I thought I was going to see today. Director Michele Soavi (Cemetery Man, The Church, StageFright) and co-writer Dario Argento (Dracula 3D, Mother of Tears, Two Evil Eyes, The Church, Demons 1-2, Suspiria, The Wax Mask) did alright. But I’d favor his other work very strongly above The Sect.
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John’s Horror Corner: Plank Face (2016), a truly bizarre, depraved, semi-erotic “hillbilly horror.”
MY CALL: What did I just watch…? No really. WTF? Whatever this is, this is only for the most adventurous of film connoisseur who are comfortable having their moral limits tested. So much depravity, nudity, and unsexy sex. MORE MOVIES LIKE Plank Face: I have no suggestions that match this particular flavor of depravity. However, Antichrist (2009) springs to mind even though it is a much more mature, refined, and competently produced film.
I’d like to preface this review with a disclaimer. This movie always looked cheap and lame to me when it first came out. The trailer, the promo images, the premise; it all felt like something I knew I didn’t care to endure. But only recently I saw this movie featured on a list of “horror movies that were way better than we expected.” So, I figured “why not?” After all, when I finally gave The Hills Run Red (2009) a chance, it really impressed me! So, let’s see what Plank Face has to offer…
When the opening lines of a movie involve a man lobbying his girlfriend for a special request sex act, you can probably bet you’re in for something classy. And not just a little classy… the graphic sex scene makes this feel like a softcore adult film. I’m reminded of Wrong Turn 3 (2009)… but without the fun death scenes. Thankfully, this raunchy tone does not represent the movie overall… sort of. Well, kind of… but not exactly.
Trying to enjoy a camping outing in the woods, Max (Nathan Barrett; iZombie) and Stacey (Ellie Church; Space Babes from Outer Space, Brides of Satan) stumble across some very unsavory types. Subsequently, Max is “rescued” by some primitive woodswomen. Although, this rescue quickly becomes an abduction.
This movie is bizarre. Three generations of Wrong Turn hillbilly women eat scraps of meat from their recently deceased patriarch, hammer nails through Max’s feet (nailing him literally to the floor) while they train and condition him to their ways, force-feed him testicles (YES, testicles… of the now dead previous patriarch), and permanently and painfully affix the namesake plank mask on his face (after goo-ily and forcefully removing the mask that was ATTACHED to the dead patriarch’s face!).
At about this point, I’m expecting something more like Pitchfork (2016). But no… weirder. Just a lot of sex (a lot), and all communication has been reduced to grunts and body language like they were afflicted by that virus from the Planet of the Apes anthology that atrophies vocal cords. These woodswomen truly seem simple-minded… sort of… but not without some shrewdness to them.
Watching these strange woodswomen live their lives, I feel like this film is trying to make a strong statement about finding pleasure in simple life, perhaps submitting to sacrifice worldly desires. Likewise, it seems the point is being made that forcibly stripping someone of their freedom, dignity, and identity (i.e., the disfigurement of the permanently affixed plank mask to one’s presumably now mutilated face), may very well create an animal or monster, forgetting one’s humane past. Whatever the message, it’s muddied in the weak writing, torture and hyper-sexualization. Subsequent sex scenes are a strange mix of animal husbandry and rape. Even if you’re someone who enjoys the occasional sex scene, these are probably not those kinds of sex scenes.
You’re in for a lot of full-frontal nudity, folks. Male and female alike. For real, what am I even watching!?! Everyone spends most of the entire movie naked. Like, completely naked. The wardrobe budget on this project was clearly low. Moreover, this movie is conceptually graphic on all fronts. Graphic sex scenes, graphic murder, sexual assault… there’s even an off-camera buckwheat stabbing. Just plain mean. But more shock comes from the movie’s depravity—nipple biting, crotch punching, breast feeding, tickle torture, and sexual coercion at gun point.
Is this a horror movie…? I guess so. As in, I suppose it’s the closest genre. There is some obvious hack and slash, and some grimy gory cannibalism. Still, the whole thing feels like a primally carnal, sociological fever dream or some twisted non-supernatural fairy tale.
This was such a weird thing to watch. I was more interested in why it was made and what the message is behind it than I was with the content of the actual movie. So this is tough to recommend, and only for the most adventurous of film connoisseur who are comfortable having their moral limits tested. At that very task, I suppose director and co-writer Scott Schirmer (Harvest Lake, Found) was successful.
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The Movies, Films and Flix Podcast – Episode 553 – Barbie, Greta Gerwig, and Beach Fights
You can download or stream the pod on Apple Podcasts, Tune In, Podbean, or Spreaker (or wherever you listen to podcasts…..we’re almost everywhere).
If you get a chance please make sure to review, rate and share. You are awesome.
Mark and Niall discuss the 2023 comedy blockbuster Barbie. Directed by Greta Gerwig, and starring Margot Robbie, Ryan Gosling, America Ferrera and a lot of pink, the movie focuses on what happens when Barbie and Ken travel to the real world and learn about horses (there’s a lot more to it…). In this episode, they also talk about bespoke songs, beach fights, and the excellence of Greta Gerwig. Enjoy!
If you are a fan of the podcast, make sure to send in some random listener questions (we love random questions). We thank you for listening, and hope you enjoy the episode!
You can download the pod on Apple Podcasts, Tune In, Podbean, or Spreaker.
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John’s Horror Corner: WitchTrap (1989), a haunted house movie that isn’t really a “witch movie” you could probably skip.
MY CALL: Another passable yet forgettable installment in 80s horror. MORE MOVIES LIKE WitchTrap: I’d stick with Night of the Demons (1988) and Witchboard (1986).
We open with some extra hokey haunting shenanigans with wild camera work. I’m not saying that means this movie can’t be good. But we’re off to a questionable start…
Hired by an heir to the valuable but haunted “Lauter house” estate of his uncle Avery Lauter (J.P. Luebsen; Witchboard)—which is now nicknamed the Slaughterhouse after a recent and unexplainable death—parapsychologist Dr. Agnes Goldberg (Judy Tatum; Witchboard) recruits physical medium Whitney (Kathleen Bailey; Night Visitor), mental medium Felix, and video technician Ginger (Linnea Quigley; Silent Night Deadly Night part 2, The Return of the Living Dead, Night of the Demons, A Nightmare on Elm Street 4, Creepozoids) to investigate and exorcise the Slaughterhouse ghost.
Evidently, Avery Lauter was an alleged warlock of great power, who just may have removed his own heart, which was never found after his death. This movie has loads of long-winded exposition to make sure all viewers understand every little thing ad nauseum. It’s a bit of a struggle and unnecessary—but perhaps superior to the alternative of an ill-explained plot and then having a bunch of unrelated things seemingly happen for no reason (e.g., Ghosthouse). Still, much of this dialogue is just plain painful. There are some excruciating line readings… almost like the actor just had one take and read as if they thought the sentence was going to continue. Enhancing the cheapness, there’s a creepy, horndog, homicidal groundskeeper (Hal Havins; Night of the Demons, Sorority Babes in the Slimeball Bowl-O-Rama) who serves no real purpose in the movie.
So our paranormal team arrive at the house, set up recording equipment, get comfortable, and start dying. Let’s assess the death scenes. The showerhead death scene is super brief, but remains oddly satisfying. The “ghost bullet” and ax to the head death scenes were likewise quick but passable. There’s also a lame but gooey wax-melting death. But there’s nothing special about the death scenes of effects. Each medium has bouts of spasms as Avery’s ghost attempts to manifest through them. And when Avery speaks through the physical medium Felix, we never feel much urgency.
In the end, our hero captures Avery’s spirit essence in a Ghostbusters-ripped off containment unit while they reunited his cursed heart with his remains in the sacrilegious chapel in the attic of the house. Then, just like in Witchboard 1-2, our ghost possesses Whitney, finishes his ritual of immortality, manifests his physical form, and dies with the destruction of the remains of his heart.
This movie is not Kevin Tenney’s (The Cellar, Night of the Demons, Witchboard, Witchboard 2) best work. Not horrible. But also not good. Pretty forgettable, though.
Movies, Films & Flix 