Category Archives: Outtakes

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Outtakes

At the Mountains of Madness

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The Sound

by Adam Barney

“Hey, what’s that?” is a phrase that has driven the majority of human exploration, from the first cave person to see a hill to your dad hearing a noise outside at night. This phrase also drives the plot in The Sound, as climbers ascend a forbidden mountain to check out what’s on top.

The CIA is aware of a mysterious signal emanating from the top of a mountain range in indigenous territory. A failed climbing expedition in the 1950s has brought them no closer to the truth, as none of the climbers returned. Now, six decades later, the tribal authority has agreed to let another team of climbers attempt the ascent. The mountain is sacred so they can’t drill or otherwise deface the surface, so the climb will also be technically difficult.

It is clear that writer/director Brendan Devane is an avid climber. There’s an attention paid to the specific details of the climbing depicted in the movie that you don’t see in other mountain climbing films. Characters carefully latch themselves into crevices, pitch their mountain-side tents, and otherwise skillfully scale a sheer granite cliff. No one is going to make an epic leap with an ice axe in each hand.

Cinematographer Ryan Galvan also does a tremendous job of capturing some breathtaking shots of the climbers as they ascend. They likely used professional climbers for the long shots and their cast for the close-ups, but it all blends together convincingly.

Outside of the climbing elements, the movie suffers from a generic sci-fi plot and dull characters. You won’t find yourself caring about any of them as they meet their various ends as they get closer to the mysterious object. There’s a fight scene that has some Power Rangers-esque choreography, including magically teleporting characters, that is truly groanworthy.

Some notable faces like William Fichtner (Blackhawk Down, The Dark Knight), Kyle Gass (Tenacious D), and Alex Honnold (Free Solo) show up for brief cameos, but they don’t really boost the movie, other than having their names attached. There’s a clear strength when The Sound is focused on the actual climbing, but it falls flat once it tries to mash in its sci-fi elements.

Outtakes

Pumpkin Spice Horror

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Eye for an Eye

by Hope Madden

Way back in 1988, legendary practical FX and make up genius Stan Winston directed his first feature film, Pumpkinhead. In it, a grieving father (Lance Henriksen) awakens an unstoppable evil to avenge his terrible tragedy.

The film remains effective because it is so genuinely heartbreaking. Winston, who also co-wrote, understands the unreasonable, destructive nature of grief, and that is what every frame in the film depicts.

Fast forward nearly 40 years, and veteran music video director Colin Tilley shapes Elisa Victoria and Michael Tully’s similarly themed script Eye for an Eye into something like Pumpkinhead lite.

Still reeling from the car wreck that took her parents, Anna (Whitney Peak, Gossip Girl) moves in with Grandma May (S. Epatha Merkerson, Chicago Med) in the Florida bayou. Grandma’s blind, but behind those big, dark glasses is evidence of something cursed, something supernatural. And now that Anna has gotten mixed up with a couple of locals who bullied the wrong kid, she might be cursed as well.

What works: some really believable performances almost salvage the film. Reeves has an understated, shell-shocked approach that slows down reactions, giving proceedings a dreamy quality while ensuring audiences keep up with plot twists.

Both Laken Giles and Finn Bennett veer outside of cliché as the nogoodnik townies Anna takes up with. And veteran Merkerson elevates the villain-in-waiting grandmother character with endearing bursts of humor.

Everything that works in the film delivers a YA drama. Three lost teens, one finding her way, the other two already poisoned by circumstances, face the music after an ugly incident.

But Eye for an Eye is a horror movie. And besides Grandma May’s empty stare, nothing genre related works. The confused Freddy Krueger-esque mythology feels Scotch-taped onto an indie drama.

Nightmare sequences are weak, backstory feels convenient and of another film entirely. The production values impress, giving creepy bayou vibes that emphasize the horror. But conjuring both Pumpkinhead and A Nightmare on Elm St. sets a very high bar for an indie horror flick, and Eye for an Eye can’t deliver on that promise.

Outtakes

Mommy Can You Hear Me?

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Echo Valley

by George Wolf

The barn roof at the Echo Valley horse ranch is bad. Like $9,000 bad. And when Kate (Julianne Moore) makes the trip to her ex-husband Richard’s (Kyle MacLachlan) office for some financial help, we get some nicely organic character development.

In those few important minutes, director Michael Pearce and writer Brad Ingelsby let us know Kate and Richard’s daughter Claire may have some serious issues, and that Kate may be enabling her.

From there, we can guess that Claire (Sydney Sweeney) will be showing up soon.

She does, and says she’s clean. She just needs for Mom to buy her another new phone while she breaks away from her boyfriend Ryan (Edmund Donovan). But of course Ryan shows up, followed by their dealer Jackie (Domhnall Gleeson – a nicely subtle brand of menacing), and it isn’t long before a frantic Claire comes home wearing someone else’s blood.

The somewhat pulpy, kinda noir-ish pieces aren’t exactly new, but Pearce (Beast) and the terrific ensemble always find frayed edges that keep you invested. We’re set up to pull for the put-upon Kate, then continually given reasons to doubt that very support.

Does Kate’s aversion to tough love make her an easy mark? Maybe, but maybe Kate’s smarter than anyone expects. Especially Jackie.

Pearce keeps the pace sufficiently taut and supplies some hypnotic shots of a countryside that comes to play an important part in the mystery – as does modern tech. Instead of copping out with a 90s timestamp, Echo Valley leans into the texts and tracking. True, the resolve might not be water tight digitally, but the timeliness gives the tension some relatable urgency.

It’s also refreshing to find a streaming release that doesn’t continually cater to lapsed attention spans. From that opening meeting in Richard’s office, Echo Valley assumes you’re settled in for the ride, all the way through a rewarding deconstruction of events and a final shot that cements what the film was getting at all along.

Outtakes

I Fought the Law

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The Prosecutor

by Brandon Thomas

Age isn’t much of a factor for action stars these days. Liam Neeson, Sylvester Stallone, Harrison Ford, and Tom Cruise (c’mon, dude is 63) are still throwing punches, shooting guns, and hanging off planes when most actors are looking for cushy dramas. However, guys like Donnie Yen take it to another level by still pumping out movies like The Prosecutor, where Yen continues to showcase his martial arts prowess. 

Fok Zi Hou (Yen) leaves the Hong Kong police to help fight crime from a different vantage point: the prosecutor’s office. As Fok takes on his first case, he quickly realizes that fighting crime in the courtroom can be just as dangerous as fighting it on the streets. Teaming up with a young detective from his former unit, Fok dives into a vast conspiracy that seeks to destroy the life of a wrongly imprisoned young man.

Let’s get this out of the way first: rooting against Donnie Yen is tough. The man is charisma personified. Even without the impressive martial arts skills, Yen would still be wooing audiences with his dashing good looks, quick wit, and devilish sense of humor. Most action stars are lucky to have one of those qualities. 

Yen – also serving as the film’s director – isn’t afraid to touch on his character’s (and his own?) age. Fok routinely comments on how he’s aged out of running down bad guys on the streets. You’d never know it, though, as Yen doles out serious whoopins with ease. It’d be easy to see this subtle commentary as Yen taking a meta look in the mirror.

And speaking of the action, while it might be a bit more sparse than I would’ve liked, when the movie comes alive – it really comes alive. From the opening shootout to the climactic fight on a moving train, Yen keeps the energy up and the fights fresh. It’s a testament to Yen’s longevity in the business that even after 40 years of doing movies, his creativity as an actor and filmmaker is still growing and flourishing. 

While the action portions of The Prosecutor jump right off the screen, the section focused on the legal drama isn’t able to match the former’s passion and energy. Clearly, Yen was attempting to inject something a bit more meaningful into this otherwise “by the books” action film. Unfortunately, this clash of tones makes the entirety of the film feel a bit undercooked and unsatisfying. 

While portions of The Prosecutor don’t live up to expectations, you’ll get everything you want and more when Donnie Yen is kicking dudes in the face.

Outtakes

Hunting Season

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Predator: Killer of Killers

by Hope Madden

In 2022, director Dan Trachtenberg reinvigorated the Predator franchise by taking the story back in time and investing in character. Prey (especially the Comanche language dub) unveiled thrilling new directions for the hunt to take—directions Trachtenberg picks up with three short, animated installments in Hulu’s Predator: Killer of Killers.

The anthology moves between three different earth-bound time periods: Viking conquest, feudal Japan, and WWII. Each short is focused on an individual warrior—one whose cunning and skill draws the attention of a predator on the hunt.

While the overall animation style can be tiresome, there are sequences that impress, even wow. This is not a kids’ cartoon. There’s carnage aplenty, and when it’s at Ursa’s (Lindsay LaVanchy) hands, it’s nasty business gloriously rendered.

The first and best installment, that of Ursa the Viking, packs the screen with visceral action and memorable characters. It also hits on themes of family, loyalty and vengeance that Trachtenberg and co-writer Micho Robert Rutare return to in the second installment. Here, Samurai brothers do battle with the beast, before an alien invader sets his sits on a cunning young mechanic turned fighter pilot in WWII.

Each story boasts a quick, engaging, violent narrative that adds a bit of fun to the canon. The wrap up, which enshrines these individual tales into a larger mythology, feels cynical and uninspired by comparison.

Credit Trachtenberg, along with co-director Joshua Wassung, for continuing to push the IP in new directions. But the Predator series has long understood its flexibility and shown a willingness to experiment. Some of these experiments (Prey) have worked better than others (Alien vs. Predator: Requiem). But most of the efforts have been, at the very least, entertaining.

Predator: Killer of Killers likewise entertains. And it fills the gap between 2022’s top tier Predator effort and Trachtenberg’s next adventure in the series, due out later this year.

Outtakes

A Mission Not Worth Taking

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Resurrection Road

by Daniel Baldwin

Genre mash-ups are a tricky thing. A consistent tone is hard enough to maintain when one is working in one genre, but once you add any additional genres into the mix, the odds of things going off of the rails increase exponentially. More often than not, they tend to fall apart. After all, for every From Dusk Till Dawn or Sinners, you have a Cowboys & Aliens or an Abraham Lincoln: Vampire Hunter.

Writer/director Ashley Cahill’s Resurrection Road is a genre mash-up, melding a Civil War men-on-a-mission tale with a heavy dose of supernatural horror. A squad of Black Union soldiers is tasked with a deadly clandestine mission to take out the heavy cannons at a nearby fort so that the army can safely approach it a few days later. It’s effectively a suicide mission and one that the men are blackmailed into accepting. One that would be impossible enough on its own in a standard war actioner but is now made even more impossible with the additional supernatural threat at work.

Malcolm Goodwin (iZombie, Reacher) is our lead and, as always, his presence alone elevates the material. His protagonist, Barrabas, is the most complex and interesting character in the film and Goodwin does everything in his power to carry Resurrection Road across the finish line. It’s not enough.

This isn’t the first time someone has attempted to craft a Civil War-era horror/action hybrid. Alex Turner’s Dead Birds attempted something similar a couple decades back. Making any sort of period piece on a low budget is a tall order, as one has to not only get the dialogue right, but also the production design. Resurrection Road unfortunately comes up short in both areas.

Fans of the ever-underrated Goodwin might still want to check this out, as he gives it his all. Folks who really enjoy period piece horror might also find something of interest here. Otherwise, it is a hard film to recommend. There’s always something to be admired in a project that’s reach exceeds its grasp, but in the end, this film just doesn’t measure up.

Outtakes

Stab Me With a Spoon

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Fear Street: Prom Queen

by George Wolf

If you’ve been waiting for Netflix to bring their bloody Fear Street fun to the 1980s, Prom Queen is here to gag you with a spoon (or stab you with a hatchet). But after some satisfying time traveling to the 90s, the 70s, and 1666, part four of the series proves the devil is in the details.

Really, one big detail.

After adapting the original trilogy of R.L. Stine’s Fear Street books, writer/director Leigh Janiak gets only an executive producer credit here, and her absence stands out like a new zit on the night of the big dance.

It’s 1988 in the cursed town of Shadyside, and outcast Lori Granger (India Fowler) tells us she is running for Prom Queen. Seems the town is still whispering about what Lori’s Mom did to her Dad years ago, and Lori wants to prove her worth. Standing in the way? Only Queen Bee Tiffany (Fina Strazza) and her “Wolfpack.”

That, plus the masked, red poncho-wearing marauder who starts picking off the Prom Queen candidates one by one.

Director and co-writer Matt Palmer provides the requisite kills, but can never capture the fun that has made Fear Street such a blast to visit. To start with, the time stamp is off. Where’s the big hair, the slang and the fashions from the late 80s? The production has also switched music supervisors, leaving us with needle drops that are a few years off the mark.

The homages to classic horror, Heathers and Mean Girls seem to be here more as an expected requirement than an understood assignment. Plus, the killer’s identity is not much of a surprise while solid performers such as Katherine Waterston and Lily Taylor are wasted with shallow, throwaway roles.

Is there an After Prom? Maybe that’s where the fun is.

Outtakes

Get Your Drink On

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Fountain of Youth

by George Wolf

Knock, knock.

Who’s there?

Bab’s uvula.

Bab’s uvula who?

I don’t know, Babs, but I do know this: if you’re going to decipher the map to the fountain of youth, you’ve got to raise the wreck of the Lusitania and grab the long-lost Rembrandt painting that’s still in the ship’s safe.

So they do that, just like it was a random Tuesday, which clues you in to how ridiculous Apple TV’s Fountain of Youth can get. But it is pretty fun ridiculousness, at least for a while.

Years ago, Luke Purdue (John Krasinski) and his sister Charlotte (Natalie Portman) went on many adventures with their archeologist Dad. But now Charlotte is a divorced Mom working as an art curator who – according to her brother – could use a bit of excitement.

And Luke has just the thing. Billionaire Owen Carver (Domhnall Gleeson) has hired Luke to locate the Fountain of Youth. Owen is dying of liver cancer, and since he can afford health care, he’s financing the expedition in hopes of finding a cure and drinking from it.

So they’re off to raise wrecks and piece together clues, with Luke cracking wise, Charlotte struggling to be the voice of reason, and the whole team trying to stay one step ahead of the super sexy Esme (Eiza González) and her group committed to protecting the legendary Fountain.

Yes, James Vanderbilt’s script is lousy with Indiana Jones, National Treasure and Da Vinci Code inspirations – along with the explanatory dialog that seems required of streaming releases. But, director Guy Ritchie’s snappy direction and the chemistry of this veteran cast break down your impulse to write the whole thing off. There’s action, derring-do, mystery solving, and enough archeological super-heroics to make you wonder if this was some discarded idea for an Indy sequel.

And as you’re wondering how they’re going to get out of the adventure corner they’ve painted themselves into, along comes act three to deliver a pretty shameless Raiders of the Lost Ark imitation. I know, that was decades ago, but come on.

Stanley Tucci’s late cameo cements the intention to continue these adventures with future films, which could be promising. Krasinski makes a likable hero, his flirting with González gives off frisky sparks and Portman classes up the script’s attempts to just make her the wet blanket.

Keep the action and the will-they-or-won’t-they sparring between Luke and Esme, beef up Charlotte’s character and for Lord’s sake stop raiding the crypts of other classic adventure films.

Then you might just have something, Babs.

Outtakes

That’s His Name, Don’t Wear it Out

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Pee-wee as Himself

by Hope Madden

If there’s one thing Matt Wolf’s 2-part documentary Pee-wee as Himself does, it reminds you what a cultural phenomenon Pee-wee Herman was in the 80s. Movies to TV to MTV to toys to talk shows, he was everywhere and he was beloved by children, college kids, and adults alike.

Who would have guessed that this goofy, bow-tied man-child could steal so many hearts? Or how decidedly and abruptly it could all have ended?

The filmmaker walks an interesting line. The Pee-wee story seems custom-made for a rags-to-riches-to-rags doc, but that’s clearly not what either Wolf or Paul Reubens—the man behind the bowtie—wants.

Unbeknownst to Wolf, during the filming of the documentary, Reubens was in the midst of the 6-year battle with cancer he would lose on July 30, 2023. Knowing now what he did not know then, Wolf lingers over weighty turns of phrase.

Charmingly acerbic but often candid, Reubens is openly reluctant to hand over control of his image after so many years of calculating every detail of his public life. Part of what makes the film so electric is how early and often the two butt heads over which of them ought to be in control of the documentary. This conflict itself paints a portrait of the artist more authentic than any amount of historical data ever could.

Wolf pulls from 40 hours’ worth of interviews with Reubens, who is playful, funny, and occasionally confrontational and annoyed—mainly with Wolf. The filmmaker flanks those conversation snippets with family photos and video from the actor’s massive collection.

The utterly delightful Episode 1 introduces a Paul Reubens unknown even to his most ardent fans (of which I am most certainly one). We’re privy to the foundational yearnings and explorations, choices and happenstances that led the eccentric and creatively gifted young Reubens toward abandoning himself entirely to his adorably oddball alter ego.

These clues to the early budding of the genius are as fascinating as clips from his work on The Gong Show and with The Groundlings are joyous. And for those who’ve loved Pee-wee since childhood, footage from his HBO special, early Letterman appearances, and of course, Pee-wee’s Big Adventure thrill to the point of tears.

Episode 2 could be called Post Adventure. P.W.  Herman was at the top of the world and still climbing. One blockbuster film under his white belt, Pee-wee was about to conquer, of all things, children’s television. Wolf reminds his audience—those who may not know and those who may have forgotten—of the show’s subversive genius.

The inevitable tragic downfall haunts the second film from its opening shot, but neither the filmmaker nor Reubens play the victim card. Whether recounting the collateral damage of his fame (partnerships fractured and friends lost), his career missteps (Big Top Pee-wee), or the immediate and deafening public reaction to his 1991 arrest, both Wolf and Reubens are clear eyed.

You may not be as the second film comes to its close. Wolf lets Reubens have the last word, maybe because he had no choice at all, but again, it’s that conflict itself that best defines the consummate performance artist. Paul Reubens decided who got to know what.

Pee-wee as Himself is revelatory, nostalgic, glorious viewing for Pee-wee fans. That’s me. Maybe that’s not you. Maybe you think I’m a big dummy for loving Pee-wee like I do.

I know you are, but what am I?

Outtakes

Simply Resistible

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Another Simple Favor

by George Wolf

Five years ago, A Simple Favor delivered a pretty delicious slice of satire for the angsty modern woman/wife/mother. Buoyed by the chemistry of stars Anna Kendrick and Blake Lively, it mixed B-movie trappings with in-the-moment irony for a fun, twisty tale of gaslighting, betrayal, murder, and mommy vlogs.

Amazon Prime brings the two stars back together for Another Simple Favor, along with director Paul Feig and screenwriter Jessica Sharzer (sharing screenplay credit this time with Laeta Kalogridis). And while the mischievous spark is still there, it struggles for air under narrative excess.

Since putting the conniving Emily (Lively) away, Stephanie (Kendrick) has become a successful author still milking her role in the tabloid-ready murder mystery. So imagine everyone’s surprise when, who comes vamping in to Stephanie’s latest book reading but Emily herself, out on appeal with an appeal of her own.

She’s headed overseas to marry the dashing Dante Versano (Michele Morrone)! And Stephanie simply must come to Capri and be her Maid of Honor!

Why not? They’ll be gorgeous locales, incredible food, beautiful people, and there’s no way Emily could have cooked up some elaborate plan for revenge, right? Right?

It gets elaborate, all right, and not always in a fun way. Emily’s ex (Henry Golding) and Stephanie’s agent (Alex Newell) both come along for some arguably necessary reasons, and the introductions of Aunt Linda (Allison Janney) and Mom Margaret (Elizabeth Perkins) seem overly convoluted.

Much like Golding when his character is drunk, most everything about this sequel just screams “trying too hard.” If some secrets are good, more secrets must be better! And the mafia, yeah, throw some mafia family feuding in there, too! The longer we’re away from Steph and Emily, the more it drags.

But Lively and Kendrick always keep it watchable. They’ve got these roles down cold, and their snappy interplay remains frisky and fabulous. Together, they’re still simply irresistible. It’s the rest of Another Simple Favor that makes it easier to resist.