The Doorman

Cast: Ruby Rose, Jean Reno, and Aksel Hennie 

Director: Ryuhei Kitamura 

92 minutes (15) 2020

Lions Gate DVD   

Rating: 6/10

Review by Ian Shutter

Traumatised ex-US military sergeant Alex ‘Ali’ Gorski (Ruby Rose, Batwoman) gets a new job as porter at New York residential hotel The Carrington, just closing for renovations by contractors. She’s estranged from in-laws the Stanton family, but struggles to re-connect over Easter dinner. Jean Reno plays Victor Dubois, the gang-leader of thieves, holding an elderly couple hostage to expose the man’s dark past in Europe, and find their loot buried in the walls.

The Doorman is a standard US action-thriller with a rather predictable B-movie plot (as, essentially, it’s Die Hard set in an old block of flats), but with its home-invasion menace, and enough well-shot kung fu sequences and stylish gun-fights, it often rivals John Woo’s filmic signature. Secret doorways and hidden passages add extra appeal to this building’s maze of empty corridors where henchmen stalk feisty heroine Ali. You won’t have to be a fan of Rose and/or Reno to enjoy this, but it certainly helps.   

Since his feature debut with zombie mystery-thriller Versus (2000), Japanese film-maker Ryuhei Kitamura has managed to dazzle and impress genre fans, with samurai adventure Azumi and superhero fantasy Sky High (both 2003). He has proved adept at suspense in grisly American-horror debut The Midnight Meat Train (2008), and glossy comedy in slick heist movie Lupin The 3rd (aka: Lupin III, 2014). Although Kitamura’s credits include fun sci-fi epic Godzilla: Final Wars (2004), tense sniper-movie Downrange (2017), and a segment (titled ‘Mashit’) for horror anthology Nightmare Cinema (2018), his film back-list cannot match the vast range of contemporaries like prolific Takashi Miike.

However, a high level of instinctive ability in Kitamura’s proficiency means that his varied films always maintain a consistency of quality that’s commendable, instead of being only variably-good like Miike’s relentless churn-out of screen products. The Doorman is a welcome addition to 21st century cinema’s polished brand of internationalism. This is a worthwhile actioner with its cast and crew collected from all around the world, blending its variety of global skills and multi-cultural talents, with entertaining results for a fast-moving thriller that offers a lot more than just the sum of its parts.      

 

Bonus: In Service Of Others - cast interviews (12 minutes).

Bill & Ted Face The Music

Cast: Keanu Reeves, Alex Winter, and Samara Weaving

Director: Dean Parisot

92 minutes (12) 2020

Warner Bros. 4K Ultra HD 

[Released 25th January]

Rating: 8/10

Review by Christopher Geary

When it began in 1963, Doctor Who was intended to have a partly educational aspect but it wasn’t until much later, following the chronological expeditions of Terry Gilliam’s dream-fantasy Time Bandits (1981), that the American cult-comedy Bill & Ted’s Excellent Adventure (1989), fully explored amusingly barmy, functional sci-fi trick of collecting legendary famous figures from history, for a school’s lesson plans, and theatrical presentation at students’ exams. Being a better comedy movie, of its type, than contemporary rivals, like Wayne’s World (1992), eventually established B&TEA as a pop phenomena that's transcended generations. Despite its troubled release - stymied by pandemic restrictions, this belated sequel is, very probably, the final epic about doomed hopefuls Ted Logan (Keanu Reeves) and Bill Preston (Alex Winter), and it’s a delightfully witty triumph of youthful enthusiasms over wholly middle-aged aspirations.  

To unite the world and save reality, from temporal glitches and chronological collapse, Bill and Ted learn they must create a wondrous song to fix the wobbly cosmic turn-table. Their main problem is a strict deadline, minutes away, but at least they have use of a time machine... Meanwhile, Bill and Ted’s kids helpfully pull together an extraordinary super-group, including Jimi Hendrix, young Louis Armstrong, and Mozart. On bass guitar, Death - the Grim Reaper (William Sadler) returns from Bill & Ted’s Bogus Journey (1991). In a flurry of sketches, Reeves and Winter revel in portraying vastly different versions of Ted and Bill - so often tragic losers, like prison hulks or death-bed seniors - discovered on the time-line of infinite diversity for this franchise’s multi-verse. After Bogus Journey’s parody of The Seventh Seal (1957), this movie spoofs Terminator, with a clumsy robot assassin called Dennis. Inevitably a parody of dysfunctional-family dynamics, this movie directed by Dean Parisot forms a bridge over millennial concerns, and so it works better than any similar Hollywood project that might have been motivated simply by financial gain or a career-salvaging comeback.    

Brigette Lundy-Paine is marvellous fun as Ted’s daughter Billie, doing a cool impression of her dad’s jittery mannerisms and goofy expressions. This is quite uncannily effective as wry comedy, and a charming performance that is funnier than Keanu’s aged letdown Ted. Bill & Ted Face The Music rises above its ridiculous sci-fi ideas, and typical genre sitcom satire, when it reaches for a certain something of cultural significance, much like Rush’s concept-album of profoundly philosophical allegory Hemispheres (1978), and the historical event Live Aid (1985), to unite all humanity with music. B&TFTM is remarkably silly, of course, but it still dares to ask the naive but ultimately heartfelt question, about co-operation instead of pointless antagonism: why can’t we all just play along together?  

Extras on Blu-ray disc:

Bill & Ted comic-con panel (42 minutes)

Be Excellent To Each Other - casting choices

A Most Triumphant Duo - characters

Death’s Crib - 'Hell' set-visit 

Tenet

Cast: John David Washington, Robert Pattinson, and Elizabeth Debicki

Director: Christopher Nolan       

150 minutes (12) 2020

Warner Bros. 4K Ultra HD

Rating: 9/10

Review by Christopher Geary

A nameless CIA agent (John David Washington, BlacKkKlansman), identified here only as the Protagonist, investigates a sinister plot against life, the universe, and everything. His mission to save the world is aided by skilled colleague Neil (Robert Pattinson, Twilight, High Life, Cosmopolis), and involves art expert Kat Barton (Elizabeth Debicki, Princess Diana in TV series The Crown), in hard confrontations with Russian super-villain Sator (Kenneth Branagh) whose Machiavellian ambitions puts all existence at great risk. Globe-spanning adventure, from Oslo to Mumbai, and back again, is essential for such movies. But, what if you meet yourself going the other way?

Complexity of narrative unfolds like a grand puzzle, part jigsaw, part chess-problem, part spy-fi conspiracy, where memory collides with deep secrets hidden even from the Protagonist himself. Following convoluted SF, like Rian Johnson’s Looper (2012), and the Spierigs’ Predestination (2014), this fascinating exercise in precognitive mystery and metaphysical crimes has a time-machine called the ‘Turnstile’ that weirdly inverts entropy for objects and people. Ever since Memento (2000), intellectual auteur Christopher Nolan has been playing in paradox sand-pits, with a requirement for perceptual adjustments, finding order in the chaos of a new-style hyper-reality. A car-chase in Tenet explores far more than just fast-moving vehicles on a roadway. Viewers must question what’s happening on-screen during violent action scenes that re-mix layers of cause and effect, into bizarre and practically cartoonish live-action, often with an intentionally comical affect, that only makes any sense, later on, when cleverly re-played from another perspective.

Fans of Nolan’s brain-melting escapades, for movies like Inception (2010), and intricate drama of magical secrecy in The Prestige (2006), should fully appreciate how cerebral aims lead to rare moments of a wonderful ambiguity, eventually hitting moving-targets we cannot see at first. Story-telling with fractured episodes and fragments of need-to-know info, taken out of its contextual meaning, defy simple logical explanation. Learning can match discovery, if the timing is right. Stunts and visual effects blend into seamless stunning unity for some impressive, kinetic impacts. Nolan piles on greater scope and effortless scale to reach a climax that depends on many tiny details for complete success. Change one variable, and nothing works exactly as planned, unless there are second and third chances to correct faults and mistakes. As a master-class in movie editing, Tenet scores very highly. Pattinson and Debicki easily steal the main acting honours. Michael Caine enjoys a nice sit-down cameo as British agent Sir Michael Crosby, Clemence Poesy coasts though vital exposition as the scientist, while as a military team-leader Aaron Taylor-Johnson brings a hefty dose of rationality just before plotting is lost in confusion. 

Avoiding 007 clichés, like Bond is a nasty rash, Nolan subverts generic standards in every way possible, for a science fictional picture that remains, recognisably, a super-spy movie. Despite nine seconds of violence cut from this British version (for a certificate 12, instead of an uncut 15 rating), this thriller excels at what Nolan always does best. It delivers amazing staging of explosive action scenes that engage your mind equally as well as pricking your nerves. 

Skyfire

Cast: Jason Isaacs, Hannah Quinlivan, and Shawn Dou

Director: Simon West      

97 minutes (12) 2019

Patriot Blu-ray

[Released 23rd November]

Rating: 7/10

Review by Steven Hampton   

Cinema’s first wave of CGI-candy catastrophes included Roger Donaldson’s Dante’s Peak, and Mick Jackson’s absurdly entertaining Volcano (both 1997), but this similarly themed Chinese disaster movie ups the ante of spectacular visual effects to an epic scale, with a knowing nod and a wise wink to various exemplars of its now familiar subgenre.   

After the Tianhuo eruption, its Pacific island site becomes a theme park with geo-thermal power and stylised buildings, as if sci-fi capitalist futurism has conquered primal nature’s force. Professor Wentao Li (Xueqi Wang) is wary of his daughter’s involvement in the same research area that killed her mother, but headstrong scientist Meng (Hannah Quinlivan, Skyscraper), interprets tech sensor data with intuition, and conceals any raw fears. Her team’s ‘Zhuque’ system checks magma flows and gaseous emissions, and is supplied complete with handy 3D holographic displays. Resort mogul Jack Harris (British character actor Jason Isaacs, Star Trek: Discovery), is a token westerner in the picture’s main cast, and yet his performance dovetails perfectly with Asian co-stars. 

“The snow is burning”  

British filmmaker Simon West’s track-record as a director is patchy, with curious failures, and notable star-vehicles, but his work forms a diverse and quite interesting list, starting with prison-plane comedy-thriller Con-Air (1997), which helped establish Nicolas Cage as Hollywood action-man. Likewise, West’s adventure based upon a video-game, Lara Croft: Tomb Raider (2001), diverted Angelina Jolie’s Oscar-winning career into popular thrillers. Watchable genre remakes soon followed, including psycho-horror, When A Stranger Calls (2006), West’s successful 2011 updating of Michael Winner’s cult-worthy Charles Bronson drama, The Mechanic (1972), and then another picture starring Jason Statham, maligned unfairly by box-office failure, modern noir, Wild Card (2015), penned by William Goldman and previously filmed as Las Vegas crime drama, Heat (1986), starring Burt Reynolds.

West tried again, with British spy thriller Stratton - starring Dominic Cooper, and Antonio Banderas’ comedy-actioner Gun Shy (both 2017), before continuing his global quest for a witty re-mix that resulted in Skyfire. This glossy production harks back to the celebrated disaster movies of the 1970s, but cleverly builds upon the off-beat appeal of recent Asian movies, freshening up Hollywood clichés with cutting-edge imagery and wholly unfamiliar faces. Early scenes are busy with intros, of course, but also careful to position the heroes as central to exposition.

There’s one almost fairytale moment of romance just before the underground blows up, and from then onward it’s raining explosions, blazing landscapes, preposterous but fun scenes of rescue, with gravity-defying stunts, and deadly perils that just happen like falling off a cliff. A pair of monorail cable-cars, with escaping passengers, are endangered upon broken tracks. Eerie static charges haunt the very air, before rivers of lava surge in, wrecking the best laid plans of speculative investors, much like all those misbehaving dinosaurs that overwhelm Spielberg’s Jurassic franchise. Frantic searchers, looking for stranded survivors, soon have to contend with the localised doomsday, when this island’s model apocalypse arrives with hurricane style clouds of ash.

West brings his usual competence to journeyman action where no experimental creativity simply means we can always and easily tell what’s happening, despite the ongoing chaos. Thankfully, as tragic events are repeated, characters learn that most cyclical constants in human history are not about careers of discovery and invention, political gain, or cultural celebrity, or making mega-money for the building of empires. True tales of humanity are chiefly nothing more than a brave struggle for endurance against nature. Despite its composition from a range of recognisably international tropes, Skyfire is certainly one of those briskly paced and highly enjoyable stories.

Rogue

Cast: Megan Fox, Philip Winchester, and Greg Kriek  

Director: M.J. Bassett     

103 minutes (15) 2020

Lions Gate DVD 

[Released 16th November]

Rating: 6/10

Review by Donald Morefield 

After the absurdist feline fantasy of Cats (2019), with its anthropomorphised city-street strays turned into musical protagonists by recent advancements in photo-real animation, here’s a very basic monster-movie, enhanced with visual effects for a big cat, plus soldiers-of-fortune mayhem, shot with a hectic pace and bullet-riddled fury, over many sudden and gory deaths.

Megan Fox probably got so tired of dealing with alien giant robots, in early Transformers, then hanging out with TMNT heroes for superhero satire, and far too many other, merely decorative, roles. Leading a group of mercenaries here, must have appealed, greatly, for Fox to extend her sexy stardom into action heroine. She tackles human-traffickers in the movie’s quickly tragic first sequence before a farm-raised but freed lioness begins stalker ‘n’ slasher predation during the armed rescuers’ layover night in an abandoned house.

 

Welcome presence of Philip Winchester links this African actioner to TV series Strike Back (2010-8), where he played commando Stonebridge, directed well in several episodes helmed by British filmmaker Michael J. Bassett, explaining that connection. Bassett previously made horrors Deathwatch (2002), and Wilderness (2006), and fantasy Solomon Kane (2009), and then changed screen credits for transgender name M.J. Bassett after 2016.

It’s easy to view this atypical ‘Megan Fox movie’ as a personal project for Bassett, whose early interests and pursuits included wildlife photography and becoming a veterinarian in Africa. As Rogue develops from standard 'macho' actioner into a monster movie, where a lone lioness hunting at night turns the nervous men into easy prey, the heroine pointedly asks some bad guys to consider, “which bitch is gonna kill you?” Hostage girls run-around in cat ‘n’ mouse scenes that are now so common in horror genre productions, while varied knife-fights and shoot-outs in the burning camp are familiar as grisly bloodbaths and noisy showdowns from too many movies set in third-world war-zones.

Although visual effects for the ‘rogue’ lioness are clearly not of premier quality, it’s a minor fault that hardly matters when nocturnal sequences are constantly bordering upon nightmarish surrealism. There’s also the astute presentation of rebel females, and their fierce impacts upon the brutal containment systems of patriarchal oppression that makes this, decidedly offbeat, star vehicle far more than just another disposable B-movie.

Jeepers Creepers

Cast: Gina Philips, Justin Long, and Jonathan Breck 

Director: Victor Salva      

91 minutes (15) 2001 

101 Films Blu-ray region B

[Released 26th October]

Rating: 7/10

Review by Christopher Geary   

This highly praised teen-horror, from the maker of the underrated Powder (1995), starts out as a road movie, then turns into psycho-chiller, before revealing its bizarre creature and entering the subgenre of monster movies.

Trish and Darry (excellent performances from leads Gina Philips and Justin Long) are a casually bickering sister and brother, driving home from college on a term break when they are caught up in a noisy road rage incident against a manically-driven, rusty old lorry. The youngsters also spot the same vehicle parked next to a disused church, and are witnesses to the driver’s extraordinarily suspicious behaviour, apparently dumping bodies into a cellar. When the young heroes decide to go back and investigate, Darry makes a shocking discovery...

The first sequence is admittedly inspired by Spielberg’s Duel (1971), and is only the first in a handful of borrowings cleverly woven into a fairly unpredictable rural-horror legend. Much to his credit, director Victor Salva is mindful of what he takes from other works, such as Bill Norton’s cult TV movie Gargoyles (1972), and how he uses it. So this, and similarly notable references, are likely to win viewers’ appreciation, not our scorn - as genre homage, not random theft.

Basically, this small-town shocker is a variation on modern vampire horrors, with a weird fiend - the Creeper, plenty of headlong action sequences in the wake of a suspenseful first half, and a purposely cheerless ending. The choice of tragedy for the emotionally-charged finale, instead of the typically spectacular but happy closure we might have been expecting, is commendably brave, and it pays off handsomely with great psychologically wrenching moments that are more believable than any safer option.

However, what makes Jeepers Creepers so worthwhile is Salva’s expert balancing of gallows humour and traditional horror movie conventions. There’s a grisly ‘house of pain’ - with fleshy décor that reminds us of the original Texas Chain Saw Massacre, and the graphic ‘artistry’ of Clive Barker’s evil Cenobites in the Hellraiser series, but there’s also originality by design in the displays of curiously preserved bodies, and particularly their rationale within the main plot. Although there are a number of ghastly fright scenes, this horror is definitely not about pointless blood and guts just for the sake of satisfying fans of gore.

Shot in central Florida, the notion of ancient evil, seemingly derived from tribal folklore, lurking on this American peninsula is powerfully evoked, and the movie’s use of an often-recorded song from 1938 helps to generate an appealing air of sinister but witty fun that haunts the whole picture. Other things in the film, such as the attempted intervention by a psychic (Patricia Belcher) during the siege at a police station, and a superb cameo by character-actress Eileen Brennan in a fine mid-story scene (“That’s not my scarecrow”), attach myth-building elements to the narrative, and the attraction of the sort of quality supporting roles that are typically required nowadays to support any movie series. Unsurprisingly, Salva made two sequels, Jeepers Creepers 2 (2003), and Jeepers Creepers III (2017). 

Blu-ray disc extras:

• Director’s commentary, plus another track by Salva, Philips, and Long
• Retro featurette - Jeepers Creepers: Then & Now (36 minutes)  
• From Critters To Creepers (19 minutes) 
• Town Psychic - Patricia Belcher interview (16 minutes) 
• Gallery, deleted scenes, trailers.

The Strangers

Cast: Liv Tyler, Scott Speedman, and Gemma Ward  

Director: Bryan Bertino    

86 minutes (15) 2008

Second Sight Blu-ray region B  

[Released 28th September]

Rating: 7/10

Review by Christopher Geary 

Home-invasion movies have long since become a staple of modern horror pictures, partly resulting from combination of siege thriller with slasher shocker, especially following such notable remakes as Cimino’s Desperate Hours (1990), and Scorsese’s Cape Fear (1991). Themes of urban anonymity and masked antagonists adds a weighty layer of paranoia to any such suspenseful plotting. The Strangers builds up considerable tension with a rural setting, where, at four o’clock in the morning, fright begins with a shadowy visitor asking “Is Tamara home?” 

After going to a wedding, then falling out over his proposal, Kristen (Liv Tyler) and Jamie (Scott Speedman) end up in a country house troubled by annoyingly persistent nocturnal visitors who turn frightening by their lurking threats, even before they resort to physical violence. The spectre of Halloween (1978) haunts this with a similarly eerie supernatural mystery, generating shifting moods and electrifying tones - where hell is found in ‘hello’, and Hell is certainly other people. 

“Why are you doing this?” The tragedy of a first killing ushers this nightmare movie away from a simple crime drama, where judgements against victims’ foolish or illogical actions might be valid criticism, and locates The Strangers in that ‘Twilight Zone’ of inescapable terror beyond genuine rationality that makes human aspects fearsome, while unexpected noise matches the equally disquieting charge of deathly silence. Yes, of course, the ‘night people’ want you dead, simply “because you’re home”, and time’s not on your side in this remarkably modern twist on typical haunted-house narratives. When daylight eventually comes, it doesn’t bring a welcome return to clarity or sanity. Only further torture awaits. Murders of madness remain.

Sequel movie The Strangers: Prey At Night (2018) is a family affair, although they are a quite dysfunctional group to start with, while leaving the suburbs for a lakeside getaway, where routine stalk ‘n’ slash events play out without any of the previous picture’s rather claustrophobic shocks. Only a few jumpy scares distinguish this from the 1980s’ cycle of subgenre horrors. Whereas Bertino’s original showcased iconic playing of Merle Haggard’s song Mama Tried, this follow-up has a couple of Kim Wilde’s hits as ineffective, bemusing counterpoints, while its main synth score is blatantly inspired by John Carpenter’s creepy tunes, and then it goes on to steal climactic imagery from Carpenter’s Christine (1983), and Hooper’s The Texas Chain Saw Massacre (1974). There’s not much sense that sequel director Johannes Roberts opens up The Strangers’ limited set-pieces to a wider scenario, he just unapologetically recycles, almost randomly-chosen, action-horror stuff. 

Blu-ray disc extras:

• The cinema version (85 mins.), plus an extended cut (87 mins.)
• New interviews with director Bertino, editor Kevin Greutert, and star Liv Tyler
• Deleted scenes and trailer