Category: Todd’s Movie Reviews

The Equalizer Movie Review

The Equalizer shares primarily its name only with the 1980s show it got its moniker from and much more with Taken and Denzel Washington’s own Man on Fire. Reuniting with his Training Day director Antoine Fuqua, the picture aims to be nothing more than finding clever ways for its star to violently kill bad guys. In that sense, Fuqua’s stylish work and Denzel’s restrained cool (at least in outward personality) often work here. Expectations for anything beyond that should be tempered.

Our headliner is Robert McCall, who is unquestionably the Jack Bauer of hardware store employees. He spends his days there and his nights at a diner where he strikes up a friendly relationship with Teri, a teenage hooker with a heart of gold (Chloe Grace Moretz) who’s also an aspiring singer. Why the filmmakers didn’t give her a child with debilitating asthma or other medical ailment to complete the troika of movie cliches is unknown. Speaking of Russian numbers, five is the number of well connected mobsters from that country that McCall offs when he gets involved with Teri’s affairs. And that leads to a whole lotta Denzel bad assery for the pic’s padded two hour plus running time.

If you hadn’t guessed, McCall is no average hardware store employee. His background is only glossed over but there’s been involvement with Black Ops and the CIA. We get a scene with Melissa Leo and Bill Pullman that provides a little insight. Yet The Equalizer doesn’t spend much time on character development. After all, there’s vengeance to be doled out. McCall’s glory days of government service may have provided quite a satisfactory viewing experience. It would certainly be more insightful than the several minutes of screen time where McCall helps an overweight employee become a security guard.

Back to the vengeance. It’s no secret that Denzel does this kind of thing better than most. If not for his participation, this might be a direct to VOD release. The decision to make his character an indestructible killing machine saps a good bit of tension away. The Russian mobsters are no different than ones you’ve seen before. It comes down to this – if you thought Taken was pure action bliss, sign up. This is what Man on Fire level for me: not one of Denzel’s more memorable entries, but OK.

McCall’s employment locale of Home Mart does provide him with some clever tools to dispense of his prey. One suspects, though, that if he’d worked at Burger King, it’d be no different. He would’ve figured out a method to decapitate baddies with a Whopper wrapper and dislodge tracheas with a chicken fry. He’s just that resourceful.

**1/2 (out of four)

The Interview Movie Review

It was a movie that never expected to lead breaking news updates on CNN, but by now we all know the fascinating journey that caused The Interview to debut in limited release and not its planned wide release Christmas Day. It meant this blogger viewed it on YouTube and not a large chain theater. And now I can finally strip away all the hype and controversy and simply let you know my feelings on the picture itself.

The verdict? Mixed. Quite mixed. The Interview is director Seth Rogen and Evan Goldberg’s follow-up to their very successful (and better) first effort This is the End. As you’ve perhaps heard, it involves a plot to assassinate North Korean leader Kim Jong-un (Randall Park). The plan? Take little respected entertainment interviewer Dave Skylark (James Franco) and his producer Aaron (Rogen) to the homeland of Jong-un for a fluff interview and use the situation to take him out. The CIA is involved, including Lizzy Caplan (from Showtime’s Masters of Sex) as an operative.

Of course, not all goes as planned. Aaron develops a crush on Sook (Diana Bang), one of Kim’s top communications officials. Dave begins to bond with Kim over sex, drugs, Katy Perry (yep, you read it right), and their mutual perceived lack of respectability. In essence, Dave receives the real life Dennis Rodman treatment from the Supreme Leader which leads him to question whether Kim is really that bad of a guy.

Since this is a work from Rogen and his head collaborator Goldberg, we have an abundance of gross out gags. If you guessed Rogen has to shove a top secret device up his rectum at one point – take a shot! Some of the gags work while many others are all too familiar and fall flat. Rogen is his typical self, but he brings his teddy bear charm to a satisfactory level. Franco is another story. He’s a talented performer who is hit or miss in comedies. Here, his character’s smarmy demeanor comes off more off putting than humorous.

The Interview is ultimately not overly concerned with making grand political statements and more focused on hard R rated sight gags. The character of Kim, played with gusto by Park, is chock full of Daddy issues and an inferiority complex. There’s funny moments with him (his obsession with the aforementioned Perry is good for some belly laughs), but there’s nothing here that Team America: World Police didn’t handle on a more highly elevated satirical level. Early snippets of Skylark’s interviews with Eminem and Rob Lowe actually provide the biggest guffaws and they have nothing to do with the eventual plot.

There’s little doubt The Interview will be remembered more for its generated headlines with the Sony hack and North Korean government reaction that what is up on the screen. For fans of Rogen and Goldberg’s brand of humor, there’s just enough worthwhile to watch. However, they’ve done better work and while nothing they’ve made before or since is likely to capture worldwide media attention – The Interview seems bound to be regarded as a so-so entry in their filmography.

**1/2 (out of four)

Dawn of the Planet of the Apes Movie Review

Dawn of the Planet of the Apes generally follows the sequel playbook closely. It’s darker and more action packed. We get new human characters introduced that don’t come close to matching the interest we have in the apes. The saga of Caesar (Andy Serkis) and his struggle of loyalty to his species and the human race is what’s truly fascinating.

In 2011, Rise of the Planet of the Apes reinvigorated a series that had stumbled in 2001 with its original restart that was Tim Burton’s misguided effort. Rise was much better than anyone expected. The freshness of seeing a franchise reborn in a legitimately satisfactory manner has been replaced in its sequel with competency. That and amazing visual effects that improves upon its predecessor.

We begin ten years after the events of Rise and the human race has been decimated by deadly pandemic. A small group of survivors dwells in dystopian San Francisco and must access a dam to provide themselves a power source. The problem is that Caesar and his loyal ape followers have set up their home on the way to that dam. And based on the events that transpired years ago, most of the apes don’t exactly trust humans. And vice versa.

Included among the humans is Malcolm (Jason Clarke), who soon forms a bond with Caesar. Our main ape character has not forgotten that humans can be good people and it is a constant source of contention with Koba, Caesar’s second in command who has no use for them. Keri Russell plays Malcolm’s wife with Kodi Smit-McPhee as his son. Caesar has a wife now and two children of his own. The leader of the human pack is portrayed by Gary Oldman, solid as always with not a whole lot to do expect for an effective crying scene.

The last two Apes pictures have been very successful in realizing Caesar as a fully formed character and represents some of the finest CG work to date. Much of the credit, though, is due to the indispensable Andy Serkis and his work to bring him to life. Matt Reeves (who did Cloverfield) takes over his directorial duties from Rupert Wyatt.

As mentioned, there is more action to be had here and it is certainly well choreographed. There’s a shot of Koba on a tank during a key battle sequence that is magnificent. While the action is solid, it is Caesar’s character arc that keeps us interested and keeps this second entry in the reconfigured Apes universe worth watching.

***1/2 (out of four)

The LEGO Movie Review

The central theme of The LEGO Movie is ultimately about allowing one’s creative impulses to be set free and not conforming to the set ways of the world. That statement could apply to the directors and writers of this picture, Phil Lord and Christopher Miller. A movie based on the timeless LEGO toys might have made its studio a lot of money regardless of its quality. Yet Lord and Miller allow their creativity to run wild and what results is a highly entertaining experience that no doubt will serve as the building block (so to speak) of a new franchise.

We begin in the community of Bricksburg, where regular old construction worker Emmet (Chris Pratt) is perfectly happy with the micro-managed society that’s run with an iron fist (or acrylonitrile butadiene styrene fist, to be technically accurate) by President Business (Will Ferrell). The truth is that the dastardly President has plans to end the LEGO Universe and that Emmet may or may not be The Special or Master Builder (think Chosen One) who must save the world. Emmet’s journey partners him with Wyldstyle (Elizabeth Banks), a hipster who would be the traditional love interest if she weren’t dating Batman… yes, Batman (voiced marvelously by Will Arnett). There’s also a wise old wizard who is naturally voiced by Morgan Freeman and a humorous “good cop/bad cop” character figure voiced by Liam Neeson. The team of resistors to President Business’s schemes journey through visually splendid other worlds such as The Old West and Middle Zealand and even come across friends from a galaxy far far away. This is in addition to a little help from the 2002 NBA All Stars, which includes Shaquille O’Neal.

In case you’re already picking it up, The LEGO Movie is jam packed with pop culture references. There’s a lot here to keep adults smiling as much as the kids. Miller and Lord also get in their digs at corporate culture – many are quite clever, some are a bit well-worn. The voice over work is filled with smart choices and Chris Pratt now has two 2014 film heroes that youngsters will idolize.

There’s a “twist” later in the proceedings that truly did surprise me and it creates a level of emotion that I didn’t expect. It isn’t quite Pixar when it reaches its heart tugging heights (think another animated franchise about toys or Up), but it works very well. Emmet’s main problem for awhile is not believing he has the capability to be exceptional in a world that prides itself in conformity. President Business and others don’t want to allow for the innovations of others. The LEGO Movie shows its audience how important it is to strive to be unique and also be part of a team and that’s a good message for all of us. And kudos to Warner Bros. for allowing its filmmakers the chance to take what could have been an assembly line cash cow and make it something… well, pretty special.

***1/2 (out of four)

The Hunger Games: Mockingjay – Part 1 Movie Review

Everything is toned down in The Hunger Games: Mockingjay – Part 1 from the makeup and hair of Elizabeth Banks to Woody Harrelson’s alcoholism to, most importantly, the tone of the franchise. Hell, even Stanley Tucci’s flamboyant talk show host seems to have gone all Charlie Rose on us. A lot of the excitement is toned down too. The result is what too often seems like a perfunctory bridging of the gap between Catching Fire and what hopefully will be a rousing conclusion to the blockbuster franchise a year from now. Where that leaves Part 1 is left to be determined by what we get in Part 2. For now, it leaves this particular picture as the weakest of The Hunger Games entries by a somewhat considerable margin.

When we last left Katniss (Jennifer Lawrence) in 2013’s superb Catching Fire, her love interest Peeta (Josh Hutcherson) had been captured along with others by the dastardly Capitol, led by President Snow (Donald Sutherland, always oozing appropriate creepiness). The main focus here is Katniss’s efforts to eventually get him back. The question is whether or not Peeta’s mind has been corrupted by his captors. His imprisonment means Gale (Liam Hemsworth), best friend to Katniss, has got a legitimate shot at creating an old fashioned love triangle once again and the pic explores those issues.

We are also treated to the sight of some truly fine actors sitting around a lot talking about politics and rebellion – including returnees Harrelson, Jeffrey Wright, and the late, great Philip Seymour Hoffman. They’re all assisting the effort of bringing President Snow’s reign to an end and it’s Julianne Moore as the latest terrific actor joining the club as District 13’s President.

Mockingjay – Part 1, as has been noted by others, doesn’t exactly require The Hunger Games moniker ahead of its title. There are no Hunger Games here and a more accurate title could have been The Propaganda Games. The leaders of District 13 are not shy about using Katniss as their symbol to topple the Snow regime and it even results in video cameramen following her to film her heroic exploits. This leaves our central character conflicted about her desire to free the people against her hope to reunite with Peeta.

Jennifer Lawrence has created a heroine for the movie ages with her performances in this franchise and her strong work doesn’t let up here. She’s not the problem here and neither are the other actors – though I’ve never quite been sold on Hutcherson in his important role. The problem is not Francis Lawrence’s adequate direction, even though the action scenes don’t pop like they did in Catching Fire (there’s also not as many of them).

The issue is the Part 1 behind the title. I suspect there could have been a top-notch two and a half hour feature made from the Mockingjay novel. Lionsgate, for clear financial purposes, chose to divide it into two features (much like the Harry Potter and Twilight franchises before this). Due to that choice, Part 1 feels like a commercially viable stopgap made to monopolize profits.

Don’t get me wrong. If you’re a fan of this series (and I consider myself one), this is obviously required viewing. Yet the level of satisfaction provided here doesn’t match the first two films. It feels like half a movie and it’s about half as entertaining as Catching Fire was last year. Let’s hope that Part 2 provides a main course high on entertainment that could relegate this to “leftovers” status. Sometimes those leftovers are just as good as the main course. Not here despite the best efforts of its star, but you’ll need to get through this to get to the main course.

**1/2 (out of four)

Interstellar Movie Review

There are many terms that could be used to describe Christopher Nolan’s Interstellar, but my choice is “spacejerker”. For all the visual bells and whistles on display (and they’re considerable), the picture is really an old-fashioned family drama that attempts to wring tears from its audience on an often annoyingly consistent basis.

It’s also a mix of 2001: A Space Odyssey, Field of Dreams, and, surprisingly, vintage M. Night Shyamalan at times. Add that peculiar concoction up and Interstellar is a mixed bag that still demands to be seen on the big screen (preferably an IMAX one).

As do most pics of the genre, we begin in the “near future” as Earth’s resources are becoming alarmingly scarce. The belief is that the planet will soon become uninhabitable and the citizens of Earth have resigned themselves to their eventual fate. Cooper (Matthew McConaughey) is a relic of a time gone by as a former astronaut whose services are seemingly no longer required. The widower lives on a desolate farm with his father-in-law (John Lithgow) and two young children. His daughter Murphy believes their home is haunted by a spirit attempting to communicate with her. Her father soon comes to believe that the messages she’s getting are legitimate. These otherworldly signals put Cooper in contact with NASA, who exist now as a secret organization. Professor Brand (Michael Caine, of course) and his daughter Amelia (Anne Hathaway) are spearheading a mission to investigate a wormhole orbiting the planet of Saturn. This wormhole may lead to a planet that can allow the human race to travel there and survive. Naturally, they pick Cooper as their pilot.

Cooper’s decision to depart devastates Murphy, even though he promises her he’ll return. The mission begins and leads to many surprises that bend the course of time, so much so that we soon see Murphy all grown as Jessica Chastain (and Casey Affleck as her big brother) while McConaughey is off in galaxies of space still looking like he’s behind the wheel of his beloved Lincoln.

Going any further into Interstellar‘s plot would be getting into spoiler territory. In case you don’t already know, there’s an A list actor who makes a “surprise” appearance around midway through. There are twists and turns (some handled better than others) that gave me the aforementioned Shyamalan vibe at times.

Yet at its heart, Interstellar is about a relationship between a dad who promised his little girl he wouldn’t be gone forever and whether he’s capable of keeping that vow. When the emotional resonance of that dynamic is pulled off well, it’s due in main part to McConaughey’s skill. He’s proven himself to be a fine actor, especially in recent years and that holds true here.

It is not because of the dialogue, which handles the family dynamic in mostly familiar fashion. Hathaway’s character soon has her own daddy issues with her Professor father. This adds up to a lot of crying. McConaughey crying. Hathaway crying. Murphy crying – as a child and an adult. Caine crying. If the robots who help the team on their mission were capable of tears, I’m confident they would’ve as well. However, it’s only in a couple of spots where the film came close to hitting an emotional moment for me. The rest of the plentiful moments seem forced and don’t have powerful dialogue to accompany them.

On the bright side, Interstellar truly is phenomenal looking. Even with my issues pertaining to the screenplay, this is unquestionably worth the trip to the theater. Nolan is successful at staging a number of intense and impeccably choreographed action sequences, whether on a planet with giant awesome looking waves or on one that makes Antarctica look downright tropical.

When Interstellar endlessly tries to pull your heartstrings, it often comes up short. There are a host of significant “wow” moments thankfully that will make your eyes widen. They just won’t be as wet as the filmmakers want them to be.

*** (out of four)

Birdman Movie Review

Alejandro Gonzalez Inarritu’s Birdman has plenty to say about the current mega-blockbuster movie culture that we live in and have for some time. The screenplay (by the director along with Nicolas Giacobone, Alexander Dinelaris, Jr., and Armando Bo) puts in its two cents regarding the power that critics have, which is highly debatable in the Internet culture. Ironically, while Inarritu and his team may share a disdain for them, it is likely the rave reviews and Oscar buzz Birdman has received that will grant it a larger audience than expected. Yet, ultimately, this picture will be remembered as a story of an actor trying to make a comeback while giving its actual star one humdinger of a real one.

That would be Michael Keaton in the kind of part that most actors dream about and never get to play. He’s Riggan Thomson, an aging celebrity known to the world for his role as Birdman in a series of wildly popular comic book flicks from two decades ago. As you can gather, this is not much of a stretch for Keaton himself who brought Batman to the masses a quarter century ago. In the present day, he’s directing, writing, and starring in a Broadway play based on a Raymond Carver short story. He sees it as an opportunity to make himself relevant again and yet he’s haunted by his famous alter ego. The production of the play is a mess, which reflects Riggan’s personal life. He employs his fresh out of rehab daughter (Emma Stone) as his assistant. One of his actresses is his girlfriend (Andrea Riseborough), who may or may not be carrying his child. His ex-wife (Amy Ryan) turns up from time to time. Riggan makes life difficult for his lawyer and “best friend” (Zach Galifianakis). And his main co-stars (Edward Norton and Naomi Watts) are action packed with emotional issues.

Birdman shows us an actor on the edge of sanity who is grappling with this massive undertaking of the play and dealing with his wilting fame. He feels like he’s doing something of utmost importance while those around him may not see it that way. The screenplay doesn’t shy away from humorously but honestly ribbing the healthy egos that actors are often known for displaying. Norton’s character could perhaps be based on himself, if you believe the gossip about how difficult he is to work with in real life.

While the pic pokes its dark humor from time to time at the superhero genre craze, it cheekily employs three actors who’ve been a part of them: Keaton, Stone (Gwen Stacy in Spider-Man), and Norton (The Incredible Hulk). And while Inarritu could feel those movies are just visual fluff, Birdman itself is a technical marvel, so to speak. There is a visual trickery to make the film seem like one long continuous take and the result from Emmanuel Lubezki’s camerawork is often hypnotic.

The supporting cast is uniformly top-notch. Every performance is rock solid and every actor gets their moments to shine. Let me there be no doubt though – this is Keaton’s show. People who describe themselves as “movie people” (pretentiously or not) all seem to have a Keaton affinity. Part of it could be that he’s the original Caped Crusader in the blockbuster area. Same goes for Beetlejuice. We’ve never seen him like this, but I believe we always suspected he was capable of this kind of amazing performance. Here, Keaton must balance portraying several alter egos and it’s a joy to witness.

Birdman is not necessarily a movie for the masses. Its pitch black humor could fall flat with some while others will deem it too inside baseball. The ending may be perfect to some viewers, but it took one step too far into unnecessary ambiguity for my taste. There’s a terrific scene when Riggan tells off The New York Times theater critic (Lindsay Duncan). On one hand, he feels liberated telling her what he really thinks of her high-mindedness and misguided sense of self importance. On the other, he’s terrified of her negative review. This explains Riggan’s character in a way – looking for liberation where he may not ever find it and scared as hell the whole time. That probably describes the way a lot of actors truly feel and Birdman drives that point home in an original, often funny, and constantly interesting ways.

***1/2 (out of four)

X-Men: Days of Future Past Movie Review

Some apologies are more sincere than others and X-Men: Days of Future Past may just have the distinction of being 20th Century Fox and Bryan Singer’s most expensive apology ever. Why? Essentially, the seventh X-Men installment (counting the two Wolverine one-offs) renders a lot of 2006’s X-Men: The Last Stand moot. That picture sent comic book fans into a frenzy with how sub par it was after Brett Ratner took over the directorial reigns from Singer, who made the high quality first two flicks.

In order for Singer to pull off his most miraculous trick since Kevin Spacey started walking straight almost 20 years ago, the franchise must incorporate time travel. That means we get to see the cast from the original trilogy and those who populated 2011’s X-Men: First Class, which triumphantly reinvigorated the series.

At the center of it all is Hugh Jackman’s Wolverine, who warps back and forth between 1973 and the near future. In the “sort of” present, giant robots called Sentinels are exterminating Earth’s mutant species. Charles Xavier/Professor X (Patrick Stewart) and Erik/Magneto (Ian McKellen) have actually formed a truce (maybe) to fight them. The solution involves having Wolverine go back 40 years to stop Mystique (Jennifer Lawrence) from killing Trask (Peter Dinklage), the Sentinel’s creator. Once Wolverine is among the glorious 70s fashion, he has to find younger Charles (James McAvoy) and Magneto (Michael Fassbender) and convince them to work together (no easy assignment) to alter history. Even President Richard Nixon is part of the action, though it’s never established if any of the future dwellers helped him out with that whole Watergate thing.

Along the way, we’re introduced to a new character that inspires the coolest sequence in the picture. That’s Quicksilver (Evan Peters), whose super fast abilities allow for a rather jaw dropping action scene. His presence in the upcoming sequels will be welcome I trust.

To set the future right, Charles can only truly help by giving up a nasty drug addiction that renders his telepathy useless, but allows him to walk. Only by embracing his paralyzed status can he enter the Cerebro chamber and do his Professor X thing. In essence, he’s sort of like the cinematic Bizarro equivalent of Lieutenant Dan.

Besides the company already mentioned, other X-Men favorites (and not so favorites) return. There’s Beast and Shadowcat and Iceman. Halle Berry returns as Storm and, just like in the original trilogy, she doesn’t add much to the proceedings.

For all the time travel gobbledygook, Future Past works best as a highly entertaining action pic spent with old friends. Singer proved himself a great choice for the X material (unlike with Superman) in 2000 and 2002 and that holds true today. We already know how effective Jackman and the fine actors playing young and old Professor X and Magneto are. And with Jennifer Lawrence having become one of the biggest stars in the world since First Class, her role as Mystique is certainly magnified, as would be expected.

Future Past continues the positive trend that the series has been on since First Class washed the bad taste of Last Stand away. Brett Ratner might deservedly feel like a scapegoat once the credits roll here, but you’ll feel pretty satisfied.

*** (out of four)

Delivery Man Movie Review

Ken Scott’s Delivery Man allows its star Vince Vaughn to take on a more dramatic role that downplays his witty and sardonic sense of humor and pours on the pathos. The results aren’t too impressive and the screenplay gives Vaughn some scattershot and often mediocre material to work with.

A remake of Scott’s own 2011 Canadian feature Starbuck, David (Vaughn) is an aimless meat truck driver with financial woes who finds out he’s expecting his first child with his girlfriend, played by an underutilized Cobie Smulders. Well… about that “first” child…

It turns out our title character donated to a sperm clinic on a very regular basis in the early 90s under the alias Starbuck. And his efforts produced an astonishing 533 children, many of whom file a lawsuit to find out who their daddy is. David is torn with this revelation and it leads him to seek out his spawn while attempting to maintain his true identity from them. He develops relationships with them and their characters often check off the movie cliché boxes. The drug addicted girl trying to go straight. The struggling actor. The musician. Then there’s Viggo the vegetarian (Adam Chanler-Berat), who learns who David truly is and hangs around for a few scenes to annoy his dad, as well as the audience. And there’s also the handicapped son, creating a subplot that feels a tad too manipulative for comfort.

A puffy, pre-Star-Lord Chris Pratt is afforded some good moments as David’s in over his head attorney friend who represents him in a counter suit to secure his anonymity. In many ways, Man rises and falls with Vaughn. There are scarce comedic moments and Vaughn greatly downplays the quick paced and irony drenched persona we’ve come to anticipate from him. At times, he seems to be trying a little too hard to play against type and his performance comes off a bit listless.

Delivery Man doesn’t succeed enough in exploring David’s newfound connection to these strangers who he happens to father and the script tries too hard to pull our heartstrings. As the hundreds of Starbuck kids want to establish their connection with him, my connection to the proceedings as a viewer was much like Vaughn’s performance – too muted.

** (out of four)

You’re Next Movie Review

A dysfunctional upper class family consisting of mom and dad, their four adult children, and their children’s significant others get together for the first time in quite a while in You’re Next. As if that weren’t terrifying enough, what follows is them being trapped in the well-worn clichés of a home invasion horror flick. The central premise of Adam Wingard’s picture is that the gory bloodshed is only slightly scarier than the character’s personality flaws and sibling rivalries.

Caught in the middle of all the family drama is Erin (Sharni Vinson), who’s accompanying her boyfriend (A.J. Bowen) to his parents (Rob Moran and Barbara Crampton) vacation home for the weekend. It turns out Erin will be our film’s strong heroine presence and that she knows a lot more about how to deal with the unwelcome guests than anyone on else on site. Those invaders come in the form of murderers with cool looking animal masks who’ve thought out their crime well (piano wire is put to good use).

You’re Next follows in the tradition of Scream and The Cabin in the Woods in that it satirizes the genre while celebrating its conventions. Director Wingard and screenwriter Simon Barrett have a lot of fun playing with those conventions. It may not reach the ironic heights of the aforementioned pictures, but it often comes darn close. The central twists aren’t particularly surprising and there are times when Next becomes a little repetitive.

Yet it’s bloody heart is in the right place. The 80s sounding soundtrack is a trip. The pic surprisingly works more as a gore infested comedy than traditional horror flick. You’re Next‘s family argument starts at the dinner table and doesn’t stop just because a group of bow and arrow shooting, knife wielding terrorizers decide the crash the occasion. For enthusiasts of the genre, there’s a lot to admire here and there’s fun to be had.

*** (out of four)