The hunted vs. the hunters. Now here is a premise that has seen its fair share of movies. Ever since Jean Claude Van Dame’s rendition in Hard Target, filmmakers have been coming up with new and sometimes cliches version of the idea of a man being hunted for sport. Personally, I’d rather just get my fix of this idea by reading Richard Connell’s The Most Dangerous Game. It’s just hard to imagine that there is any unique way left to come at this idea. Apex tries, but it falls short of the desired effect. In the case of this film, they bring in action veteran Bruce Willis to serve as the prey. Given his pedigree, you’d expect him to deliver one-liners while dispatching folks in creative manners. He delivers on the one-liners, but as far as the creative kills, he actually isn’t the person doing the most of the damage. In fact, Willis barely rates above a bystander in this film. I suppose it was ambitious to expect Willis to be duking it out like he did back in his Die Hard days; I mean, the man is in his mid-sixties now. However, if he wasn’t going to be the agent of chaos, why even bother putting him in the movie at all?
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“This wasn’t a game of cops and robbers. We were playing for keeps. It boiled down to a duel between me and an unknown fellow waiting up in the rocks or struggling on ahead of me. I never had the slightest doubt that he was there and that I would find him. But I didn’t like it. It was all wrong somehow.”

John Sturges has directed some of the biggest classics of his era. He became known as a huge action director and knew how to put to together large and powerful ensemble casts. Among his classic films you’d find The Magnificent Seven  (1960) with Yule Brynner, Steve McQueen, Charles Bronson, Eli Wallach, and Robert Vaughn.
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Superhost is a not-so-flattering social commentary on the youth of today who seem to be driven more by the amount of likes and subscribers they have than the actual human interactions they encounter in the course of a day. Whether it’s Tik Tok, Facebook, Instagram, YouTube, or any number of platforms you can think of, it seems people have just become obsessed with seeking the approval of “followers” instead of taking stock in the friends they have in their “real” social structure. The pandemic, of course, doesn’t help any of this, as it seems every week there is some new dance or challenge people are doing in the name of clicks. Also recently it seems suicides and murder-suicides have been occurring more with these “social media influencers”. Maybe it is just the old man in me coming out, but I look at the social media culture and wonder if man has reached his peak and we are all simply on a steady decline from this point forward.
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When it comes to Amityville Uprising, it felt like I spent the film’s entire runtime waiting for it to start. I mean, the film literally spent ninety percent of the time building towards the action, which basically took place at the very end of the film. There are sporadic events that occur earlier, but even those don’t start until halfway in. I expect for zombie movies to get the action rolling much sooner than that, but in the case of this film, the plot moves at the pace of a walker in the Walking Dead. That paired with the low production quality, nonexistent character development, and subpar acting makes for a less than enjoyable experience. Granted, I was not expecting box office quality from this production, but I at least hoped that there would be one or two tidbits for me to be able to point to and say that the experience had some good parts. Sadly, that wasn’t the case with this film.
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Twenty years ago, he left his hometown of Kiewarra, a farming town in Australia, under a black cloud. His girlfriend was found dead under suspicious circumstances, and all the evidence pointed to him. If it wasn’t for a friend willing to lie for him, he would have ended up in jail. When that same friend’s family is killed in a murder-suicide with all the evidence suggesting that said friend was responsible, he will return to investigate. However, time has not improved the community’s feelings about him, as the people have long memories. Eric Bana stars as  federal police detective Aaron Falk in The Dry, a film based on Jane Harper’s 2017 book of the same name. Having been a fan of Eric Bana for some years, I looked for this this opportunity to watch him play detective. While the story does drag at times, I will say that overall, the quality of the storytelling made the experience worthwhile.
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Every era has their Hollywood good guys and their Hollywood bad guys. Back in the early days, we had Nazis to pit against our heroes. When they didn’t quite fit the bill, we had the Japanese. For much of the Cold War, we had great Russian villains to test the mettle of our heroes. Terrorists fit the bill a lot today, but perhaps the only group hated by large segments of American audiences more are the 1%ers. Anyone who makes an obscene amount of money must have cheated to get there. It doesn’t hurt that financial power companies have been immersed in the last couple of economic disasters. Michael Douglas taught us that greed is good, and while every single one of us wants to be at the top, it’s not quite the politically correct thing to express … at least out loud. Billions gives us the kind of power broker who is just too much fun to hate.
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This appears to be the time of Resident Evil, it would seem. Fresh on the heels of a live-action reboot to the franchise (Resident Evil: Welcome to Racoon City) comes the home media release of this CGI miniseries based on the popular Capcom video game. If you want to be technical, the miniseries preceded the reboot, as it was originally released on Netflix back in July of 2021. Set between the events of Resident Evil 4 and Resident Evil 5, the miniseries follows Leon S. Kennedy as he attempts to uncover a conspiracy that reaches all the way up to the White House. Now, in reference to that time period, I should mention that it is the video game continuity, not the film’s, that is an important distinction, as Milla Jovovich was only loosely based on the source material. While the story does take some time to develop, by the final episode, I was fully vested in its outcome.
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This film was a new experience for me. As you all know, movies like this afford me the opportunity to share my passion for film with my daughter. However, as I put the movie on, she turns to me and says, “Daddy, you know what’s funny? I’ve already seen this.” I found that to be a confusing statement, as I was operating under the impression that this was a newly released title. However, as it turns out, though it is a new release for home media, the film was actually released on Netflix back in April 2021. At this point, I expected that she would attempt to excuse herself and occupy herself with one of her many new Christmas acquisitions. But no, she didn’t do that. Instead, she sat back and prepared herself to watch it again. That’s when I knew it had to be good, because my daughter doesn’t usually do repeats. Lo and behold, it was far better than good. I dare say that The Mitchells vs. The Machines was the best animated film that I saw all year.
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