About This Blog

A place to find my reviews not featured on epinions.com or horror-asylum.com, as well as opinions and lists on everything from movies to TV to music. It's all about me! Send hate mail to vegie18th@hotmail.com or just leave a comment beneath the posts. Review grading system assumes C+ is somewhere in the vicinity of a Passing grade or minor fail.

Friday, July 5, 2013

Review: Sacrifice


Continuing his direct-to-DVD attempts to convince us that he’s a brooding tough guy, Cuba Gooding Jr. plays a grieving, alcoholic cop (and former Special Forces guy who was over in Afghanistan) in this 2011 film from hack Canadian writer-director Damian Lee (the immortally awful “Abraxas: Guardian of the Universe” and the not much better “Gnaw: Food of the Gods II”). Toronto narcotics cop Gooding is still grieving over the murder of his wife and daughter to a crim. He gets a chance at redemption when asked to look after a little girl (Arcadia Kendal) left at a day-care centre run by Gooding’s friend Athena Karkanis (TV’s “Lost Girl”, which I command you to watch). The girl was left there by her older brother (Devon Bostick), a young drug dealer who is attempting to get out of the biz. Unfortunately, Bostick’s employers Jade (Lara Daans) and Rook (Zion Lee) don’t take kindly to Bostick’s attempts to leave, and definitely don’t appreciate him stealing a statue of the Virgin Mary that is lined with heroin. Bostick has hidden the statue in a church run by Gooding’s old special forces pal and now priest (Christian Slater), who is none the wiser. Unsurprisingly, once Bostick is out of the way, Jade, Rook, and Rook’s dad (a crooked cop played by Kim Coates) set about tracking down the girl so she can lead them to the statue.

 

Once again Cuba fails to convince as a brooding antihero, and the film itself is slow and clunky. There’s way too many scenes of Cuba downing booze and popping pills...in just the first fifteen minutes. There’s too much time spent on this stuff, and it’s cribbed from just about every Cuba Gooding Jr. direct-to-DVD movie before it anyway (“Wrong Turn at Tahoe”, in particular, which was a lot better). It also asks one to believe Christian Slater as a priest and former soldier who can’t recognise a statue made out of narcotics when he sees one. Sorry, but there’s no way that Slater’s anything but an expert on that kind of thing, if you ask me. We’ve all read the tabloids. Having one of the chief crims (Zion Lee) look alarmingly like Dr. Sheldon Cooper also doesn’t help the credibility factor, either. I can put up with Devon Bostick looking like a wet-mouthed 19 year-old, because his character is meant to be a little more sympathetic, but Zion Lee is seriously unthreatening as the more antagonistic of the two. In fact, Slater fares reasonably OK, all joking/insults aside, at least he gives a solid performance in his role. The best work in the whole film comes from Canadian character actor Kim Coates (who also served as Executive Producer) as a dirty cop and father to one of the young drug dealer scumbags. He’s at least genuinely menacing and imposing, if underused. He’s an underrated actor, but often a sign that you’re watching a shithouse flick (He was in both “Waterworld” and “Battlefield: Earth”, and yet still finds work!).

 

As for the plot, it’s pretty uninteresting stuff, the kind of thing you could see Steven Seagal and co tackling in one of his “True Justice” TV flicks, but even more TV drama-quality than that (Bad TV drama, that is). And it’s all so clunky and slow, as I’ve said, because Lee decides to give just about everyone a flashback and back-story, whether they feel organically integrated into the film or not. I guess the flashbacks help in making the plot seem a little less simplistic than it really is, but they are so clunky and grind the film to a halt. Besides, back-story and character depth are not the same thing, and this film definitely lacks character depth. The character played by Kim Coates, and the femme fatale character played by Lara Daans (AKA Mrs. Damian Lee), in particular, are woefully underdeveloped.

 

I’m no huge Cuba Gooding Jr. fan, but it’s so sad to see any Oscar winner resorting to making direct-to-DVD films in roles that don’t suit his limited talents. He’s too charismatic to be stuck in dreck like this. Slater, too (a genuinely talented actor in the right role), but let’s face it, some of the blame for his downward spiralling career must go to Slater himself. Oh, and the film is edited by a Joseph Weadick. For some reason, that just cracked me up when I read it, so I thought I’d share it with you. Weadick! It’s good to laugh at funny names...especially when there’s so precious little else to discuss here.

 

Rating: C-

Wednesday, July 3, 2013

Review: Cellular


Kim Basinger is a science teacher kidnapped by nasty intruders (led by a threatening Jason Statham), who keep her holed up in the attic of an undisclosed location. We soon learn that it’s her husband (Richard Burgi) they’re really after, as he’s got something they want. Unfortunately, she has absolutely no idea what they are talking about, and because she has seen Statham’s face, she’s worried about her fate. And her son’s, as the kidnappers claim to know which school he goes to. Surprisingly resourceful, Basinger realises that she can use the smashed up wall phone by somewhat putting it back together, and click on the wires a bit. It’s not perfect, but it’s all she has to go on and eventually she gets douchy beach bum Chris Evans on the line. At first he thinks it’s a crank call and hangs up on her. The dude’s just been dumped by his singularly unimpressed girlfriend (Jessica Biel) and is trying to win her back. But eventually, something in her voice tells him to help her out, and he informs cop William H. Macy, as per her instructions. He too is initially dismissive, and somewhat distracted by work, so in the meantime it’s up to Evans to man up and find Basinger’s kid and husband before the kidnappers get to them and do God knows what. Unhelpful citizens, traffic issues, low batteries, and dodgy mobile reception hamper his quest somewhat. Noah Emmerich plays a fellow cop, Caroline Aaron is Macy’s wife, whom he hopes to open a day spa (!) with when he retires. Lin Shaye plays a motorist with her music up way too loud for Evans to hear Basinger (who hilariously thinks Evans is flirting with her), whilst Rick Hoffman is an obnoxious lawyer whose expensive car Evans commandeers.

 

Schlock writer/director Larry Cohen (“It’s Alive!”, “Black Caesar”, “The Stuff”) wrote the story that this 2004 thriller is based on, and he has niftily reworked his “Phone Booth” concept by changing the size of the phone. By doing so and taking things out of the booth (though in a sense, Basinger is still in a confined space), Cohen, screenwriter Chris Morgan (“Wanted”, “Fast Five”), and late director David R. Ellis (enjoyable schlock like the infamous “Snakes on a Plane”) give us a schlocky slice of fun roughly as enjoyable as “Phone Booth”, if not slightly better. It lacks Kiefer Sutherland, and Kim Basinger is certainly not on Colin Farrell’s level (nor did she make for a decent Bond Girl in “Never Say Never Again”, if you’ll indulge the barely relevant criticism), but it still works perfectly fine. I’ve never thought of Basinger as being a tech-savvy science teacher (or an especially intelligent person at all, to be honest), but otherwise this is a solid role for her pretty mediocre talents. It’s a one-note, mostly passive role, but she handles it well (She’s certainly better than Jessica Biel, in a smaller role).

 

Chris Evans is perfectly cast as a douchebag who gets to redeem himself, somewhat. I really liked that Evans and Basinger played characters that defy expectations. One of them is smarter and more resourceful than you might think, the other is more selfless and heroic than he first appears. One might question whether such a selfish douchebag would end up being a hero, but Evans convinces. Is it because he’s now best known as “Captain America”? Or is it just that the film moves so fast one doesn’t question it? William H. Macy manages to make lemonade out of crap in a somewhat basic role that he manages to liven up. However, the only moment in the entire film that didn’t work for me involved his sudden turn into an action hero, albeit just for one scene. The wimpy husband in “Fargo”? I don’t think so. Perhaps his character was defying expectations too, but I didn’t buy that one.

 

Jason Statham is also relatively well-cast, though his American accent is so faint and inconsistent that it wouldn’t surprise me if people wondered why a Brit is employed in the position his character is in. Nonetheless, Statham is Statham, and here he’s effective. Noah Emmerich is pretty good too, albeit in a role very familiar for him. He’s played a wide variety of roles, but if Emmerich is cast as a cop, you know what that means already. The best work comes from two hilarious cameos by Lin Shaye and Rick Hoffman. The latter is particularly genius, in the same yuppie schmuck role he always plays. Their tongue-in-cheek work serves the film very well.

 

Plot, pacing, and length (90 minutes) are key here, and they’re all ticked boxes. It’s just a good yarn, one that doesn’t overstay its welcome, and one that breezes by quickly enough that I didn’t have time to notice any of the gaping holes that are probably present. It’s a B-movie, and not exactly memorable, but it is effective, watchable, and fast-paced thanks mostly to the exciting direction and editing (Ironically, it’s speedier than the wholly overrated and lethargic “Speed”). It’s the kind of thing you either go with or you sit there and nitpick. I went with it.

 

Rating: B-

Tuesday, July 2, 2013

Review: The Three Musketeers (2011)


The title characters, in the service of young King Louis of France (Freddie Fox) join Milady De Winter (Milla Jovovich) on some secret mission involving raiding a tomb in Venice (guarded by the very Italian-sounding Til Schweiger) containing Da Vinci’s design for an airship. Unfortunately, none of the Musketeers have heard of Alexandre Dumas and Milady betrays them, in cahoots with the dastardly Duke of Buckingham (Orlando Bloom). The moody Athos (Matthew MacFadyen) is especially cut by this, having been romantically involved with Milady. Sometime later, a young and idealistic D’Artagnan (Logan Lerman, Yank accent and all) comes along, hoping to become a Musketeer. He is dismayed to find the musketeers all but obsolete, and manages to piss off three in particular; Religiously and romantically inclined Aramis (Luke Evans), strongman Porthos (Ray Stevenson), and the aforementioned sour Athos. However, when they catch wind of a nefarious plot designed by Cardinal Richelieu to send France into chaos and the Cardinal in control, D’Artagnan and the Musketeers (plus James Corden’s comical servant Planchet) join together to stop him. Meanwhile, the duplicitous Milady and Buckingham also factor into things, as does the Cardinal’s one-eyed chief henchman Rochefort (Mads Mikkelsen). Juno Temple plays Anne, Gabriella Wilde plays Constance (the love interest for D’Artagnan), and Dexter Fletcher seems to think he’s still on “Press Gang”, playing D’Artagnan’s dad with a Yank accent.

 

Every generation needs their version of “The Three Musketeers”, and since 2001’s “The Musketeer” sucked and was a decade ago, I guess director Paul W. S. Anderson (the underrated “Resident Evil” and “Death Race”, the not awful “Alien vs. Predator”) thought he’d give us another one. Everyone loves the Richard Lester version from the 1970s (“The Four Musketeers” was solid too), but for me, I much prefer the 1948 version with Gene Kelly as D’Artagnan and Vincent Price as Richelieu, and the 1993 Disney version (the plot structure of which this film quite closely resembles) with a ‘Brat Pack’ version of the Musketeers and Tim Curry hamming up a storm as Richelieu. Unfortunately, this 2011 so-called swashbuckling adventure is seriously mediocre and unexciting. At times it plays like a lame-arse TV series, something in the vicinity of “Merlin” or “Hercules: The Mediocre Journeys”. It’s incredibly limp and rather cheap-looking for what is normally a lavishly staged story. The costumes were far from lavish, and hell, the music score by Paul Haslinger sounded cheap and unpersuasive to me too. The cinematography by Glen MacPherson is rather dull and murky at times, when it really ought to have been opulent and lush.

 

Even the major casting and performances are routinely underwhelming. Van Heflin might’ve dragged several scenes down as a morose Athos in the 1948 version, but compared to most of these guys, he’s an A-grade star. Say what you will about the Brat Pack, but at least Charlie Sheen and co had definite screen presence. Instead of Heflin or Kiefer Sutherland (spot-on in the 1993 version) as Athos, we get Matthew MacFadyen. Yeah, the wussy writer from the original (and hilarious) “Death at a Funeral”. Seemingly deepening his voice by about fifty octaves (Is that the right term?), he brings absolutely nothing else to the part. Did he think a deep voice would convey everything necessary? Was he coerced into appearing in the film? Perhaps he’s the only one around who read the crappy script by Alex Litvak (“Predators”) and Andrew Davies (“Bridget Jones: The Edge of Reason”). Luke Evans is similarly dull and forgettable as the religiously (yet romantically) inclined Aramis. But he’s miles ahead of the film’s D’Artagnan, Logan Lerman, who is so bad that Chris O’Donnell’s surfer dude-ish take on the character in the Disney version seems like freakin’ Olivier levels of thesping. Seriously, is that Logan Lerman or one of the Jonas brethren? He looks all of 12, and I was worried that Miley Cyrus was going to turn up as Constance. Lerman’s weak performance is, more than anything else, what reminded me of a lame TV series.

 

By default, the best of the actors playing the Musketeers is Ray Stevenson as Porthos. Yes, he’d be better cast as Athos, and yes, he makes Porthos seriously fruity at times (had he just finished touring in “Pirates of Penzance” or something?) but at least he’s lively and clearly having fun. No one else is having fun, including the audience. He’s no Oliver Platt (Porthos in 1993), and almost as limp-wristed as Freddie Fox’s foppish Louis is here, but Stevenson fits the brief to a larger extent than any of the others. He gets a mild pass from me.

 

The rest of the cast is a complete mixed bag, with Mads Mikkelsen, Til Schweiger, Freddie Fox, and James Corden coming off best, Orlando Bloom, Juno Temple and Gabriella Wilde bringing up the rear, and Mila Jovovich and Christoph Waltz somewhere in between. Corden is the film’s scene-stealer, playing nincompoop Planchet in a remarkably Roy Kinnear-esque way, he’s hilarious. Til Schweiger has a barely there role (as a guy named Cagliostro, most assuredly a name of Germanic origin, right?) but is nonetheless very amusing for the amount of time he is on screen. Freddie Fox makes the young King Louis astonishingly punchable, and I guess that’s the point. Mads Mikkelsen is pretty inspired casting as the deadly Rochefort, playing it in the best Christopher Lee tradition of no-nonsense black-heartedness. He’s not in the film enough, however to save it. I also have to question the way the character is written in the latter half of the film. In addition to going against what everyone knows of Rochefort, having him take on D’Artagnan armed with two guns encapsulates everything wrong with the whole film. It’s a swashbuckler with not much swash or buckle, favouring gunpowder instead. What the hell? All the mechanical doohickies throughout the film gave me a “Wild Wild West” feeling. Not a good thing. We later get a real duel between the two but it’s too late, the character (Said to be ‘the Cardinal’s Living Blade’) has been ruined and raped, through no fault of Mr. Mikkelsen.

 

At least Mikkelsen is perfectly cast, though, unlike Orlando Bloom. I’ve always felt Bloom was born to star in a Alexandre Dumas costume spectacle, but unfortunately, he has chosen the wrong version, and The Duke of Buckingham is the absolute wrong role for him to take. He’s terrible, phony, and seemingly doing an impersonation of Rupert Everett for God knows what reason. Perhaps just to amuse himself, knowing how crap the film is. He’s not Rupert Everett, however. Hell, Rupert Everett isn’t even Rupert Everett anymore. What the hell has that guy done to his face? Anyway, Bloom just isn’t convincing being mean. I know Bloom’s probably too old now for the role of D’Artagnan, but he proves himself completely incapable of playing a royal schemer. Juno Temple and the seriously stiff Gabriella Wilde are completely awful as the film’s leading ladies, in addition to looking like toddlers.

 

In between the good and the bad, we have Milla Jovovich as Milady De Winter and Christoph Waltz as Cardinal Richelieu. The former seems like a born failure, the latter seems like a sure thing, but both end up somewhere in between. Jovovich is actually a lot better than you’d think as the duplicitous Milady, the role surprisingly fitting within the actress’ limited range. The problem is that Anderson can’t let go of his “Resident Evil” roots and has far too many scenes of Jovovich playing action heroine. In the role of a villainess. It’s just awkward and groan-inducing, and the role is the biggest change to the oft-told story, beginning with Milady actually aligned with the Musketeers before turning on them. I didn’t mind that aspect, but I really didn’t need Jovovich running away from danger in slow-mo (a dead giveaway to who the director is) or as a wuxia swordswoman. Worst of all is when she, wearing a bustier no less, enacts a 17th century version of Catherine Zeta-Jones’ laser-trapped heist in “Entrapment”. It’s only a short scene too, making it rather pointless. It’s a very silly role (and given too much emphasis at the expense of everyone else, really), but Jovovich deserves absolutely none of the blame (though her arse isn’t anywhere near as gorgeous as Ms. Zeta-Jones’). Christoph Waltz (who needs to play a Bond villain at some point, surely) makes for a dry and sardonic Cardinal, and is certainly a lot better than Charlton Heston was in the Richard Lester version. However, the role, as written, doesn’t allow him to really sink his teeth in and cut loose (perhaps because the Buckingham and De Winter roles have been beefed up), and Waltz goes for a more subtle approach than most actors have in the part. Worse still, the character’s fate at the end is a complete and total cop-out, like Rochefort, the character has been neutered (I have no idea if this is faithful to the novel and I don’t care). Is Anderson a devout Catholic or something? A cousin to The Pope perhaps? Anyway, Waltz is OK but I expected a lot better than just OK from him.

 

As I said earlier, the film looks cheap and ugly, and in the 2D version I saw, the 3D seams were showing all too evidently. Crowd scenes looked noticeably CGI, and I almost never notice things like that. Meanwhile, why, oh why did the airship have to look like a pirate ship in the air? I know the answer of course, but there should be no answer because it’s fucking stupid. What is this, “Musketeers of the Caribbean”? No, otherwise Bloom would be on the other team! Whoever came up with that idea should be taken out and shot. And for once I’m not really joking, either. Well, maybe a little.

 

Bad movie or just an average one, I really can’t imagine anyone actually liking this film. Even if you’ve never heard of the Musketeers before, it will do nothing for you. Then, who on Earth would be in that category anyway?

 

Rating: C

Monday, July 1, 2013

Review: Detective Dee and the Mystery of the Phantom Flame


Set in 689 AD China, where Carina Lau’s Empress Wu Zeitan is about to take the throne, with a great big Buddha statue being built to commemorate the occasion. When a foreman and an architect both mysteriously and spontaneously combust, it appears to be a case for Detective Dee (Andy Lau). This is the very same Detective Dee whom has been serving a prison term for speaking out against the Empress, something neither has forgotten. The Empress frankly doesn’t trust the guy and has one of her handmaidens (played by Li Bingbing) accompany him on his investigation. Also assisting Detective Dee is a rather mysterious, and somewhat sinister-looking albino court official, played by Chao Deng. Richard Ng turns up as a key figure with the spectacularly silly name of Dr. Donkey Wang (!), whilst Tony Leing Ka Fai plays an introverted contractor, and old friend of Detective Dee’s. 

 

I had heard very good things about this Tsui Hark (“Zu: Warriors from the Magic Mountain”, “Once Upon a Time in China”, and... “Knock Off”) film from 2010 and although it took me a long time to get around to seeing it, I had hotly anticipated it. Unfortunately, it was completely different to the film I was expecting, and not in a good way. There are moments and the actors try hard (especially Andy Lau, Carina Lau, and Chao Deng) but for the most part this feels more like a murder mystery TV series than the mixture of mystery and wire-fu martial arts fantasy I was expecting.

 

Scripted by Zhang Jialu, there’s just way too much talking for my liking, stupid as that probably makes me sound. It’s not even as wonderfully opulent as the more recent crop of wuxia epics like the gorgeous “Curse of the Golden Flower” (Hark being one of the originators of the genre, of course). Some of the CGI in particular, looks a bit fake. Frankly, I’d rather watch the crazy HK films of the 80s and 90s like the aforementioned Tsui Hark films or “The Seventh Curse”. The only stretch of the film that even approaches that kind of schlocky lunacy is when a character named Dr. Donkey Wang (Richard Ng) turns up. Yes, Dr. Donkey Wang, but don’t hold that against him. At least in these scenes, the set design is somewhat reminiscent of “The Seventh Curse” or “Zu Warriors”.

 

Other than that (and the fucked up talking deer that I’m just not going to even talk about), the film takes itself too seriously, which is a real shame, as there are elements here that could’ve made for fun. The always wonderful Andy Lau in particular is terrific as the slightly prick-ish Detective Dee (he’s especially funny early on), but this strange and slow-moving film is best left to mystery buffs than anyone else, though even they will likely guess the mystery before the not terribly surprising conclusion.

 

I was expecting and hoping for something wilder, more imaginative, and exciting, but what I got was something in the vicinity of “Midsummer Tang Dynasty Murders” or something. The character of Detective Dee (AKA Di Renjie) is based on historical fact, so perhaps there wasn’t as much room for fantasy elements, but still, it’s a pretty dry affair and perhaps Hark wasn’t the best director for the job. Oh, well, at least it’s better than Hark’s Hollywood offerings like “Knock Off” and “Double Team”.

 

Rating: C+

Review: The Fly


Eccentric scientist Seth Brundle (Jeff Goldblum) meets pretty science magazine journalist Veronica Quaife (Geena Davis) at a function and after some awkward flirting/boasting, manages to convince her to come back to his lab to see his latest invention, a telepod or teleportation device initially devised as a way to get around his motion sickness. She is quickly impressed and eventually the two have moved in together as he irons out the bugs (living organisms have a way of...um...exploding during the teleportation process) and she writes an article on it. Soon they have even become lovers. Things get messy, however, when Seth decides to use a human test subject...himself. Before long he is literally falling apart and has major mood swings. It would appear that something had contaminated the teleportation process, a fly, and as a result he and the fly were rejoined at a molecular level, and he is becoming a hybrid of the two. And you think your relationship has problems! John Getz turns up as Davis’ sleazy but concerned boss and former lover.

 

It amazes me that the somewhat chilly David Cronenberg (“Scanners”, “Videodrome”, “Naked Lunch”) has taken a B-movie and added emotional depth to it. Indeed, that is what he does here in this 1986 remake (or perhaps reinvention), which also features idiosyncratic Jeff Goldblum’s best and most memorable performance. It’s an excellent and superior version, but Goldblum is the key, and this is the best use of his eccentric charm and dark intensity. It’s a performance where you can see that he’s clearly enjoying what the experiment is doing to him early on, but in a way that lets you know that this is like an addiction that he has no control over. Thus he is like Frankenstein and his Monster, and ultimately sympathetic. Cronenberg proves here as he did with Christopher Walken in “The Dead Zone” (his other great film) that he has a way with taking eccentric actors known for idiosyncratic tics and managing to get something human and moving out of them. And yet, with Goldblum, he has this amazing ability to be likeable and creepy at the same time, like there’s always something just a little bit ‘off’ about him. Is it just a nerdy quirk indicative of social ineptitude, or something more sinister? Certainly he’s one of cinema’s most unusual sex symbols in this regard. Goldblum is a one-of-a-kind actor who here manages to play several different traits- curiosity, fear of himself, anger, madness, obsession, pathos- all in the same scene! He’s particularly hilarious in the opening scenes, too, where he’s trying to impress/flirt with Davis. To see Goldblum in this, one laments what later became of this terrific, unusual and charismatic actor. He’s extremely talented, but hasn’t often found projects worthy of him.

 

Geena Davis is also terrific here. I’ve never put her on my list of top actresses, but looking at her career, it’s a bit surprising because she’s been in some great films; This, “Fletch”, “Beetlejuice”, and “Tootsie”. Then again, I didn’t think much of “Thelma & Louise”, “Cutthroat Island”, “The Accidental Tourist”, or “The Long Kiss Goodnight”. At any rate, her and Goldblum are perfectly matched in a somewhat off-beat, gawky on-screen pairing (they were also an off-screen pairing at the time, which may have helped). The romantic/tragic aspect of the film is all the more effective because of their efforts. This is a mad scientist movie, at the end of the day, but with a lot more depth than any other you’re likely to see.

 

I really admire Cronenberg (who, being a sick bastard, plays the doctor in a nightmare sequence) for taking this 50s concept and eschewing schlock (and I do love schlock) for something deeper. It’s also typically Cronenberg in its examination of ‘body horror’ (remember the human-VCR hybrids in “Videodrome”?), as Goldblum basically goes to pieces before our very eyes, thanks to the terrific Oscar-winning makeup of Chris Walas (“Return of the Jedi”, “Gremlins”) who brilliantly shows a fusion of man and fly. It’s a disgusting film in some ways, its gore certainly hasn’t become tame in the years since like a lot of violent films of this vintage.

 

John Getz is perhaps the weakest element of the film, but not really through any fault of his. He makes for an hilarious half-hearted sleaze (‘Do I have your permission to clean your body when this is all over?’), and I’m just being nitpicky in saying that his character is half-heartedly written. The film’s “King Kong”-esque finale is a tad much, I’ll admit. The film teeters on the edge of camp/melodrama throughout, but I think this was the one point where it just edged over a bit.

 

For those who can take it, this is simply a terrific movie that has it all- sci-fi, comedy, romance, horror, tragedy, you name it. One of the best remakes of all-time, too. The screenplay is by Cronenberg and Charles Edward Pogue (“Psycho III”, “Dragonheart”), though the former rewrote a large part of the latter’s work.

 

Rating: B+