TRASH IN MY EYE Reviews: Movie review

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Wednesday, March 19, 2025

Review: "HELLBOY: THE CROOKED MAN" Raises All Kinds of Hell, Boy

TRASH IN MY EYE No. 12 of 2025 (No. 2018) by Leroy Douresseaux

Hellboy: The Crooked Man (2024)

Running time: 99 minutes (1 hour, 39 minutes)

MPA – R for strong bloody violence and gore throughout, and language

DIRECTOR: Brian Taylor

WRITERS: Brian Taylor, Christopher Golden, and Mike Mignola (based upon the Dark Horse comic book series created by Mike Mignola)

PRODUCERS: Jeffrey Greenstein, Sam Schulte, Robert Van Norden, Yariv Lerner, Mike Richardson, Les Weldon, and Jonathan Yunger

CINEMATOGRAPHER: Ivan Vatsov (D.o.P.)

EDITOR: Ryan Denmark

COMPOSER: Sven Faulconer

SUPERHERO/FANTASY/HORROR

Starring: Jack Kesy, Jefferson White, Adeline Rudolph, Leah McNamara, Joseph Marcell, Martin Bassindale, Hannah Margetson, Bogdan Haralambov, Carola Columbo, Anton Trendafilov, Michael Flemming, and Suzanne Bertish

Hellboy: The Crooked Man is a 2024 superhero, horror, and dark fantasy film from director Brian Taylor. The film is based on the Hellboy character and comic books created by Mike Mignola and published by Dark Horse Comics. The film is also the second reboot of the Hellboy film franchise. In Hellboy: The Crooked Man, Hellboy and a first-time field agent unexpectedly find themselves in a mountain community dominated by witchcraft and ruled over by a local demon.

Hellboy: The Crooked Man opens in 1959. We meet Hellboy (Jack Kesy) and Special Agent Bobbie Jo Song (Adeline Rudolph), both of the Bureau for Paranormal Research and Defense (BPRD). The two are transporting a supernatural toxic spider by train when something goes awry, and they suddenly find themselves stranded in the Appalachian Mountains. They wander until they come to a backwoods community that is filled with superstition and with the belief in witches.

They meet a former local, Tom Ferrell (Jefferson White), himself a witch, who has home to atone for his sins and to settle a hateful debt he owes. Witches and witchcraft, however, are not the only things that haunt this isolated mountain community. The devil is about in the form of Mister Onselm (Martin Bassindale), also known as “The Crooked Man.” He has come to collect a debt, and Hellboy, Song and Ferrell are the resistance. Soon, the mountain church of the blind Reverend Watts (Joseph Marcell) will be the scene of an epic battle of good versus evil.

I am not a big fan of Guillermo del Toro's 2004 film, Hellboy, the first film in the series. It has great production values, and it is a gorgeous movie filled with fantastical visual elements. On the other hand, the story is executed in a clunky and awkward fashion, and the characters are not particularly interesting. However, del Toro's follow-up to that film, the Oscar-nominated Hellboy II: The Golden Army (2008), is one of my all-time favorite films, and I consider it to be one of the best-ever films adapted from a comic book. Director Neil Marshall's 2019 film, Hellboy, was supposed to reboot the Hellboy film franchise. It was a box office bomb, with its worldwide box office failing to recoup even the film's production costs, but Hellboy 2019 is far superior to Hellboy 2004. It is closer to Hellboy II, in terms of quality, and almost seems like a reworking of the plot of the 2008 film.

All that said, Hellboy: The Crooked Man is another try at rebooting or restarting the series. I remember reading press and promotion for The Crooked Man stating that it was the closest of the four films in terms of being faithful to the comic book. I get that being faithful to the comic book is important to comic book people, especially the comic book creators and fans, but in the larger world of the film business, that is irrelevant. What the people behind Hellboy: The Crooked Man should have been doing is telling the world that The Crooked Man is one helluva movie...

...Because it is. Hellboy: The Crooked Man is a mutha f**kin' good movie. I enjoyed the hell outta it, so much so that I might owe The Crooked Man of the film a debt. I am not trying to say that it is perfect, because it is not. Hellboy: The Crooked Man starts off slow, dry, awkward, and forced, and its first act seems like a collection of contrivances.

Then, the movie loses it mind and goes bonkers, and Hellboy: The Crooked Man flips the script so fast that I didn't know what hit me. The Crooked Man's director, Brian Taylor, is known for his work with fellow writer-director Mark Neveldine, and the duo specializes in directing nutty and bonkers film like Crank (2006) and the 2011 comic book movie, Ghost Rider: Spirit of Vengeance. The duo also wrote the kooky horror-Western film hybrid, Jonah Hex (2010).

Going solo on The Crooked Man, Taylor busts out a film that takes the gruesome dead of the 1982 film, Creepshow, and mixes them with hoary hell hounds of director Sam Raimi's The Evil Dead (1981). The result is the most horrifying film in the Hellboy franchise, a film with enough bone-rattling folk horror to convince many viewers that it is a legit horror flick.

I find that David Harbour, who played Hellboy in the 2019 film, didn't stray far in his performance from what Guillermo del Toro's Hellboy star, Ron Perlman, did with the character. The Crooked Man's Hellboy actor, Jack Kesy, is more like Jeff Bridges' “Jeffrey 'The Dude' Lebowski” (from The Big Lebowski) than he is like the dark-fantasy action hero of the previous Hellboy films. It is not that Kesy is better or worse, for the matter; it is just that he takes a different path to bringing the character to life.

There are other good performances in this film. Jefferson White makes a mark as Tom Ferrell, but there are times when both White and his character, Ferrell, seem to get lost in the hell-raising of this film. Adeline Rudolph, however, does not get lost as Bobbie Jo Song, and Rudolph's robust performance makes Song not so much a supporting character as she is a co-lead. I would be remiss if I didn't mention Joseph Marcell as Reverend Watts because he is a scene-stealer in the role. I was shocked to learn that Marcell played “Geoffrey Butler,” the butler on the former NBC sitcom, “The Fresh Prince of Bel-Air (1990-96).

Hellboy: The Crooked Man lacks the superhero fantasy, blockbuster bombast of its predecessors, but it is a truly unique superhero movie convincingly cos-playing a scary movie. I don't want to give away too many of its chilling, goose flesh-raising frights. The film did receive mixed reviews, but here, I won't send a mixed message. Hellboy: The Crooked Man is a damn good movie, and I would be damned if I said otherwise.

7 of 10

A-

★★★½ out of 4 stars

Wednesday, March 19, 2025

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Review: First "HELLBOY" Film Still Dances with the Devil

TRASH IN MY EYE No. 45 (of 2004) by Leroy Douresseaux

Hellboy (2004)

Running time: 122 minutes (2 hours, 2 minutes)

MPAA – PG-13 for sci-fi action violence and frightening images

DIRECTOR: Guillermo del Toro

WRITERS: Guillermo del Toro; from screen story by Peter Briggs & Guillermo del Toro (based upon the comic book by Mike Mignola)

PRODUCERS: Lawrence Gordon, Lloyd Levin, and Mike Richardson

CINEMATOGRAPHER: Guillermo Navarro

EDITOR: Peter Amundson

COMPOSER: Marco Beltrami

HORROR/ACTION/ADVENTURE and SCI/FANTASY

Starring: Ron Perlman, Selma Blair, Jeffrey Tambor, Karel Roden, Rupert Evans, John Hurt, Corey Johnson, Doug Jones, Brian Caspe, James Babson, Biddy Hodson, Jim Howick, Kevin Trainor, and (voice) David Hyde Pierce

Hellboy is a 2004 American superhero and horror-fantasy film from director Guillermo del Toro. The film is based upon the Hellboy comic book franchise and character created by writer-artist Mike Mignola. Hellboy the movie focuses on a demon who becomes a defender against the forces of darkness after being conjured by the Nazis as an infant.

Mike Mignola’s titular character of his wonderful Hellboy comic books comes to life in director Guillermo del Toro’s colorful and well-dressed B-movie, Hellboy. This horror/action flick is dry, slow, and even the action is deadpan, although there are a few funny and genuinely scary moments. Now, I can describe a plethora of movies as having “a few good moments,” but this movie does have quite a few.

The film begins late in World War II. A young scientist, Trevor “Broom” Bruttenholm (Kevin Trainor) and a squad of Allied soldiers come upon a group of Nazi kooks. The kooks include the Russian mystic, Grigori Rasputin (Karel Roden), in the midst of a ritual to summon a group of big bow wow evil gods. The Allies stop the evil that is coming “from the other side,” but something does slip through – a little demon kid they name Hellboy.

Sixty years later, Hellboy (Ron Perlman) is now an adult, having been raised by Trevor Bruttenholm (John Hurt). Hellboy is the main man/strongman for "The Bureau of Paranormal Research and Defense," which is a group fighting the good fight against all manner of bogeymen and boogens. Our entry into this dark world of supernatural special operations is an FBI newbie, John Myers (Rupert Evans). Myers comes just in time, as Rasputin and his gang of uglies are back to finish what they started six decades earlier.

Hellboy is a pleasant diversion, and it certainly is pretty to look at, featuring colorful art direction, set decoration, and makeup. Hellboy looks a lot like Guillermo del Toro’s last film, Blade II, but whereas the latter had a dark atmosphere and a convincing, unbroken line of suspense, Hellboy is flat and too long to be as flat as it is. Perlman is, at times, almost D.O.A. as the title character, and then, quite lively at other times. I don’t think Perlman's interpretation of Hellboy really fits the comic book original version of the character. The four color Hellboy is more humble and earthy, whereas Perlman’s creation often comes across as a cocky, uncouth roughneck.

Hellboy has excellent production values. It is a great looking film, from its set and environments to its costumes and hair and make-up that transform actors into a menagerie of inventive and imaginative characters. Still,I don't think audiences have to see Hellboy in a theater; they can save it for a rental.

5 of 10

B-

★★½ out of 4 stars

EDITED: Saturday, March 1, 2025

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Thursday, March 13, 2025

Review: "DAFFY DUCK'S QUACKBUSTERS" Mixes Old and New Quite Well

TRASH IN MY EYE No. 250 (of 2004) by Leroy Douresseaux

Daffy Duck’s Quackbusters (1988) – animated

Running time: 78 minutes (1 hour, 18 minutes)

MPAA – PG

DIRECTORS: Greg Ford and Terry Lennon with Friz Freleng; Chuck Jones; Robert McKimson; and Maurice Noble

WRITERS: Greg Ford and Terry Lennon (story) with John W. Dunn; Michael Maltese; and Tedd Pierce

PRODUCER: Steven S. Greene

EDITORS: Treg Brown; Jim Champin

ANIMATION/COMEDY/FAMILY

Starring: (voice) Mel Blanc, Julie Bennett, Roy Firestone, June Foray, Ben Frommer, B.J. Ward, and Mel Tormé

Daffy Duck's Quackbusters is a 1988 animated compilation film directed by Greg Ford and Terry Lennon. The film is comprised of classic Warner Bros. Cartoons animated shorts with animated bridging sequences and other new material. It was released to theaters in September 1988 and was released on VHS in July 1989, which is how I saw it.

This film was the final theatrical production in which the primary “Looney Tunes” voice actor, Mel Blanc, provided the voices of the various Looney Tunes characters before his death in July 1989. Daffy Duck's Quackbusters focuses on Daffy Duck who opens a detective agency for the supernatural with the help of his Looney Tunes buddies in a bid to deal with meddlesome ghosts.

Daffy Duck's Quackbusters is preceded by Night of the Living Duck, a 1988 Daffy Duck animated theatrical short. It works as a kind of appetizer for what comes next. Then, comes Daffy Dilly, a 1948 Chuck Jones cartoon in which Daffy Duck (Mel Blanc) tries to earn a rich reward by making ailing millionaire J.B. Cubish (Mel Blanc), who hasn’t laughed in ages, laugh one more time. This short is the jump-off point for Quackbusters' story, as it ends and new animation footage and the film’s main plot and narrative begin.

The plot concerns Daffy who has inherited the bulk of J.B. Cubish’s fortune, but Cubish’s will stipulates that Daffy must use the money to further business and enterprise and also for goodwill. Daffy brushes off the stipulation, but he soon discovers that Cubish’s spirit/ghost/poltergeist can reach beyond death and take his millions with him to the next world. Every time Daffy lies, cheats, or acts like a jerk to someone, cue the lightening and magic and Daffy’s inherited millions start to disappear as wads of cash fade away.

Enraged, Daffy forms a ghost-busting agency, “Ghouls ‘R’ Us,” a group of “paranormalists” who fight meddlesome ghosts (like Cubish), as well as monsters, aliens, and other weird creatures. The agency is really a front for Daffy, behind which he can hide and pretend to do good. He convinces Bugs Bunny (Mel Blanc) and Porky Pig (Mel Blanc), as well as Porky's pet, Sylvester the Cat (Mel Blanc), to join the agency. Daffy sends them out ghost and monster hunting, but in the end, as with all his machinations, Daffy is destined to fail.

I have been anticipating the new animated film, The Day the Earth Blew Up: A Looney Tunes Movie (2024), which just went into wide theatrical release in the United States. With that in mind, I decided to re-edit my review of Daffy Duck’s Quackbusters. This film falls into the tradition of such Warner Bros. Looney Tunes films as Daffy Duck’s Fantastic Island (1983) and The Looney Looney Bugs Bunny Movie (1981). Quackbusters is a kind of “clip show” movie in which the filmmakers combine new, original animated film footage with footage from classic “Looney Tunes” and “Merrie Melodies” cartoons – also called a “compilation film.”

Writer-directors Greg Ford and Terry Lennon and their fellow filmmakers seamlessly weave classic cartoons with new animation. In fact, one has to look carefully to see where the Ford/Lennon-directed animation ends and old cartoons by famed Looney Tune/Merrie Melodies directors begin and then move back to Ford and Lennon’s work. In fact, only 40 percent of this film is classic animation from the 40s and 50s. These include The Abominable Snow Rabbit (1961) with Bugs and Daffy; Hyde & Go Tweet (1960) with Sylvester and Tweety; The Prize Pest (1951) with Porky and Daffy; Punch Trunk (1953); Scaredy Cat (1948); and its 1954 remake, Claws for Alarm (1954), both with Porky and Sylvester; and Transylvania 6-5000 (1963) with Bugs.

The other 60 percent is made of brand new animation and two of Ford and Lennon’s late 80’s animated shorts. That includes The Duxorcist, which, when it appeared in 1987, was the first Warner Bros. animated theatrical short in 20 years, and also the aforementioned Night of the Living Duck. The new animation and narrative is so well done and incorporated with the older material that Daffy Duck’s Quackbusters is the best of the clip show movies. In fact, the new animation, while not nearly as good as the “Golden Age” Warner material, only looks a little off in a few minor instances.

Daffy Duck’s Quackbusters is not great, but is certainly good. It is fun, kid’s stuff that is as surprisingly entertaining as it is well put together and designed. I think Looney Tunes fans, in moments of nostalgia, will like this, so it is too bad that Warner has not tried this again (as of this writing).

6 of 10

★★★ out of 4 stars

Re-edited: Thursday, March 13, 2025

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Sunday, March 2, 2025

Review: "OPPENHEIMER" Runs on the Atomic Power of Its Cast

TRASH IN MY EYE No. 11 of 2025 (No. 2017) by Leroy Douresseaux

Oppenheimer (2023)

Running time: 180 minutes (3 hours)

MPA – R for some sexuality, nudity and language

DIRECTOR: Christopher Nolan

WRITER: Christopher Nolan (based on the book by Kai Bird and Martin J. Sherwin)

PRODUCERS: Christopher Nolan, Emma Thomas, and Charles Roven

CINEMATOGRAPHER: Hoyte Van Hoytema (D.o.P.)

EDITOR: Jennifer Lame

COMPOSER: Ludwig Goransson

Academy Award Best Picture winner

DRAMA/BIOPIC/HISTORICAL

Starring: Cillian Murphy, Emily Blunt, Matt Damon, Robert Downey Jr., Alden Ehrenreich, Jason Clarke, Tony Goldwyn, Kenneth Branagh, Tom Conti, Josh Hartnett, Florence Pugh, Matthew Modine, David Dastmalchian, Casey Affleck, James Remar, Rami Malek, and Gary Oldman

Oppenheimer is a 2023 biographical drama and historical film from director Christopher Nolan. The film is based on the 2005 biography, American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer, by Kai Bird and Martin J. Sherwin. The film is a fictional depiction and dramatization of the life of J. Robert Oppenheimer, the American theoretical physicist who helped develop the first nuclear weapons during World War II. In Oppenheimer the movie, the most famous man in America looks back on his life as he faces a hearing to determine the fate of his security clearance.

Oppenheimer opens with two important events. In 1954, J. Robert Oppenheimer (Cillian Murphy), the man who is sometimes known as “the father of the atomic bomb,” is facing a private security hearing before a Personnel Security Board. The hearing is in regards to the renewal of Oppenheimer's “Q clearance” with the U.S. Department of Energy (DOE), which gives the holder access to “top secret restricted data.” During the hearing, Oppenheimer's loyalty to the United States is questioned and his past affiliation with and ties to communist friends and associates are raised. Oppenheimer's wife, Katherine “Kitty” Oppenheimer (Emily Blunt), wants Robert to fight such charges more aggressively, but he seems to be concerned about the potential of collateral damage to friends and allies.

Springing forward several years: it is 1959, and Rear Admiral Levi Strauss (Robert Downey, Jr.) is facing a confirmation hearing concerning his nomination to the cabinet of President Dwight D. Eisenhower as U.S. Secretary of Commerce. Strauss desperately wants that cabinet position, but his past activities regarding J. Robert Oppenheimer are coming back to complicate matters.

Meanwhile, the film goes back to Oppenheimer's early days as a student overseas in England and Germany and moves to his teaching job at the University of California, Berkeley. There, he meets communists, marries Kitty, and has an intermittent affair with the troubled Jean Tatlock (Florence Pugh). Eventually U.S. Army Colonel Leslie Groves (Matt Damon), the director of the Manhattan Project, recruits Oppenheimer to be the director of the Los Alamos Laboratory in New Mexico. There, he will lead a team that is part of a nationwide effort to develop an atomic bomb during World War II before Nazi Germany does. Along the way Oppenheimer makes friends and also makes friends into enemies – all of which will come back to haunt him.

I decided that since tonight (as of this writing) is the ceremony for the 2025 / 97th Academy Awards (March 2, 2025), it is a good time to finally write a review of Oppenheimer, the winner of the “Best Motion Picture of the Year” Oscar at the 96th Academy Awards. I had been putting it off, and, at one point, decided against seeing it. Not long into watching Oppenheimer, I was reminded of director Terrance Malick's 2011 film, The Tree of Life. Like Malick's film, Oppenheimer features a non-linear narrative, and director Christopher Nolan largely succeeds in using the non-linear form to make Oppenheimer a thoroughly engaging film. At times, I think one could call this film a thriller as much as one might call it a drama, historical, or biographical film. I think what really makes this film work is the large number of excellent performances given by Oppenheimer's cast, but the two that stand out are Cillian Murphy as J. Robert Oppenheimer and Robert Downey, Jr. as Levi Strauss. They both deserved their respective Oscar wins – “Best Actor” for Murphy and “Best Supporting Actor” for Downey.

Like many of the lead characters in Nolan's films, J. Robert Oppenheimer takes on the forces of nature, which includes mankind and its activities. Oppenheimer, also like many of Nolan's heroes, pays a heavy price, and I am convinced because Cillian Murphy, in a career best performance, sells me on the idea that he is a J. Robert Oppenheimer in a constant state of conflict and struggle. Murphy's performance is not so much a tour-de-force as it is the portrayal of the tour-de-force life and times of Oppenheimer. Murphy doesn't impersonate Oppenheimer; he summons a manifestation of the man that brings him to life in a dramatic performance.

As Levi Strauss, Robert Downey Jr. offers an insecure man seemingly made insecure by each subsequent success in his journey of social climbing. It is as if he cannot achieve any victory without attaching to it a perceived slight. Downey performance and Nolan's screenwriting make me wonder why there couldn't be a Levi Strauss biographical film that is also quite engaging.

Christopher Nolan also gets superb production values and creative assistance from his collaborators. The sound, the cinematography, the costumes, the hair and make-up, the visual effects, and Ludwig Goransson supernatural score help Nolan bring this film to the finish line of excellence and of movie award season triumph. It certainly does not feel like a three-hour film, and it nearly has that much narrative because the end credits are short. Oppenheimer is not only superb cinema, but it is also a highly entertaining film that would make for a good movie night or two.

9 of 10

A+

Sunday, March 2, 2025

NOTES:

2024 Academy Awards, USA: 7 wins: “Best Motion Picture of the Year” (Emma Thomas, Charles Roven, and Christopher Nolan), “Best Achievement in Directing” (Christopher Nolan), “Best Performance by an Actor in a Leading Role” (Cillian Murphy), “Best Performance by an Actor in a Supporting Role” (Robert Downey Jr.), “Best Achievement in Cinematography” (Hoyte Van Hoytema), “Best Achievement in Film Editing” (Jennifer Lame), and “Best Achievement in Music Written for Motion Pictures-Original Score” (Ludwig Goransson); 6 nominations: “Best Achievement in Makeup and Hairstyling” (Luisa Abel), “Best Sound” (Willie D. Burton, Richard King, Gary A. Rizzo, and Kevin O'Connell), “Best Performance by an Actress in a Supporting Role” (Emily Blunt), “Best Adapted Screenplay” (Christopher Nolan), “Best Achievement in Production Design” (Ruth De Jong-production designer and Claire Kaufman-set decorator), and “Best Achievement in Costume Design: (Ellen Mirojnick)

2024 BAFTA Awards: 7 wins: “Best Film” (Christopher Nolan, Charles Roven, and Emma Thomas); “Best Director” (Christopher Nolan), “Best Leading Actor” (Cillian Murphy), “Best Supporting Actor” (Robert Downey Jr.), “Best Cinematography” (Hoyte Van Hoytema), “Best Editing” (Jennifer Lame), “Original Score” (Ludwig Göransson); 6 nominations: “Best Screenplay-Adapted” (Christopher Nolan), “Best Supporting Actress” (Emily Blunt), “Best Costume Design” (Ellen Mirojnick), “Best Make Up & Hair” (Luisa Abel, Jaime Leigh McIntosh, Jason Hamer, and Ahou Mofid), “Best Production Design” (Claire Kaufman and Ruth De Jong), “Best Sound” (Richard King, Kevin O'Connell, Gary A. Rizzo, and Willie D. Burton)

2024 Golden Globes, USA: 5 wins: “Best Motion Picture, Drama,” “Best Director, Motion Picture” (Christopher Nolan), “Best Original Score, Motion Picture” (Ludwig Göransson), “Best Performance by a Male Actor in a Motion Picture, Drama” (Cillian Murphy), “Best Performance by a Male Actor in a Supporting Role in Any Motion Picture” (Robert Downey Jr.); 3 nominations: “Best Screenplay, Motion Picture” (Christopher Nolan) and “Best Performance by a Female Actor in a Supporting Role in Any Motion Picture” (Emily Blunt), and “Cinematic and Box Office Achievement”

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Wednesday, February 19, 2025

Review: "VENOM: THE LAST DANCE" Has a Death Wish

TRASH IN MY EYE No. 10 of 2025 (No. 2016) by Leroy Douresseaux

Venom: The Last Dance (2024)

Running time: 110 minutes (1 hour, 50 minutes)

MPA – PG-13 for intense sequences of violence and action, bloody images and strong language

DIRECTOR: Kelly Marcel

WRITERS: Kelly Marcel; from a story by Kelly Marcel and Tom Hardy (based on the Marvel Comics)

PRODUCERS: Avi Arad, Amy Pascal, Matt Tolmach, Tom Hardy, Kelly Marcel, and Hutch Parker

CINEMATOGRAPHER: Fabian Wagner (D.o.P.)

EDITOR: Mark Sanger

COMPOSER: Dan Deacon

SUPERHERO/FANTASY/ACTION

Starring: Tom Hardy, Chiwetel Ejiofor, Juno Temple, Rhys Ifans, Stephen Graham, Peggy Lu, Clark Backo, Alanna Ubach, Hala Finley, Dash McCloud, Cristo Fernandez, Jared Abrahamson, Jack Brady, Reid Scott, and Andy Serkis

SUMMARY OF THE REVIEW:

Venom: The Last Dance is the least of the three films in this series in terms of quality.

The entire point of the movie seems to be to end the series as soon as possible, so it is strictly for fans of this series

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Venom: The Last Dance is a 2024 superhero fantasy-action film directed by Kelly Marcel. The film is based on the Marvel Comics super-villain/anti-hero characters, Eddie Brock/Venom. Several comic book writers, artists, and editors contributed in the development of this duo, and artist Todd McFarlane and writer David Michelinie are the creators of Venom. This is also the third entry in the Venom film series. In Venom: The Last Dance, Eddie Brock and Venom are on the run from both an alien monster and a mysterious military officer, and they may be forced to break up their symbiotic partnership.

Venom: The Last Dance opens on Klyntar, the home world of the symbiotes. Knull (Andy Serkis), the creator of the symbiotes, seeks a way to escape the prison made for him by his rebellious creations. To that end, he has discovered a key – some thing called a “Codex” – that will free him. What and where is the codex?

Well, it is on Earth, and the Codex exists because of the relationship between the symbiote, Venom, and his human host, the former investigative reporter, Eddie Brock (Tom Hardy). They have just returned to Earth after their short stay in the multiverse (as seen in 2021's Spider-Man: No Way Home) and has landed in the Mexico of their own Earth. While there, Eddie and Venom learn that Eddie is being blamed for the death of Detective Patrick Mulligan (Stephen Graham).

Mulligan is not dead. He was infected by a symbiote (as seen in 2021's Venom: Let There Be Carnage). He has been imprisoned in an underground facility at “Area 55” (which is beneath “Area 51”), and is being held in captivity by the “Imperium Program.” There, Mulligan and his symbiote are under the watchful gazes of Imperium scientist, Dr. Teddy Paine (Juno Temple), and the Imperium's military commander, General Rex Strickland (Chiwetel Ejiofor).

Eddie and Venom are headed for New York City in a bid to clear Eddie's name, unaware that General Strickland is hunting them. The duo, however, is soon made aware of an even more dangerous hunter. Knull has sent a creature known as a “Xenophage” to capture the Codex within Eddie and Venom. Now, a year into their symbiotic relationship, Eddie Brock and Venom may have to make a most devastating and heart-wrenching decision in order to save the Earth and at least one of their lives.

Venom: The Last Dance is the fifth film in “Sony's Spider-Man Universe” line of films. It follows Venom (2018), Venom: Let There Be Carnage (2021), Morbius (2022), and Madame Web (2024). The Last Dance arrived in movie theaters a little more than a month before the series' sixth film, Kraven the Hunter (2024). This film series stars characters and properties commonly associated with Marvel Comics' character, Spider-Man. Sadly, media reports indicate that Kraven the Hunter will be the last entry in Sony's Spider-Man Universe.

Anyway, just before the halfway mark in Venom: The Last Dance, the Venom symbiote enters a horse, and “venomizes” it, creating a “Venom horse.” The sequence featuring Venom as a horse, which becomes a wild ride across the desert with Eddie on its back, is probably the liveliest moment in this movie. Venom does not venomize any more animals the rest of the way, but strangely, the beginning of the film's end-credits is a montage of venomized animals, everything from insects and birds to mammals and amphibians. A Venom movie featuring the Venom symbiote venomizing countless different insects and animals?! – now, that would be a Venom movie I'd love and a lot of people would watch. Sadly, that is what we get in Venom: The Last Dance.

Yes, there are some genuine character moments – such as Eddie/Venom's relationship with the Moon family – but even that is overwhelmed by Venom: The Last Dance's need to end. Yes, this isn't so much a movie as it is an execution or suicide pact. Venom is a trilogy and Venom: The Last Dance must be the end of it: that's what this movie feels like – a race to the end.

I found myself unable to really enjoy this movie. I really didn't connect with the film's best action scenes, and there were a few really good ones. Also, I feel like the Knull subplot was woefully underutilized. There are some good moments here, and by the end of the film, I thought the good things had been downplayed in favor of this movie's fatalistic mood. Ultimately, I think Venom: The Last Dance is only for fans of the series who will want to see it through to the end.

5 of 10

C+

★★½ out of 4 stars out of 4 stars

[This film has one mid-credits scene and one scene that occurs at the end of the credits.]

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Friday, February 14, 2025

Review: "CAPTAIN AMERICA: BRAVE NEW WORLD" Explodes with Intensity

TRASH IN MY EYE No. 9 of 2025 (No. 2015) by Leroy Douresseaux

Captain America: Brave New World (2025)

Running time: 118 minutes (1 hour, 58 minutes)

MPA – PG-13 for intense sequences of violence and action, and some strong language

DIRECTOR: Julius Onah

WRITERS: Rob Edwards, Malcolm Spellman & Dalan Musson, and Julius Onah & Peter Glanz; from a story by Rob Edwards and Malcolm Spellman & Dalan Musson (based on the Marvel Comics)

PRODUCERS: Kevin Feige and Nate Moore

CINEMATOGRAPHER: Kramer Morgenthau (D.o.P.)

EDITORS: Madeleine Gavin and Matthew Schmidt

COMPOSER: Laura Karpman

SUPERHERO/FANTASY/DRAMA and SCI-FI/ACTION/THRILLER

Starring: Anthony Mackie, Harrison Ford, Danny Ramirez, Shira Haas, Carl Lumbly, Tim Blake Nelson, Giancarlo Esposito, Xosha Roquemore, Johannes Haukur Johannesson, William Mark McCullough, and Takehiro Hira with Liv Tyler and Sebastian Stan

SUMMARY OF THE REVIEW:

--Captain America: Brave New World is the subject of a social media smear campaign, but it is one of the best superheroes movies of the 2020s, and it is probably the best action movie of the decade

--The cast is dynamite. Not only does Anthony Mackie light up the screen as Sam Wilson/Captain America, but Harrison Ford also tears up the screen the way a Hollywood legend and icon should

--The supporting cast of Captain America: Brave New World is excellent, and the actors help make this film a rampaging good time at the movies

Captain America: Brave New World is a 2025 superhero and action film from Marvel Studios and directed by Julius Onah. The film focuses on the character, “Sam Wilson,” as the superhero, “Captain America.” Sam Wilson is a Marvel Comics character that was created by writer Stan Lee and artist Gene Colan and that first appeared in Captain America #117 (cover dated: September 1969). Captain America is a Marvel Comics character that was created by Joe Simon and Jack Kirby and that first appeared in Captain America Comics #1 (December 1940).

This film is the fourth film in the Captain America film series and also the 35th entry in the Marvel Cinematic Universe (MCU). In Captain America: Brave New World, Captain America must discover the identity of the mastermind behind a plan to launch the United States into a global war over access to an amazing new metal alloy.

Captain America: Brave New World focuses on Sam Wilson (Anthony Mackie), who is still early in his tenure as the superhero, Captain America, replacing his friend, the original Captain America, Steve Rogers. Wilson was once the superhero, “The Falcon,” and now, that mantle belongs to his partner, U.S. Air Force First Lt. Joaquin Torres (Danny Ramirez). Captain America and the Falcon begin the film on a mission in Oaxaca, Mexico where they take on the “Serpent Society” and its leader, Sidewinder (Giancarlo Esposito), in a bid to intercept the sale of a canister of “Adamantium.”

Adamantium is the new metal alloy that was discovered on the “Celestial Island,” located in the Indian Ocean. Celestial Island is really the gigantic carcass of the “Celestial Tiamut,” whose emergence was stopped by the Eternals (as seen in the 2021 film, Eternals). The U.S., Japan, and India are vying to mine adamantium, and to that end, the three countries are working on a treaty that would create the infrastructure in which the three nations would share control of the island.

The current President of the United States, Thaddeus Ross (Harrison Ford), formerly known as General “Thunderbolt” Ross, asks Sam to be the face of the adamantium treaty as Captain America. President Ross also wants Sam to join him in a plan to reform the superhero group, “The Avengers.” However, the announcement of the treaty is interrupted by an assassination attempt. Now, Sam's friend and mentor, Isaiah Bradley (Carl Lumbly), the Korean War veteran and once-imprisoned “super soldier,” is once again imprisoned because of the incident.

Despite a growing rift with President Ross, Sam decides to investigate the assassination attempt, and Joaquin joins him. Shadowing them is a former “Black Widow,” the Israeli Ruth Bat-Seraph (Shira Haas), but even she can't stop Captain America and the Falcon from discovering the mystery of a man named Samuel Sterns (Tim Blake Nelson). Can Sam Wilson stop a global war, and can Captain America really take on the creature known as the “Red Hulk.”

Captain America: Brave New World is the subject of an intense online and social media smear campaign. When you, dear readers, come across someone using the word, “woke,” to describe it, you should know that in the context of this film, “woke” is Confederate pig Latin for the name “Anthony Mackie.” People who complain that the story and/or the script are not good are against the film because of their grievances concerning an African-American actor, Antony Mackie, taking on the role of Captain America. With that said...

Captain America: Brave New World ties into some other Marvel Studios productions. Obviously, this film's “Celestial Island” subplot is related to events depicted in the 2021 film, Eternals. The Disney+/Marvel Studios series, “The Falcon and the Winter Soldier” (2021) is a prologue to Brave New World. Surprisingly, Brave New World acts as a sort of sequel to the second film in the MCU, 2008's The Incredible Hulk. There are also references to numerous other MCU films.

Captain America: Brave New World is a superb superhero movie and great action film. Director Julius Onah has helmed a film that is a rampaging good time at the movies, doing this in spite of delays and reshoots. He should take pride in making a Captain America film that is as good as or better than the previous three films in the series. The action is great, and the conspiracy at the heart of the story is intense and shockingly personal. The character drama is surprisingly potent and is both complex and complicated. Plus, the Captain America vs. Red Hulk battle in the film's last act fell on me like a tree; it is so intense that for a moment I wished I was wearing an adult diaper while watching it.

With Captain America: Brave New World, Anthony Mackie not only proves that he is a true Marvel leading man who can carry a MCU film, but he also proves that he is a Hollywood leading man. In subtle ways, his performance and speeches clearly define that which Mackie fights in the real world and Sam Wilson fights in his world. Watching Mackie chop up this movie with his dramatic chops, I realized that it was long overdue that he lead a Marvel film.

I must also admit that Harrison Ford brings down the thunder in his role as President Thaddeus Ross, a.k.a. “Thunderbolt” Ross. Ford dominates his scenes so much that only Mackie can really match him in Captain America: Brave New World. Seeing Ford here reminds me of what a find dramatic actor he is and how he has always been fun in action movies.

Danny Ramirez, Shira Haas, Carl Lumbly, Tim Blake Nelson, Giancarlo Esposito, and Xosha Roquemore also deliver solid turns in their respective supporting roles. They deserve to pop up in the MCU again, many more times. I guess it is obvious that I am still buzzing from seeing Captain America: Brave New World last night (Thursday, February 13th). I had not expected much from this film because I had listened to too much of the propaganda. I love being wrong in these instance. Captain America: Brave New World is going to be my favorite film of 2025 for awhile, dear readers, and I heartily recommend it to you.

9 of 10

A+

Friday, February 14, 2025

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Monday, February 3, 2025

Review: Christian Film, "PARALLEL - THE TRIAD," Keeps it Real

TRASH IN MY EYE No. 8 of 2025 (No. 2014) by Leroy Douresseaux

Parallel – The Triad (2024)

Running time: 86 minutes (1 hour, 26 minutes)

MPA – no rated

WRITER/DIRECTOR: Jason Aleman

PRODUCER: Jason Aleman

CINEMATOGRAPHER: Mike Wilson

EDITOR: Jason Aleman

COMPOSER: Robin Hannibal

FAITH/SCI-FI/DRAMA

Starring: Chad Garrett, Lizzie Camp, Terry Weaver, Marley Aleman, Troy Garza, Sharen Andrea White, Liam Robert Noack, Josh Thigpen, Marcus Luttrell, V.R. Norbert Maduzia, Michael T. Adams, Kieth Noack, and Jason Aleman

SUMMARY OF THE REVIEW:

Parallel – The Triad is a faith-based film with some intriguing science fiction ideas about the war between good and evil

The film is far from perfect and is clunky at times, but its message and motivations seem genuine.

Parallel – The Triad is 2024 Christian science fiction film and faith-based drama from director Jason Aleman. The film follows a mechanic who joins three souls sent to Earth by God to fulfill His plan.

Parallel – The Triad introduces Cyrus Dooley (Chad Garrett), a hot-rod mechanic and automobile restoration expert. Cyrus has been grieving the loss of his father nearly a year earlier in an accident for which he blames himself. So lost in his grief is Cyrus that he does not notice that one of his employees, T.J. (Lizzie Camp), has fallen under the spell of Abimelech (Terry Weaver), a scheming businessman who becomes a servant of “the evil spirits that sway humans.”

God sends three souls: Briella (Marley Aleman), Urie (Troy Garza), and Sarie (Sharen Andrea White) to Earth from “the Parallel” on a mission to fulfill His plans. That means that they have to help Cyrus after more tragedy befalls him and he continues to lose his way in life. Can “The Triad” help Cyrus understand that he must “trust God's plan?”

I certainly do not belong to any of the target audiences for Parallel – The Triad, but I discovered the film's existence via social media. Although I have reviewed a few films that depict Jesus Christ, the only faith-based, Christian drama, or evangelical film that I have reviewed to date is 2014's Son of God, a really good movie which hails from Roma Downey and Mark Burnett's empire of Christian schmaltz, Lightworkers Media.

Something about Parallel – The Triad piqued my interest. Structurally, in terms of narrative and character, Parallel – The Triad has some major problems. I don't know if the dialogue is really as bad as it seems or if it is good and cast is simply not professional. The special effects are at least three decades behind current standards. The film's robotic villains, the “demon droids,” look like they were created for the original Mortal Kombat (1995) film.

However, Parallel – The Triad, for all its faults, seems genuine in what it has to say. This movie does not seem like corporate movie product meant to sell merchandise and ancillary products, as much as it sells tickets. Parallel – The Triad wants to spread the good news about God's plan and about trusting God's plan. The film does not shy away from portraying the high costs of the wages of sin and about how hard it is to get away from the “evil one” the more a person has invested in evil. I do find that the film's emphasis on technology, media, and “pharmacology” as spreaders of negative energy to be cringe-inducing, although there may be some truth to that notion.

I like “Cyrus Dooley” as the lead character; actor Chad Garrett really sells Cyrus' grief and guilt. Also, Lizzie Camp gives a tight performance as T.J., allowing her to have a nice character arc. These two characters steady the occasional rickety nature of the film's structure.

My criticisms aside, I found myself fascinated by Parallel – The Triad, and I think fans of faith-based films will find this movie's character drama to be every bit as intriguing as its sci-fi “Holy War” side. I'd like to see a sequel to Parallel – The Triad, hopefully one with a bigger VFX budget. If this concept had the CGI budget of even a small scale Hollywood film, it would rock the heavens... or the Parallel.

B-

5 of 10

★★½ out of 4 stars

Monday, February 3, 2025

"Parallel - The Triad" is available for rent or purchase at Amazon Prime Video. And yes, this blog does participate in Amazon's "affiliate advertising program," so I will get paid a small fee if you click on this link and actually rent it or purchase something from Amazon.

https://www.youtube.com/@ParallelFilmsStudio

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https://x.com/ParallelTriad

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Tuesday, January 28, 2025

Review: "AQUAMAN AND THE LOST KINGDOM" is Water-Logged Entertainment

TRASH IN MY EYE No. 7 of 2025 (No. 2013) by Leroy Douresseaux

Aquaman and the Lost Kingdom (2023)

Running time: 124 minutes (2 hours, 4 minutes)

MPA – PG-13 for sci-fi violence and some language

DIRECTOR: James Wan

WRITERS: David Leslie Johnson-McGoldrick; from a story by James Wan and David Leslie Johnson-McGoldrick & Jason Momoa and Thomas Pa'a Sibbett (based on the character created by Paul Norris and Mort Weisinger and appearing in DC Comics)

PRODUCERS: James Wan, Rob Cowan, and Peter Safran

CINEMATOGRAPHER: Don Burgess

EDITOR: Kirk M. Morri

COMPOSER: Rupert Gregson-Williams

SUPERHERO/FANTASY/SCI-FI and ACTION/ADVENTURE

Starring: Jason Momoa, Patrick Wilson, Yahya Abdul-Mateen II, Amber Heard, Dolph Lundgren, Temuera Morrison, Randall Park, Jani Zhao, Indya Moore, and Nicole Kidman with the voices of Martin Short, John Rhys-Davies, and Pilou Asbaek

Aquaman and the Lost Kingdom is a 2023 superhero, action-adventure and science fiction-fantasy film from director James Wan. It is a direct sequel to the 2018 film, Aquaman, and it is also the 15th and final installment of the DC Extended Universe (DCEU). The film is based on the DC Comics character, Aquaman, that was created by artist Paul Norris and editor Mort Weisinger and first appeared in More Fun Comics #73 (cover dated: November 1941). In Aquaman and the Lost Kingdom, Black Manta forges a deal with a mysterious evil from Atlantis' past, forcing Aquaman to forge an alliance with his imprisoned brother in order to save Atlantis.

Aquaman and the Lost Kingdom opens four years after Aquaman/Arthur Curry (Jason Momoa) became King of Atlantis and married Mera (Amber Heard). They are now parents to a son, Arthur Jr. Aquaman splits his life between land and sea, strengthening his bond with his father, Thomas Curry (Temuera Morrison), and getting wise advice about being a father from him. However, splitting time between his life on land and his life as the ruler of Atlantis has led to clashes with the High Council of the Seven Kingdoms.

Meanwhile, David Kane/Black Manta (Yahya Abdul-Mateen) continues to seek revenge against Aquaman for the death of his father (as seen in Aquaman). With the help of marine biologist, Stephen Shin (Randall Park), Kane finds a mysterious artifact, “the Black Trident.” As soon Kane touches the trident, it possesses him and connects his mind to the mysterious Kordax, the undead king of the lost undersea kingdom of Necrus. Soon, Kane, at Kordax's command, is poisoning the surface world with an element known as “Orichalcum.”

Aquaman's mother, Atlanna (Nicole Kidman), the former queen of Atlantis, implores him to seek the help of his imprisoned brother, Orm Marius (Patrick Wilson), the deposed King of Atlantis in order to stop Kane. But can Aquaman trust Orm, who tried to kill him and whom he removed from the throne of Atlantis?

While watching the original film, Aquaman, I could not help but notice that many of its story points and plot elements were glaringly similar to those found in Marvel Studios' Black Panther, which debuted earlier in the same year, 2018, that Aquaman hit theaters. I also find Black Panther elements in Aquaman and the Lost Kingdom, but none as pronounced as in the first film. I also believe that Aquaman and the Lost Kingdom is strongly influenced by the Star Wars “prequel” films, especially Star Wars: Episode I – The Phantom Menace.

That said, Aquaman and the Lost Kingdom is like the first film – a grand, old-fashioned, action-adventure fantasy film. The sequel is quite entertaining, but not as solidly entertaining as the first film.

The plot, narrative, and character drama in Aquaman and the Lost Kingdom seem forced when they are not being over-the-top, and are lacking in genuine emotion and feeling when they not being forced and over-the-top. Director James Wan and his co-writers emphasize sound and fury. It is as if they believe that the more CGI, action scenes, explosions, subplots, and weird-looking things they throw on the screen the less likely that the audience will realize how ungainly this film is. Aquaman and the Lost Kingdom isn't cinematic art; it's merely corporate entertainment product, and unlike the first time, Warner Bros. Pictures didn't as lucky with the sequel.

Aquaman and the Lost Kingdom treads water just not to be mediocre. I will admit that its production values and special visual effects all look quite good. Visually, the film is sumptuous even if the drama is rickety. And as I write this, I am just remembering that I like the film score, although I am sure that I have heard parts of it in another film.

Also, I admire that Jason Momoa throws himself into this film, doing his best to make it seem like the most fun he and the audience could ever have in a superhero movie. Unfortunately, it was the Aquaman movie before Aquaman and the Lost Kingdom that was really fun.

B-

5 of 10

★★½ out of 4 stars

Tuesday, January 28, 2025

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Saturday, January 25, 2025

Review: Netflix's "BACK IN ACTION" Finds Fun in Spy Parents

TRASH IN MY EYE No. 6 of 2025 (No. 2012) by Leroy Douresseaux

Back in Action (2025)

Running time: 114 minutes (1 hour, 54 minutes)

MPA – PG-13 for sequences of violence and action, some suggestive references and strong language, and brief teen partying

DIRECTOR: Seth Gordon

WRITERS: Seth Gordon and Brendan O'Brien

PRODUCERS: Beau Bauman, Peter Chernin, Seth Gordon, Sharla Sumpter-Bridgett, and Jenno Topping

CINEMATOGRAPHER: Ken Sang (D.o.P.)

EDITOR: Peter S. Elliot

COMPOSER: Christopher Lennertz

ACTION/COMEDY/SPY

Starring: Jamie Foxx, Cameron Diaz, McKenna Roberts, Rylan Jackson, Kyle Chandler, Glenn Close, Jamie Demetriou, Andrew Scott, Fola Evans-Akingbola, and Robert Besta

SUMMARY OF THE REVIEW:

Back in Action is no “Mr. & Mrs. Smith,” but it is an entertaining action-comedy and spy movie.

Jamie Foxx and Cameron Diaz work well together, well enough to make me look forward to a sequel.

Back in Action is a 2025 American action-comedy and spy film from director Seth Gordon. The film is a “Netflix Original” and began streaming on Netflix, January 17, 2025. Back in Action focuses on a husband and wife who were once CIA spies and now find themselves pulled back into the espionage game after their secrets are exposed.

Back in Action introduces the Reynolds family: wife, Emily (Cameron Diaz); husband, Matt (Jamie Foxx); daughter, Alice (McKenna Roberts); and son, Leo (Rylan Jackson). They are living the quiet suburban life until Matt and Emily's old lives intrude. You see, Matt and Emily were once “QRN” – “quick reactionary nonofficial” covert operatives for the CIA. Fifteen years ago, they were involved in a mission to capture the “ICS key” from the Polish terrorist, Balthazar Gor (Robert Besta). The mission goes bad, and Matt and Emily decide to quit the spy business and start a family.

In the present, Gor's gang of Belarusian terrorists, “the Volka,” launch an attack on Matt and Emily, who pick up their kids from school and go on the run. They head to England where they will reunite with Emily's estranged mother, Ginny Curtis (Glenn Close), a former MI6 agency head. However, a current MI6 agent, Baron Andrews (Andrew Scott), is waiting for them. Also awaiting Matt and Emily are their past and the people who will do anything to get “the Key.”

Back in Action is the fourth “Netflix Original” in which Jamie Foxx has starred (as far as I can tell), following Project Power (2020), Day Shift (2022), and They Cloned Tyrone (2023). For some reason, I felt as if I had to see Day Shift before I watched Back in Action, which I did a few days earlier. Day Shift is not great, but it is entertaining.

I can say the same about Back in Action. It isn't in the same league as 2002's Mr. & Mrs. Smith, which saw Brad Pitt and Angelina Jolie play husband and wife who each worked for rival assassination firm. If you took Mr. and Mrs. Smith and mixed it with Spy Kids (2001), you might get something close to Back in Action.

I can honestly say that I enjoyed Back in Action. As a domestic comedy, it is genuinely funny, and Cameron Diaz and Jamie Foxx play off each other quite well. As a spy movie, Back in Action offers a lot of slick, attention grabbing car chases, fight scenes, shoot-outs, and an extended plane crash that kept me glued to the screen. The family dynamic works pretty well, although I must admit that Glenn Close seems a bit odd as a spy who is the mother of another spy.

That's all I have to say. Back in Action is not great, but it is the kind of star-driven above-average event movie that Netflix regularly offers. Such movies are how they make us feel that our Netflix subscription is worth keeping active.

6 of 10

★★★ out of 4 stars

Saturday, January 25, 2025

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Monday, January 20, 2025

Review: Netflix's "DAY SHIFT" is More Action-Comedy Than Vampire Horror

TRASH IN MY EYE No. 5 of 2025 (No. 2011) by Leroy Douresseaux

Day Shift (2022)

Running time: 113 minutes (1 hour, 53 minutes)

MPA – R for strong violence and gore, and language

DIRECTOR: J. J. Perry

WRITERS: Tyler Tice and Shay Hatten; from a story by Tyler Tice

PRODUCERS: Shaun Redick, Yvette Yates Redick, Jason Spitz, and Chad Stahelski

CINEMATOGRAPHER: Toby Oliver (D.o.P.)

EDITOR: Paul Harb

COMPOSER: Tyler Bates

ACTION/COMEDY/HORROR

Starring: Jamie Foxx, Dave Franco, Natasha Liu Bordizzo, Meagan Good, Karla Souza, Steve Howey, Scott Adkins, Oliver Masucci, Eric Lange, Peter Stormare, Zion Broadnax, and Snoop Dogg

Day Shift is a 2022 American action-comedy and vampire horror film from director J. J. Perry. The film is a “Netflix Original” and began streaming on Netflix, August 12, 2022. The film focuses on a hard-working, blue-collar dad who uses his pool-cleaning service as a front for the true source of his income – hunting and killing vampires.

Day Shift introduces Bud Jablonski (Jamie Foxx). He is the blue-collar dad of Paige (Zion Broadnax), the daughter he shares with his ex-wife, Jocelyn Jablonski (Meagan Good). On the surface, Bud is a hardworking man who runs a pool-cleaning service, “Valley Pool Services,” in San Fernando Valley, California. Bud really hunts and kills vampires in the Valley under the guise of being a pool cleaner. Every time he kills a vampire, which is very difficult, Bud collects their fangs and sells them to a pawnbroker, Troy (Peter Stormare).

However, killing vampires isn't quite earning him the income he needs, so Bud decides to return to “the Union.” That would be the “Hunters Union,” from which he was expelled. He turns to his close friend, the very successful vampire hunter, John Dante Eliott a.k.a. “Big J” or “Big John,” for help. John is able to get Bud provisionally reinstated, but union boss, Ralph Seeger (Eric Lange), won't let Bud work the “Night Shift,” which yields the most profitable vampire kills.

Instead, Bud must work the “Day Shift,” which he was already doing on his own. In addition, Bud is forced to partner-up with Seth (Dave Franco), a young union supervisor. If that were not bad enough, Bud has been targeted for revenge by Audrey (Karla Souza), an ambitious vampire who plans to take over San Fernando Valley where she poses as a real estate agent.

I was familiar with the mixed reviews that Day Shift received, and I had been putting off watching it. However, I am about to watch the latest Jamie Foxx “Netflix Original” movie, Back in Action (2025), in which he costars with Cameron Diaz. Back in Action is the fourth “Netflix Original” in which Foxx has starred (as far as I can tell), following Project Power (2020), They Cloned Tyrone (2023), and Day Shift. For some reason, I feel as if I had to see Day Shift before I watch Back in Action. Go figure.

Tyler Tice and Shay Hatten are credited with the screenplay, but apparently Tice is the originator. Tice's creation is more action-comedy than it is vampire movie, but I do recognize elements that are borrowed or are at least are similar to that of numerous vampire films. As I watched Day Shift, I found that parts of it made me think of Blacula (1972), The Lost Boys (1987), From Dusk Till Dawn (1996), Daybreakers (2010), and Priest (2011), to name a few. Of course, no movie featuring vampires hunters and their prey could escape the shadow of the Blade film series, and this movie seems inspired by Blade (1998), Blade II (2002), and Blade: Trinity (2004). Also, Day Shift is obviously rubbing up against Men in Black (1997) and its sequels.

Day Shift's premise is indeed a garbage soup made out of a bunch of leftover ingredients, and the fact that it throws in so many ideas makes it almost seem original... almost. Still, as garbage soup films go, Day Shift is quite tasty. It is more action-comedy than vampire-horror, and director J. J. Perry (in his directorial debut) gets the most out of his film editor, Paul Harb. When Day Shift is moving because of extended, multi-player fight scenes or through its one extended car-truck-motorcycle chase, Day Shift pops the way action movie junkies want their action movies to pop.

The best thing a popcorn entertainment action movie can do is have a star as its hero or as its villain. Day Shift has the Oscar-winning actor, Jamie Foxx (Ray), as its star, and Foxx is the one who gives this film any credibility that hit has. Yes, Dave Franco does a nice turn as Seth, the reluctant sidekick, and any comedy that manages to snag Snoop Dogg is very lucky. However, Foxx willingly buys into this film's goofiness, and the professionalism of his performance keeps Day Shift from seeming like the vampire equivalent of one of those Sharknado movies.

6 of 10

★★★ out of 4 stars

Monday, January 20, 2025

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Saturday, January 18, 2025

Review: Very Scary "WOLF MAN" is Gleefully Gruesome

TRASH IN MY EYE No. 4 of 2025 (No. 2010) by Leroy Douresseaux

Wolf Man (2025)

Running time: 103 minutes (1 hour, 43 minutes)

MPA – R for bloody violent content, grisly images and some language

DIRECTOR: Leigh Whannell

WRITERS: Leigh Whannell and Corbett Tuck

PRODUCERS: Jason Blue and Ryan Gosling

CINEMATOGRAPHER: Stefan Duscio

EDITOR: Andy Canny

COMPOSER: Benjamin Wallfisch

HORROR/THRILLER

Starring: Julia Garner, Christopher Abbott, Matilda Firth, Sam Jaeger, Benedict Hardie, Zac Chandler, and Ben Prendergast

SUMMARY OF THE REVIEW:

Wolf Man is a scary, scary movie – a real scary movie that delivers the thrills, the chills, and some gruesome, gory moments.

It is one of the best werewolf movies in recent memory, without ever using the term “werewolf” in the movie, but it is the real deal in bark-at-the-moon, horror movie craziness.

Wolf Man is a 2025 American horror film from director Leigh Whannell. The film follows a father, a mother, and their daughter in their struggle to fend off a murderous creature, even as the father begins to rapidly transform into something monstrous.

Wolf Man opens in 1995 in the remote mountains of Oregon. A hiker has disappeared, and people in the isolated local community speculate that he may have fallen victim to a virus called “Hills Fever,” linked to the region's wildlife. However, the Indigenous people of the area call this ailment, “the Face of the Wolf.” During a deer hunt, survivalist Grady Lovell (Sam Jaeger), and his son, Blake (Zac Chandler), spot a mysterious creature lurking in the forest. They have a terrifying encounter with it.

Thirty years later, Blake Lovell (Christopher Abbot) lives in the big city with his wife, Charlotte Lovell (Julia Garner), and their daughter, Ginger (Matilda Firth). One day, Blake finally receives documents indicating that his long-missing father has been declared dead. Blake convinces Charlotte that they should travel to Grady's remote home and take possession of his belongings.

The trip starts off well enough for Blake, Charlotte, and Ginger, but an accident leads them into an encounter with a fast-moving and mysterious creature (Ben Prendergast), which scratches Blake's arm. The three are able to escape the attack and arrive at Grady's home, where they barricade themselves. Although the creature lurks outside, the house, which had long been fortified by the paranoid Grady, offers some security. However, the scratch on Blake's arm has turned bloody and infected, and now, he is changing... into something.

Once upon a time, Universal Pictures wanted to build a “shared universe” (like the Marvel Cinematic Universe) around the portion of its film library known under the brand name, “Universal Monsters,” by rebooting select films from that brand. The shared universe was known named “Dark Universe,” and the film that launched it was the heavily-criticized, box office disappointment, The Mummy (2017), and I am talking about the one with Tom Cruise.

After that disappointment, Universal decided to move away from a shared universe concept, but kept the idea of rebooting its Universal Monsters films. The new direction was launched with writer-director Leigh Whannell's 2020 hit horror film, The Invisible Man, a reboot of the 1933 film, The Invisible Man. Now, Whannell is back in the Universal reboot game with Wolf Man, which is apparently a re-imagining of Universal Picture's 1941, classic horror film, The Wolf Man.

If you are wondering, dear readers, if Leigh Whannell's new Wolf Man is scary, it is scary as f*ck. It is a true scary movie. It is a scary-ass movie. Now, I think that Whannell and his co-writer Corbett Tuck offer shallow characters and melodramatic interpersonal character tropes, but they fashion a wild, hairy-ass horror movie that is not ashamed of being a gruesome, gross, and gory werewolf movie that leaks bodily fluids all over the place. By the way, the terms, “werewolf” and “wolf man,” are never used in this film as far as I can tell.

Whannell's collaborators are on their “A” game with this film. Hair and make-up and visual effects slow grind Blake's grisly transformation and throw us a nasty curve ball on consumption. It seems as if Benjamin Wallfisch is trying to use his film music to make me choke on my own fear, and the film editing is a constant fear machine.

The cast is quite good at selling us that all of this is real. The characters might by shallow, but the actors go deep into their craft, deep enough to make me feel as if I was there waiting to be slashed and gored by a... “mysterious creature.”

I didn't see Whannell's The Invisible Man, but Wolf Man makes me want to see all his films. Whannell may be best known for creating the 2004 film, Saw, with director James Wan, that launched a two-decade old franchise. However, I'd like him to return to the macabre world he has created with this new film. Wolf Man is not perfect, but it is a perfectly scary movie. Some of you might need a barf bag or some “Depends” undergarments in order to make it through the grim terror that is Wolf Man.

7 of 10

A-

★★★½ out of 4 stars

Saturday, January 18, 2025

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Thursday, January 16, 2025

Review: John Carpenter's "VAMPIRES" is Still Fun (Happy B'day, John Carpenter)

TRASH IN MY EYE No. 36 (of 2005) by Leroy Douresseaux

John Carpenter’s Vampires (1998)

Running time: 108 minutes (1 hour, 48 minutes)

MPAA – R for strong violence, and gore, language, and sexuality

DIRECTOR: John Carpenter

WRITER: Don Jakoby (based upon the novel by John Steakley)

PRODUCER: Sandy King

CINEMATOGRAPHER: Gary B. Kibbe (D.o.P.)

EDITOR: Edward A. Warschilka

COMPOSER: John Carpenter

HORROR/FANTASY and ACTION/THRILLER

Starring: James Woods, Daniel Baldwin, Sheryl Lee, Thomas Ian Griffith, Maximilian Schell, and Tim Guinee

Vampires (also known as John Carpenter's Vampires) is a 1998 American action, neo-Western, and vampire horror film from director John Carpenter. It was adapted from the 1990 horror novel, Vampire$, by author John Steakley. Vampires the movie focuses on an caustic vampire slayer who must track down the vampire master that ambushed and destroyed his team of slayers before the creature can find a relic that will allow it to walk in sunlight.

John Carpenter's Vampires introduces Jack Crow (James Woods), a vampire hunter for the Catholic Church. He leads his "Team Crow," a band of roughnecks and mercenary types who hunt and kill vampires. They destroy a nest of goons (vampires) in rural New Mexico, but Valek (Thomas Ian Griffith), a 600-year old master vampire, ambushes and massacres Team Crow during their victory celebration at a small motel.

Only Crow and his assistant, Montoya (Daniel Baldwin), survive, but Crow ignores the Vatican’s demands that he reform his team. Crow, Montoya, and Father Adam Guiteau (Tim Guinee), a young priest, with tagalong Katrina (Sheryl Lee), a survivor of Valek’s attack, pursue the master vampire through the high deserts that ends in a confrontation to stop Valek from becoming unbeatable.

John Carpenter’s Vampires is a fun action horror flick that rises above being straight-to-video material in large measure because of James Woods hilarious and over-the-top performance as Jack Crow. Crow curses like a pack of sailors, and won’t even spare holy men his vulgar tirades. He beats priests and asks them inappropriate questions about their anatomies and lusts. Woods’ performance is the one thing that entertains even detractors of Vampires.

The film is gory and action-packed, but a little light on genuine scares. It has the charming qualities that make Carpenter’s film fun and unique – pulp storytelling, weird science, and the strange blend of real myth, lore, and culture spun from his fertile imagination. While the characters here, other than Crow, don’t match up to some of Carpenter’s memorable creations from his earlier films, they’re adequate. Vampires is a fun spin on the American pop culture version of vampires, and worth a viewing.

7 of 10

B+

★★★½ out of 4 stars

March 19, 2005

EDITED: Sunday, January 5, 2025

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Wednesday, January 15, 2025

Review: "PRINCE OF DARKNESS" Still Scares the Green Liquid Outta Me (Celebrating John Carpenter)

TRASH IN MY EYE No. 9 (of 2004) by Leroy Douresseaux

John Carpenter’s Prince of Darkness (1987)

Running time: 102 minutes (1 hour, 42 minutes)

MPAA – R

DIRECTOR: John Carpenter

WRITER: Martin Quatermass (John Carpenter)

PRODUCER: Larry J. Franco

CINEMATOGRAPHER: Gary B. Kippe

EDITOR: Steve Mikovich

COMPOSERS: John Carpenter and Alan Howarth

HORROR/SCI-FI

Starring: Donald Pleasence, Jameson Parker, Victor Wong, Lisa Blount, Dennis Dun, Susan Blanchard, Anne Marie Howard, Ann Yen, Dirk Blocker, Jessie Lawrence Ferguson, Peter Jason, Robert Grasmere, Thom Bray, and Alice Cooper

Prince of Darkness is a 1987 American supernatural horror film from writer-director John Carpenter. The film focuses on a Catholic priest, quantum physics university professor, and his graduate students as they investigate an ancient cylinder full of swirling liquid, which may be the embodiment of the “Prince of Darkness.”

Prince of Darkness introduces Father Loomis (Donald Pleasence), a high-ranking priest. He has come across a long-hidden secret, one kept even from the Vatican. A priestly order, “The Brotherhood of Sleep,” has possessed a canister that apparently contains the liquefied remains of the “Prince of Darkness.” When the last of the order dies, Loomis seeks out a prestigious professor of physics, Prof. Howard Birack (Victor Wong), to help him understand the discoveries he’s made at the Brotherhood’s church.

Birack enlists the aid of a group of fellow scientists and students to study ancient texts and to learn the truth about the thing that may hold the “Prince of Darkness.” However, whatever the liquid is, it is awakening, and it is beginning to possess some members of the investigation team, turning them into killer zombies. Worse still, Father Loomis, Birack, and the students discover that the Prince of Darkness intends to bring his even more evil father back from the dark side to our world.

Prince of Darkness is one of my favorite John Carpenter films. It is the second installment in what Carpenter calls his “Apocalypse Trilogy,” which began with his 1982 film, The Thing (1982), and concluded with his 1994 film, In the Mouth of Madness (1994). Prince of Darkness is quite scary and suspenseful, and Carpenter’s screenplay is filled with many wonderful and eccentric ideas about the nature of time, existence, and religion. Perhaps, the most frightening thing about the film is its atmosphere of the unknown. A lot of the ideas and philosophy within the film are half-explained or unexplained, but there’s just enough to make you curious and feel that your safety and that of the film’s characters are on the line if someone doesn’t solve the riddles behind the dark conspiracy. This is also one of the better examples of Carpenter’s ability to create a narrative flow that maintains a sense of dread or a sense of impending horror from start to finish.

The actors confine their performances to doing what’s necessary to serve a horror film, so there is some stiffness to the acting, as well as some occasionally unnecessary histrionics. Still, they are integral in making this one of the better end-of-world movies. Prince of Darkness also fits in well with that sub-genre in horror in which a small band of humans stand alone against forces bent on destroying or conquering the world – the last line of defense for a humanity that doesn’t know about the secret war to save it. Prince of Darkness, in that sense, works and is a truly underrated and excellent film, especially for fans who love a good mixture of horror and science fiction.

8 of 10

★★★★ out of 4 stars

EDITED: Wednesday, January 15, 2025

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