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Showing posts with label Cam Gigandet. Show all posts
Showing posts with label Cam Gigandet. Show all posts

Friday, December 2, 2022

MOVIE REVIEW: VIOLENT NIGHT

 























An elite team of mercenaries breaks into a family compound on Christmas Eve, taking everyone hostage inside. However, they aren't prepared for a surprise combatant: Santa Claus is on the grounds, and he's about to show why this Nick is no saint.

Director: Tommy Wirkola

Cast:  David Harbour, John Leguizamo, Alex Hassell, Alexis Louder, Edi Patterson, Cam Gigandet, Leah Brady, Beverly D'Angelo

Release Date: December 2, 2022

Genre: Action, Comedy, Crime, Thriller

Rated R for strong bloody violence, language throughout and some sexual references

Runtime: 1h 52m

Violent Night is a bloody bit of Christmas camp that answers the question, what would happen if you threw Die Hard, Miracle on 34th Street and Home Alone into a blender.  Tommy Wirkola's film tries to balance over the top bloody action with some Christmas magic, only partially succeeding in frenzied spots before hitting noticeable lulls.  The film embraces it’s over the top violence which are what most people are coming for but it also takes long periods of time to try and set up a Christmas magic type subplot which just kills it's forward momentum.  The film would have been better served if those sequences were trimmed down allowing it to lean into the goofy Christmas mayhem.  David Harbour deserves a lion share of the credit for making this film work with an incredibly fun performance as an apathetic, disillusioned Kris Kringle.  Harbour is a generally likable performer which works well for him here as the Viking berserker turned Santa Claus, seriously, and child confidant.  His ability to switch between ferocity and heartfelt sincerity is rather impressive.  John Leguizamo serves as the film's villain, a role he's clearly having a ball playing.  It’s an over the top performance but it works perfectly with the film overall.  Beverly D'Angelo and Edi Patterson make the most of their limited screen time, it’s a shame the film didn't make better use of their talents.  Violent Night is a choppy affair but when it embraces its violent B-movie camp it’s a lot of fun.

C+

Saturday, August 20, 2011

MOVIE REVIEW: PRIEST

ON VIDEO

PRIEST



In a world ravaged by wars between humans and vampires, a renegade priest fights to rescue his niece from the legions of bloodsuckers who seek to transform the young girl into one of them. A battle-weary veteran of the last vampire war, warrior Priest (Paul Bettany) now resides in a heavily fortified city where the ruling Church is a greater menace than any creature of the night. When a pack of vampires abduct Priest's niece (Lily Collins), the vengeful holy man breaks his vows and promises to save the young innocent from a fate worse than death. He can't do it alone, but with a powerful warrior Priestess (Maggie Q) and his niece's boyfriend, a sharp-shooting sheriff (Cam Gigandet), on his side, Priest may have a fighting chance. Stephen Moyer, Karl Urban, and Brad Dourif co-star. ~ Jason Buchanan, Rovi

Director: Scott Charles Stewart

Cast: Paul Bettany, Karl Urban, Cam Gigandet, Maggie Q, Lily Collins, Stephen Moyer,
Christopher Plummer, Brad Dourif

Release Date: May 13, 2011

Rated PG-13 Intense sequences of violence and action, disturbing images and brief
strong language

Runtime: 1 hr. 27 min.

Genres: Action/Adventure

Review:

Priest is kind of like a dollar store Frankenstein monster of a film. It’s made up of so many sources that it’s hard to keep track of them. Occasionally, director Scott Charles Stewart hits the sweet spot with a few cool visuals or ideas that look like they could spring into something but just never do. Instead, you are left to trudge through a Blade Runner-esque world before heading into a Western-esque post apocalyptic world mixed with as many clichés as you can think of, throw it in a blender and call it a day. Paul Bettany string of truly questionable role selections, he’s really a fine actor, continues here as he looks like a holy roman Jedi while carrying the same demeanor he had in the woeful Legion, also directed by Stewart. Bettany looks like he came straight from that set and just had a quick wardrobe change and went right to work. Not that there’s much he can do given the script but he tries, in fact he’s so serious throughout that he could be passing a diamond as the movie progresses. Cam Gigandet is tasked with being his partner in their heroes quest and he distractingly bad in a bad film. Gigandet reads lines like a first year acting student, leaving you wondering if that was really the best take they could possibly get from him or if everybody was just in a rush to go home. The lovely Maggie Q looks lovely and cool in limited screen time. Karl Urban is mostly wasted as the villain here, in the sparse amount of time he’s given he looks like he’s begging to do some actual work but just isn’t ever asked. Christopher Plummer and Brad Dourif pass through on their way to other films. The strange thing and probably biggest sin Priest commits is that’s its actually fairly watch able, helped by it’s scant run time and brisk pacing, if it actually had any sort of worthwhile script it might have made for a solid B movie.

C-

Thursday, April 29, 2010

Movie Reviews: THE UNBORN

Saturday, September 12, 2009
Movie Reviews: THE UNBORN
ON DVD



THE UNBORN




Casey Beldon (Odette Yustman) hated her mother for leaving her as a child. But when inexplicable things start to happen, Casey begins to understand why she left. Plagued by merciless dreams and a tortured ghost that haunts her waking hours, she must turn to the only spiritual advisor, Sendak (Gary Oldman), who can make it stop. With Sendak’s help, Casey uncovers the source of a family curse dating back to Nazi Germany—a creature with the ability to inhabit anyone or anything that is getting stronger with each possession. With the curse unleashed, her only chance at survival is to shut a doorway from beyond our world that has been pried open by someone who was never born.

Cast: Odette Yustman, Gary Oldman, Cam Gigandet, Meagan Good, James Remar

Director: David S. Goyer

Opened January 9, 2009

Runtime: 1 hr. 28 min

Rated PG-13 for intense sequences of violence and terror, disturbing images, thematic material and language including some sexual references

Genres: Thriller, Supernatural Thriller



Review:




The Unborn is a hodgepodge of a horror film. Writer Director David Goyer seemed to be trying desperately to create something wildly original but instead just gave us a blended version of any recent Japanese horror remake, The Exorcist, Rosemary’s Baby, The Thing and just for the hell of it Denzel Washington’s The Fallen. Sprinkle liberally with a Kubrick like oddities ala The Shining with a dash of underwear exploration and you have The Unborn. It’s surprising that Goyer’s script is so terribly unfocused yet over done at the same time. Certain aspects of the story are over explained but others seem to just appear and disappear without notice. As a horror movie it strives for something different or disturbing but always ends up relying on the classic fright moments to get a cheap scare. As shown in Blade Trinity, Goyer as a director doesn’t have much of a talent for bring out anything discernible from his cast, the same is true here. Odettee Yustman headlines and spends the first 3rd of the movie walking slowly through darken hallways and bathrooms in some incredibly tight underwear. Once that passes she’s require to act and then things get a bit more dicey. Yustman delivers lines with all the conviction of a first year drama student and it doesn’t help that her character makes massive logical leaps for no apparent reason. It might help Yustman if the script had built more 3 dimensional characters to surround her with but she doesn’t and we are given two flimsy stock characters that are dispatched with zero impact. The smaller supporting roles are surprisingly well cast but terribly underused and underwritten. Gary Oldman and Idris Elba both have small roles and walk in and out of the film as if they were passing by to pay a ticket. Once Oldman leaves the film rushes to a swift conclusion with a twist that supposed to comes out of leftfield but was terribly obvious.




D+
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