Skip to content

The Electrical Life of Louis Wain (2021) – Review: A Visually Impressive Biopic By Director Will Sharpe

October 20, 2021

Quick thoughts: Grade – B – The Electrical Life of Louis Wain is a visually impressive film that goes out of its way to avoid becoming a traditional Oscar-bait biopic. The performances by Benedict Cumberbatch, Claire Foy, and Andrea Riseborough are excellent as always, and they help add balance to a narrative whose tone bounces between whimsical, melancholy, and sentimental. 

The Electrical Life of Louis Wain focuses on the trials and tribulations of Louis Wain, a prolific artist who drew thousands of anthropomorphized cats during his time on this earth (1860 – 1939), and helped popularize the notion that the rat catchers could actually be pretty great pets. His brightly colored and often surreal works of art circled the globe, and due to him not copyrighting his pictures, he didn’t receive the money or adulation that he deserved. In an interview with Deadline, Cumberbatch, who plays Wain, considers him to be “a quiet hero,” and BAFTA nominated director Will Sharpe made the movie about him because “I think you don’t necessarily have to slay dragons or fly spaceships to be a hero. What drew me to Louis Wain was his humanity, more than anything else, and the challenges that he overcame, whether they were personal or to do with his mind, were huge.” For once, it’s nice to focus on an underdog who didn’t change the world, and instead made many people realize how cute cats are.

Shot in a striking 4:3 aspect ratio, which creates the feeling that you’re looking at a painting in a museum, The Electrical Life of Louis Wain is wonderful to look at as cinematographer Erik Wilson showcases every trick he learned from his experiences working on Submarine, Tyrannosaur, Paddington 1 & 2, and several Pumpkinhead horror films. There are impressive dolly shots that must’ve kept the grips busy as they needed to lay hundreds of feet of dolly track, and static shots that know when to let the inherent silliness of a nonplussed bathroom goer wash his hands whilst Wain kisses his future wife Emily (Claire Foy), tell the story. The production and costume design are sumptuous as well, as Oscar nominee Suzie Davies (Mr. Turner, The Courier), and Oscar winner Michael O’Connor (Dredd, Jane Eyre, Ammonite) load the film with vibrant blue, orange, and red set decorations and costumes that become more muted as Wain loses his wife, deals with mental illness, and finds himself alone in a nursing home later in life.

Based on Wain’s illustrations, it’s understandable that the film starts off very whimsically, as Wilson’s camera follows Wain as he goes about his daily life that involves boxing (he basically just gets punched a lot), dealing with his five sisters, and drawing portraits in the blink of an eye, as he’s able to use both hands for his illustrations. His initial meeting with Emily is cuter-than-cute, as she’s hiding in a closet to get away from the insanity of the Wain home, and they immediately bond, and eventually get married. After moving to the country, and adopting a cute cat, things go south quickly as Emily is diagnosed with terminal breast cancer, and the film loses its whimsy, and focuses on Wain’s mental downfall. It’s a jaring switch in tone, which once again makes sense considering the artist, but it makes the film feel unevenly structured and disjointed as the mood changes immediately. What follows is Wain’s extremely good-looking decline into dementia, and several beautiful looking moments involving running in the rain and massive storms that sink the biggest of ships. 


In the end, The Electrical Life of Louis Wain is worth a watch because of the beautiful visuals and its desire to not come across as another stock biopic. There is beauty to behold, and if you handle the film’s decline into sadness, it’s worth a watch.

John’s Horror Corner: No One Gets Out Alive (2021), a creepy haunting movie wandering into a rather unique conclusion.

October 19, 2021

MY CALL:  For real, this was different; not great, but good and different. I don’t get to say that very often any more about movies. It’s occasionally brutal and jumpy, but its main ingredient is the creepy unknown into which the story wades. Oh, and by the way, this review is spoiler-free, and that’s frustratingly hard to do with a film like this.  MORE MOVIES LIKE No One Gets Out Alive: Well, for another strange immigrant-centric horror there’s His House (2020). For generally more pleasing films utilizing mystery and/or creep factor, then We Are Still Here (2015; for more serious) and Lights Out (2016; for more fun) should do the trick.

An undocumented immigrant from Mexico Ambar (Cristina Rodlo; The Terror) moves into a boardinghouse for women furnished in timeworn décor, vintage lamps, and old wooden architecture appealing to a gothic atmosphere.

Everyone Ambar meets is a bit strange, whether her loner landlord (Marc Menchaca; Ozark, The Outsider, The Sinner) or the occasional transient tenant. We are left to assume everyone may have a secret or a possible dark connection to the strange goings-on of the perpetually dimly lit hallways. Wandering into her landlord’s office she finds books on indigenous rituals and the occult, an old insect collection, skulls and other curios—not the typical Cleveland, Ohio landlord office, if you ask me.

This film is relentlessly creepy and provokes some good scares. There’s something of a We Are Still Here (2015) vibe as we are introduced to the haunting of the building. Unseen apparitions linger and watch ominously. Likewise, the camera’s gaze often implies the ominous view of a watcher of sorts. That, along with the use of light and dark toying with the audience, reminds me of Lights Out (2016). But despite these soft comparisons to other films, this is clearly doing something all its own and this something doesn’t feel so familiar nor is it presented in a such a way that one could predict where it’s heading.

While we’re patiently waiting to learn exactly what’s going on here, Ambar suffers much misfortune, grief, and increased frightful contact with whatever spirits inhabit the building. She is internally every bit as haunted by the loss of her mother as she is by whatever ethereally skulks the hallways beyond her room.

First time feature director Santiago Menghini creates gripping atmosphere as we view the characters from the darkest recesses of their apartment building, whose photography magnifies the harrowing dark halls. There are some brutal moments, including grisly head-smashing and bone-breaking scenes. But “brutal” does not typify this film. Creepy is its game.

This film was very well-made, unnerving, jumpy, and intense at times—clearly entertaining. It also seemed to go in a different direction than I’ve seen before, and that’s nice. Not sure this is a strong recommendation, but it is definitely watchable and unique. For many of you, I’m sure that’s enough.

Escape From Mogadishu (2021) – Review: An Ambitious and Compelling Thriller From Director Seung-wan Ryoo

October 19, 2021

Quick Thoughts: Grade – B – Based on a true story, Escape From Mogadishu is a thrilling film that features solid performances and a believable atmosphere loaded with sweat, bullets, and important compromises between North and South Korean embassy workers. It’s currently the official submission of South Korea for the ‘Best International Feature Film’ category and the highest grossing South Korean film of 2021.

Escape From Mogadishu focuses on embassy workers from North and South Korea teaming up to escape the violence of the Somali Civil War, which rocked the country in 1991. While it’s taken liberties with the story to make it more exciting, it’s still a fun example of extraordinary compromise and teamwork during a wildly violent time. Director Seung-wan Ryoo (The Battleship Island, The Berlin File) has crafted a fun film which breezes by and stretches its $20 million (24 billion KRW) budget expertly, as there are hundreds of extras, big set pieces, and excellent production design. It’s nice knowing that it was shot in Morocco (and not a backlot), and that was a wise decision as it adds authenticity to the proceedings that make the film much more believable. Also, the cinematography by Ryoo regular Young-hwan Choi (The Berlin File) is the MVP of the film, and his work during the climatic car chase is worth the price of admission (you might never look at books the same way again). 

The best moments belong to Huh Joon-ho (Kingdom) and Kim Yoon-seok (The Chaser) who play the North and South Korean ambassadors. Watching them figure out how to trust each other, and team up in a way that won’t get them in trouble with their governments is a lot of fun. The two go from sabotaging each other’s attempts to be accepted into the United Nations, to equals who momentarily team up to keep their families and coworkers safe. Some of the best moments in the movie happen when they discuss how to not become pariahs when they return home after teaming up, as neither want to seem like defectors or spies when they arrive back in their countries. 

The biggest issue with the film is how it never fleshes out the characters, or gives the female characters anything to do. The acting is solid, and the cast is game, but there’s a heroic shining light on the characters which never totally feels organic. Since it’s an action film, character development isn’t totally necessary, but there’s just something off about how wholesome the characters are. It would have been nice to give the characters a few more wrinkles and moments to make us care more about them. For instance, one of the most memorable scenes happens during a shared dinner between the two groups. The North Koreans hold off on eating until Kim Yon-seok’s character eats first to prove the dinner his group provided isn’t poisoned. It’s a 10-second moment, but it shows the dynamics between the countries, and makes things a little more human. 

Final thoughtsEscape From Mogadishu is an ambitious and fun film that’s worth a watch.

John’s Horror Corner: Till Death (2021), a mildly thrilling thriller starring Megan Fox as an unfaithful wife dragging around her dead husband as spiteful penance.

October 17, 2021

MY CALL:  With better writing and more honed direction, this could have been much better. But as it is, this is a mildly thrilling thriller aiming all its attention at Megan Fox… who accordingly seems to be the punching bag of all this film’s criticism.  MORE MOVIES LIKE Till Death: Gerald’s Game (2017) and You’re Next (2013), which both did it better.

Having been a while since I’ve seen Megan Fox in horror or anything serious, I was nervous yet optimistic for her. As we meet our protagonist Emma (Megan Fox; Jennifer’s Body), she is caught between two men. One an affair with Tom (Aml Ameen; The Maze Runner, Evidence) that she breaks off the eve of her anniversary; the other her strained, cold marriage to Mark (Eoin Macken; The Hole in the Ground, Resident Evil: The Final Chapter). But when her anniversary weekend at their remote lake house in the winter leaves her handcuffed to her now dead husband, her love life is ever more complicated than before.

Watching Emma drag her dead husband around the house with his massive headwound while wearing his bloody clothes is not as awkwardly amusing as I’d hoped. It’s cheeky, sure. But it needs help to carry the scenes. Emma talking to herself throughout the process could also be funnier, but it’s not bad. If anything, what I find truly funny here is how unreasonably elaborate this revenge plot is. You’d think Mark was a disciple of Jigsaw in one of the later Saw sequels with all his little posthumous recordings and notes and how he rigged the lake house so extensively in such a short period of time.

Not only is Emma condemned to lugging around her dead husband, but the phones are out, and her terrifying past arrives for its pound of flesh in the form of someone she sent to jail years ago—Bobby Ray (Callan Mulvey; Shadow in the Cloud) and Jimmy (Jack Roth; Rogue One). Now that her hunters have arrived, the stakes are raised and I’m enjoying her now-more-urgent spouse-dragging more. Moreover, the filmmakers do a good job of creating a convincing cat and mouse chase in such a small venue with some clever timing and hide and seek shenanigans. When Emma is forced to fight back, what little we get is generally well-done and very credible. Unfortunately, it wasn’t very exciting and I wanted something more shocking to come of it.

This movie steadily gets better as you watch it. Sure, the opening scenes spinning all the relationship drama was very dry. But with each 15-20 minutes that passed I noticeably found myself enjoying this more, while also seeing more interesting writing and filmmaking decisions realized before me. Still, I feel sharper writing would have helped this movie a lot.

Megan Fox did well enough with what she had, and the story comes to a satisfying ending. I feel like most people who didn’t care for this movie readily and unfairly blame Fox—but I’d argue that no one in the film gave a “better” performance than she did. And sure, she had some rough line deliveries in the opening scenes (which felt very, very, very forced by the writer and director)… but they were also rigidly performed by her co-stars who simply had less screen time and fewer lines. The writing and directorial experience just wasn’t there.

I had hoped that director S. K. Dale’s first feature film would be Gerald’s Game (2017) meets You’re Next (2013). But to think that would nurse greater expectations than anyone should have. This movie is just good enough to not regret watching it. I wouldn’t really recommend this. But it’s a perfectly “just good enough” popcorn evening of entertainment.

Halloween Kills (2021) – Review: A Pointless Sequel That Kills The Momentum Built From the 2018 Rebootquel

October 16, 2021

Quick Thoughts – Grade – D – The opening credits of Halloween (2018) feature a pumpkin becoming fresh again. The opening credits of Halloween Kills should’ve featured the fresh pumpkin being overwhelmed by mold and collapsing into a pile of mush.

The David Gordon Green directed Halloween Kills is a classic example of what happens when sequels lose focus, and choose to go big. Instead of keeping it small and dealing with the aftermath of Michael Myers surviving the trap that Laurie Strode (Jamie Lee Curtis) set for him, David Gordon Green and fellow writers Danny McBride and Scott Teems expand the world, and focus on what happens when a mob forms, and some familiar residents of Haddonfield starting hunting down Myers. What follows is a total waste of time, as nothing is resolved, time is wasted, and the kills become unnecessarily bloody. The worst thing about Halloween Kills, is that it has no idea of who Michael Myers is. Is he the bogeyman? Is he some dude who decided to kill one night? Is he some guy who just wanders around and wants to go home? Is he some immortal monster who just keeps getting stronger and stronger? 

Halloween Kills focuses on the aftermath of Michael surviving the trap that Laurie had been planning for 40 years. Thinking Michael has burnt to death, Laurie, her daughter Karen (Judy Greer), and her granddaughter Allyson (Andi Matichak), head to the local hospital to get their wounds taken care of, and try to start coping with a horrible night that saw their friends and loved ones killed. The problem is, Michael survived the fire, killed several firefighters, and his presence has riled up the locals into a murderous frenzy. From there, a plethora of former Halloween franchise characters have major roles (and most are killed), and they spend their return to the franchise trying and failing to kill the local bogeyman. None of it matters as it all seems like a time wasting middle chapter, that will make a lot of money, and lead to another battle between Laurie and Michael that will close out the trilogy. 

The majority of the reviews and trailers have focused on the violence found in this sequel, which is fair considering Halloween II (1981) and Halloween II (2009) both stepped up their violence. However, both sequels made less money, and have lower critical scores, which means the ultra-violence (the hot tub death…) doesn’t always mean a step up in quality. 1980’s slasher fans will appreciate the various ways in which Michael kills, but, people expecting Michael to be interesting or layered will be disappointed (watch the 1978 original again, you’ll see Michael is a complex murderer). The idea of mob justice is nothing new to the Halloween world, but mob justice took place on the periphery in movies like Halloween 4: The Return of Michael Myers. Halloween Kills is overwhelmed by a screaming group of extras led by the grown up Tommy Doyle (Anthony Michael Hall taking over for Paul Rudd), a baseball bat wielding badass who is still dealing with the trauma that occurred in 1978. The focus on the mob takes screen time away from Laurie and her family, who made a big impact in the 2018 film, and are a big reason why the film became a blockbuster smash. Why spend so much time creating a believable family dynamic, and then abandon it with a group of pointless townsfolk?

The best part of Halloween Kills is the opening flashback that features Jim Cummings (The Wolf of Snow Hollow, Thunder Road) punching Myers in the stomach. I had no clue that Cummings was in the film, and seeing him scrap with a horror legend was worth the price of admission. 

Final thoughts Halloween Kills is a waste of time, that kills any goodwill built up by the 2018 rebootquel.

The Movies, Films and Flix Podcast – Episode 392: Hereditary, Cults, and Get Rich Schemes

October 15, 2021

You can download or stream the pod on Apple PodcastsTune 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 Lisa Leaheey (of the SibList Podcast) discuss the 2018 horror film Hereditary. Directed by Ari Aster, and starring Toni Collette, Alex Wolff, Gabriel Byrne, and Milly Shapiro, the movie focuses on what happens when a demon worshipping cult wants to make some extra money. In this episode, they talk about chocolate, insane scams, and the beautiful production design.

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 PodcastsTune In,  Podbean, or Spreaker.

John’s Horror Corner: Necromentia (2009), basically a D-budget Saw (2004) meets Hellraiser (1987) with very cool ideas and effects, weak filmmaking, and terrible writing.

October 12, 2021

NOT SAFE FOR WORK
NSFW
NOT SAFE FOR WORK

MY CALL:  Really cool ideas and monster effects don’t save this pseudo-anthology from the depths of generally weak filmmaking and writing. As impressed as I was with the monsters, I simply found the film boring. Sorry. I really wanted to like this.  MORE MOVIES LIKE Necromentia: Well, for more body modification horror and/or discount Cenobites, I’d recommend Strangeland (1998), Return of the Living Dead 3 (1993) and No Reason (2010).

A disoriented man (Hagen; Santiago Craig) awakens with a Ouija board scarred into his back and a strange gas-masked Cenobite giving him a hammed-up Jigsaw lecture about his choices and punishment. After the recent passing of his wife, Hagen had preserved her stiffening body in his makeshift, filthy basement mortuary where his daily “maintenance” of her condition flirts with necrophilia. His eventual fate at the hands of yet another undeniably Hellraiser-inspired Cenobite is gruesome, and his dark angel perpetrator looked positively wicked considering the budget of the film!

Travis (Chad Grimes), the man who scarred the Ouija board onto Hagen, had fallen on tough times after the loss of his parents. To care for his disabled younger brother Thomas (Zach Cumer), he runs a scarification business. But while he works, a pig-headed, barb wire fever dream of a demon convinces the boy to commit suicide. Using the dark gifts of necromancy, Travis conjures a demon into a dead man’s body to aid him. But the demon has demands.

The special effects were very good considering budgetary restrictions—although, the effects probably accounted for the lion’s share of money spent. Morbius (Layton Matthews) is poisoned, but takes the life of his murderer before succumbing to a massively gruesome, skull-cracking face-smashing. Scenes of body modification and on-screen torture are also graphic, but not unbearably brutal. We find bondage, sheers severing fingers, oral surgery devices, some disembowelment… it’s like Marylin Manson’s wet dream of the 90s.

The weakest component of this film is the dialogue. When demons speak, they speak the lines you’d expect a twelve-year-old to write; it’s the stuff of 80s comic books with horror flare. Unfortunately, it really diminished the gravity otherwise cultivated by the macabre visuals and tactfully dreary sets.

Advertised as Saw (2004) meets Hellraiser (1987), I feel somewhat conflicted. If I simply agree, then people will get excited to watch this with very high expectations. If I disagree, then I’d also be denying the obvious and frequent concepts inspired by those films and brandished proudly on-screen. Perhaps this is more like Saw (2004) meets Hellraiser (1987) in the hands of inferior filmmakers (sorry, not sorry) with some really cool ideas.

On a budget of only $300k, director and writer Pearry Reginald Teo (The Gene Generation, The Evil Inside) did a lot with this pseudo-anthology which links the dark fate of several people to a ritualistic necromantic wounding. For all the provocative imagery and gore, I just never really cared what happened. This was really rather boring for something so macabre. Great ideals, great vision, but much more in terms of execution is left to be desired. Sigh… oh well. I’m glad I gave it a try. This film tried its best.

John’s Horror Corner: The Granny (1995), ugly crusty-faced demons and nice boobs populate this raunchy horror comedy.

October 11, 2021

MY CALL:  This is middle-of-the-road schlocky fun. Boobs, blood, demon faces and weak death scenes. You could do worse. But you could do way better. MORE MOVIES LIKE The Granny: Well, for more murderously demonic geriatric horror, go for Rabid Grannies (1988). Another potion of eternal youth-gone-wrong B-movie delight would be The Rejuvenator (1988).

In the space of just a few minutes, director Luca Bercovici (Rockula, Dark Tide) sets the raunchy atmosphere with a gross bang. There’s a Night of the Demons-ish (1988-) smuttiness to be found as a demon-possessed woman gauges a priest’s eyes and jams his face into her… ummmm, yeah. While not terribly graphic, there are some very perverse scenes.

The sloppy special effects and rigid soap opera acting are readily forgiven when just below the ugly crusty demon faces, we find perfect boobs. Yup, of course. This is exactly the kind of movie that 14-year-old me rented and thought this was the best thing ever back in 1995.

Granny (Stella Stevens; The Terror Within II, The Manitou, Monster in the Closet) has invited her whole greedy, loveless family for Thanksgiving. They’re morally bankrupt people and they all want her dead so they can collect the insurance money.

Like Death Becomes Her (1992), Granny is given a potion (of youth or immortality or something) of great power and great consequence. But when the potion is corrupted, her cat is the first to change. The cat undergoes a laughable yet awesomely bad gory transformation as its skin peels back to expose the gnarly monstrosity beneath.

The death scenes are done cheaply, but they remain entertaining. A plastic surgeon gets cut up, a mink-obsessed heiress is torn apart by the animated minks of Granny’s coat, a horny uncle gets his member scissored off (off-screen) and a teenager gets a pro-wrestling death. Then the whole family is raised as ghouls along with a hilariously puppeted Grandpa who gross-kisses Granny. LOL

Our fiendish Granny toys with her victims and cackles just like Freddy Krueger in a way that feels really quite deliberate but even hokier. There’s a lot of goofy shenanigans. So this is an extremely obvious B-horror comedy.

There’s really no reason to recommend this movie. But if you enjoy a deliciously bad movie from time to time, you could do a lot worse. I enjoy how silly it gets, but wish it had a little more budget to throw into its gore and death scenes. I was also very disappointed we didn’t get a monster cat attack a la The Kiss (1988). I mean, come on. You don’t make a monster cat in Act 1 unless it’s going to attack someone in Act 3—Chekhov’s Monster Cat, right?

The Last Duel (2021) – Review: Ridley Scott Has Crafted Another Daring and Exciting Epic

October 11, 2021

Quick Thoughts – Grade – A – Ridley Scott has crafted another daring and narratively interesting film that will hopefully be appreciated come awards time. The adaptation of the 2004 book The Last Duel: A True Story of Trial by Combat in Medieval France, is a thrilling piece of storytelling that covers the leadup to the infamous 1386 duel from the eyes of three separate characters, who all see what transpires in different ways. 

What’s beautiful about The Last Duel is that it’s a 152-minute big budget epic that’s aimed towards adults looking for a narratively rich film that features sword fights, court cases, and Matt Damon rocking a beautiful mullett. The screenplay by Matt Damon, Ben Affleck, and Nicole Holofcener is inspired because it asks for the audience to pay attention, as the narrative shifts from the three central characters played by Matt Damon, Jodie Comer, and Adam Driver. Damon and Affleck wrote the male perspective, while Holofcener wrote the female perspective, and combined, their script is wickedly funny, and thoughtful.

What makes the movie so much better is knowing it’s based on a true story, and that the duel that took place between Sir Jean de Carrouges (Matt Damon), and Jacques Le Gris (Adam Driver), is the last officially recognized duel in French history. Normally, a duel to the death is wild enough, but this one had the caveat that if Sir Jean was killed, his wife Marguerite de Carrouges (Jodie Comer) would have been burnt at the stake, because it would mean her allegations that caused the duel were false. Basically, If Le Gris wins, god willed it, which means he’s innocent and did not rape Marguerite. The only reason Sir Jean is fighting this fight is because wants to protect his reputation (not avenge his wife), and in the 1300s, sexual assault was not a crime against a woman, but a property crime against her husband. Thus, the attacked woman couldn’t do anything, and it was up to her husband to take the other man to court. 

This is where the three chapters come into play. Each of the characters have their own section of the film, where we see the story through their eyes. The first chapter involves Sir Jean de Carrouges, a human bulldog, who when entering a fight, says “This is what I do.” He’s almost impossible to kill, he annoys many around him, and his bullish ways have seen him fall out of favor with Count Pierre d’Alençon (Ben Affleck – give him an Oscar nom), who much prefers Jacques Le Gris, whose charming demeanor and intelligence make him fun to be around. After going broke due to bad business decisions, and not enough booksmarts, Sir Jean, who is a widow, marries the charming Marguerite, whose father is a traitor to the throne, and needed a guy like Sir Jean to make his family somewhat respectable again. Things take a horrible turn when Marguerite is sexually assaulted by Le Gris, while Sir Jean is collecting money, and isn’t at his castle. This is where the movie rewinds, as we see the same situation played out two more times, but in the eyes of Le Gris and Marguerite. It all leads to an insane brawl that features Matt Damon and Adam Driver showcasing their physicality as they beat the heck out of each other. 

The cinematography by Dariusz Wolski (The Martian, News of the World, Prometheus), is wonderful, as it captures the grime and grit of the battles, and subtly shifts when each character gets their chapter. What’s neat is that the fights and battles remind viewers of the skirmishes in Gladiator and Kingdom of Heaven (both directed by Scott), which feature beautiful violence and a massive scope. Since it’s a Ridley Scott film, the costume design by Janty Yates (Gladiator, Kingdom of Heaven, Robin Hood), and production design by Arhur Max (Gladiator, The Martian, Kingdom of Heaven) are excellent, and it’s no wonder why Scott keeps the same crew for his films, and they must speak a shorthand, and are able to work efficiently and quickly. 

It’s nice seeing Damon play such a violent bulldog, who somehow, after all three chapters, comes across as the most moral (this isn’t saying much, he does some horrible things, and is totally self-absorbed) of the characters. His physicality is 100% believable, and it’s easy to believe he’d survive countless wars and battles. As always, if you want a charming villain, it doesn’t get any better than Adam Driver, who really leans into his large frame, and can bounce between likable, sad, desperate, charming and horrible in about three seconds. The MVPs are Jodie Comer and Ben Affleck, who both excel at their roles, and seem to understand exactly what is needed of them. Comer has to put in three different performances, as she’s seen through the eyes of two men, then is able to tell her story, and it’s a highlight of the film. Also, it would be great to see Affleck be nominated for a Best Supporting Actor Oscar because every time he’s on screen, the movie is better. 

Final thoughts: Watch it in theaters. It’s daring, fun and features a beautiful final fight.

The Movies, Films and Flix Podcast – Episode 391: Underworld: Rise of the Lycans, Prequels, and Bill Nighy

October 10, 2021

You can download or stream the pod on Apple PodcastsTune 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 David Cross (of the Award Weiners Movie Review Podcast) discuss the 2009 film Underworld: Rise of the Lycans. Directed by Patrick Tatopoulos, and starring Bill Nighy, Rhona Mitra, and Michael Sheen, this Underworld sequel goes back in time to explore why werewolves hate vampires so much. In this episode, they talk about large arrows, action Sheen, and epic speeches. 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 PodcastsTune In,  Podbean, or Spreaker.

%d bloggers like this: