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Underworld: Awakening: Flashy Vampires and Werewolves
The fourth film in the Underworld series, Awakening starts off with the vampire and lycan communities being exposed and the humans declaring an all-out war against them. During the purge, vampire Selene (Beckinsale) and hybrid Michael are taken captive and cryogenically frozen. Selene awakens twelve years later in a lab to discover that the humans have won and the remaining vampires and lycans have been driven deep into hiding. While searching for any evidence of Michael’s fate, she runs into the young girl who freed her from the lab, her hybrid daughter, who is being tracked by people desperate to get her back.
Beckinsale doesn’t seem very interested in being in the film. She’s ok when she’s fighting, mainly because the camera’s moving too quickly for you to keep tabs on her, but when the action settles down into an emotional moment, she seems bored at best. Her character barely seems fazed by her lost twelve years or by the fact that she now has a daughter. She has a going-through-the-motions vibe going on, which is completely at odds with the heightened stakes she’s up against. That being said, the sheer amount of bodies she leaves strewn in her wake is highly gratifying, as is the image of her brandishing her twin guns while defying gravity.
The film is flashy but confusing, and this confusion doesn’t stem from a lack of prior knowledge of the series, but by shoddy storytelling and lazy acting. The direction doesn’t get a free pass either. The rapid, choppy fight scenes look impressive but are nonetheless infuriating, especially when they make the logistics of the more important killings vaguer than they already are.
On the plus side, though, the stunts have a sort of balletic quality to them. When Selene jumps off of buildings or over fences, she could almost be mistaken for a dancer if not for her bright blue irises and icy expression. Also, the lycans look like a feral version of Xmen’s Beast and while they aren’t particularly scary, the scenes where they transform from humans to werewolves are pretty cool.
The most irritating thing is how the human versus vampire/lycan war was almost completely ignored. It was used almost solely as a set up for Selene to be captured, completely sidestepping a perfect opportunity to forge a connection between the film universe and the real world. This ethnic cleansing war should have, at the very least, struck a political and emotional chord with the audience. And while a twist in the middle of the film does bring the story back around to how the vampires and lycans dealt with the war, it’s overshadowed by the onscreen bloodbath.
If you’re a fan of the previous Underworld film, this one is more of the same and may be worth a watch.
Given the reasonable star-power behind it, much was expected of The Angriest Man in Brooklyn – loosely adapted from a relatively unknown film titled, The 92 Minutes of Mr. Baum.
Directed by Phil Alden Robinson – see Sum of All Fears – and written by Daniel Taplitz, the film is centred on Henry Altmann (Williams); a crabby family man and a real-estate broker who’s prone to raging outbursts which sadly, have resulted in estranged relationships with his wife, Bette (Leo) and son, Tommy (Linklater).
After a series of medical tests and examinations, Henry soon meets Dr. Sharon Gill (Kunis); a seemingly worn-out doctor who informs him that he has suffered an aneurism. She adds fire to the fuel by telling her unstable patient that he only has ninety-two minutes to live.
Henry rushes out of the hospital and quickly hits the road of redemption. In an attempt to mend broken relationships with Bette, his son, Tommy, and brother, Aaron (Dinklage), Henry needs to hurry before it is too late.
Undecided on what it wants to say, The Angriest Man in Brooklyn is probably one of the most bewildering and cringe-inducing films of the year. Lost and with little structure behind its premise, the film – just like its main character – spirals out of control pretty quickly and one too many ideas, stories and subplots are thrown into the mix, without ever giving it enough room or time to explore them.
Nonetheless, watching Williams in action is always interesting, no matter how crazy and the late Oscar-winner is once again given free reign and even though, he does go a little overboard with the theatrics at times.
Draining, lazy and painfully sloppy, The Angriest Man in Brooklyn is likely to throw viewers into fits of rage, too. An understandable reaction to sitting through eighty-three minutes of nonsensical and unfunny blabber.
The latest low-budget Blumhouse Productions horror production, Jessabelle; a voodoo-worshipping Louisiana-bayou set thriller that is sadly, not as scary nor as ghostly as it wants itself to be.
Set in a misty Louisiana, Jessabelle follows Jessie (Snook); a woman dealing with the loss of her fiancé and unborn child to a car accident that has also put her in a wheelchair. With her life seemingly in ruins, Jessie is left with no choice but to move back into her family home with her estranged, alcoholic father, Leon (Andrews).
Uncertain of what the future holds, Jessie finds it difficult to adjust to her new life, not least because she has to spend her nights sleeping in her deceased mother’s bed. Soon after, though, her life takes on a new route of mystery when Jessie discovers a secret box – labelled Jessabelle, packed with seemingly worn-out VHS tapes. Filled with mysterious recordings of her mother’s tarot-reading to her unborn child – whom Jessie assumes is her – she finds comfort in seeing her mother, though Leon insists that she dispose of the tapes.
Intrigued by the cryptic messages and her father’s strange reaction to her findings, Jessie decides to dig deeper and along with old-friend, Preston (Webber).
The atmosphere and air around Jessabelle could be described as relatively eerie and the film maintains a degree of plausibility – at least more so than many of its peers. When you dig deeper to the heart of the story, however, the film comes up short and is rather timid for a horror film. This is made all the more obvious by the fact that the film almost insists on using every clichéd horror trick in the book.
Despite the plot’s lack of edge originality, Snook – previously seen in movies such as Sisters of War and Not Suitable for Children – manages to command the screen relatively well, while Webber was equally pleasing as Jessie’s Knight in Shining Armour.
Despite a reasonably promising build-up and a commendable attempt to bring a certain verity to a genre that requires more suspension of disbelief than most, the pay-off just isn't satisfying.