Overboard (1987)
[6] A nasty heiress (Goldie Hawn) falls off her yacht and gets amnesia, only to be discovered by a handyman (Kurt Russell) she once screwed over. To get revenge, he convinces her that she's his wife and the mother of…
Only God Forgives (2013)
[7]
Against a backdrop of the Bangkok underground fighting scene, a reticent drug smuggler (Ryan Gosling) is caught in a vicious cycle of brutal revenge after his brother is murdered for committing rape. Only God Forgives plays out like a fever dream, a far more operatic and surreal effort from writer/director Nicolas Winding Refn than his earlier mainstream hit, Drive. There is precious little dialogue, hyper-stylized photography, a brash score by Cliff Martinez, and a willful tendency to blur the line between reality and the characters’ imaginations.
Casualties of War (1989)
[7] Michael J. Fox stars in this Vietnam War flick from Brian DePalma, but combat isn't the focus here. Fox plays a soldier who puts his life on the line when he tries to free a young Vietnamese woman that…
Silent Movie (1976)
[5] Three charlatan filmmakers try to save a studio from corporate takeover by uniting all of Hollywood's biggest stars into one big movie -- a silent one! And the title of this Mel Brooks yuk fest isn't an empty boast…
Battle Beyond the Stars (1980)
[5] Eternal opportunist Roger Corman piggy-backs on the success of Star Wars with this low-budget space adventure about a young man who assembles a rag-tag team of mercenaries to protect his people when another race threatens enslavement. Battle Beyond the…
The Bay (2012)
[4] Oscar-winning director Barry Levinson (Rain Man, Good Morning Vietnam) slums it with this found footage horror flick about a small Maryland community that gets infected by mutant parasites. The core concept is a solid one, building off the real-life…
Halloween II (2009)
[2]
When Rob Zombie re-booted Halloween in 2007, trading Michael Myers’ boogeyman mystique for a more pointed psychological explanation for his behavior, I didn’t hate it. While I much prefer not to see the man behind the mask or to understand his motivations, I thought Zombie’s remake was a somewhat interesting experiment. But his version of Halloween II is a whole different and far worse endeavor.
You’re Next (2011)
[6]
In this home invasion horror flick from writer Simon Barrett and director Adam Wingard (V/H/S), a group of animal-masked killers armed with crossbows and axes begin preying on a wealthy family coming together for the parents’ anniversary. The film spends a generous twenty minutes or so getting you acquainted with the family — including three sons, a daughter, and everyone’s significant others. But then the shit hits the fan, and it pretty much keeps hitting it for over an hour. You’re Next isn’t a drastic departure from formula, but it has a few surprises in store. If it took itself too seriously, it’d be easier to write it off as just another home invasion movie. But with its tongue-in-cheek humor and increasingly hyper-stylized execution (no pun intended), it reminds me of a good old-fashioned ’80s slasher/revenge movie. Is it derivative or classic? You decide — but nostalgia goes a long way with me.
Stranger by the Lake (2013)
[8] At an idyllic lakeshore cruising spot for gay men, Franck (Pierre Deladonchamps) hopes to find a romantic partner. After searching for days at the clothing-optional oasis, he befriends a frumpy loner named Henri (Patrick d'Assumçao). The two strike up…
The Number 23 (2007)
[6]
Jim Carrey stars as a man who discovers a book that he believes is about him, sinking him further and further into a murder mystery that proposes the killer is, quite literally, the number 23. Carrey is good and director Joel Schumacher’s (A Time to Kill, Flatliners) direction is taut, if a little too hyper-stylized for the material. I don’t put stock in numerology, so the first half of the film strains my suspension of disbelief. Fortunately, Fernley Phillips’ script makes a one-eighty after the mid-point and I found the last half much more engaging than the first. (I won’t give any direct spoilers, but it’s a lot like A Beautiful Mind in its narrative structure.) Cinematographer Matthew Libatique (Requiem for a Dream, Black Swan) serves up high-contrast lighting and a palette of deep colors to reinforce Schumacher’s melancholy tone, while Harry Gregson-Williams’ score plays counterpoint, adding a sense of wonder and urgency.