9) SURROGATES

Director: Jonathan Mostow
Stars: Bruce Willis, Radha Mitchell, Rosamund Pike, Boris Kodjoe, Ving Rhames, James Cromwell
Year: 2009
Rating: PG-13

Set in the not-too-distant future, Surrogates is a stylish science fiction action piece that works largely due to the presence of Bruce Willis as FBI agent Tom Greer.

The world was dramatically changed in just four years' time, by a man named Canter (James Cromwell) who created the technology that would enable humans to live complete lives without ever having to leave their home. How? You use a surrogate - a mechanical, robotic you that you can style to your satisfaction (make it younger, thinner, more attractive than you are in real life), then send out into the world to do your job, shop for your groceries, or even go out dancing and drinking in a club, while you lay at home in a chair and experience what happens in safety. It's the perfect you, in the perfect life you want to live - and the idea became so popular that four years later (as the film's story begins), nearly every human being on the planet is buried in their home, the world now filled with surrogates. So unpopular is it to be human in the outside world now, that those few who deign to remain surrogate-free are called "Dreads," and have relocated themselves to small reservations within the city, with their own little community, living as if technology didn't exist at all and with a fierce hatred of surrogates they won't even allow them onto the property they've claimed for their own.

Into this peaceful existence comes along a case that has Tom and his partner, Agent Peters (Radha Mitchell) completely baffled - the fried remains of two surrogates, apparently destroyed by some sort of bizarre ray-gun that has never been seen in the world before. It's easy enough to destroy a surrogate - they can take a punishment, but CAN easily be brought down - but the odd part of the case here is that when the surrogates got fried, their human counterparts, safe at home on the other end, were also killed.

Such technology has never been seen before, and Greer and Peters are determined to find the murderer and get the weapon. We soon learn that the Greer and Peters we are watching in the film are surrogates themselves (no wonder they were so pretty/perfect!), and that Greer's home life isn't exactly idyllic; after the death of his own child, Greer and his wife have become more than estranged, with her virtually never leaving her room in favor of sending her much younger, more beautiful surrogate into the world to live.

Complicating matters is The Prophet (Ving Rhames in a horrific Halloween rasta-wig), a "holy man" and leader of the Dreads who himself is always preaching for an uprising of the human beings to destroy the surrogates for good. Such a man would be the ideal creator for such a weapon as the mysterious ray-gun used to kill the surrogates Greer and Peters found, but when something happens to Greer's surrogate and he is suspended from the force, it's up to the real, human Greer to force himself back into the mean streets ... to find a killer out to change the world back to the way it was for good, no matter how many people have to be murdered to do it.

Surrogates looks fairly amazing; when Willis, as Greer, hits the streets as himself, it really puts an exclamation point to all the pretty, perfect people on the streets around him - really hitting the mood and look of the film home. The plot twists are decent, to the point where you don't know who Tom Greer can trust and who he can't trust, and at just 89 minutes the film moves at a fast pace and never loses momentum.

In fact, it anything that might be the big flaw with Surrogates; the lack of time. Time that, had the film even been just a bit longer, could have been spent putting viewers more solidly into the world depicted on-screen. Ditto for the characters; you have a decent sense of Tom Greer and his wife, but beyond them don't get a very strong sense of any of the other characters. Happily, the acting skills of the talented cast make up for much of these shortcomings, but I still wish the film had spent more time showing us various aspects of this intriguing world - or, by comparison, even more of the characters behind the surrogates. The ending is pretty rousing, however, and though a bit predictable you will still be rooting for Willis' Greer.

In fact, Willis saves this film BIG-time, actually making it exciting and fun to watch. The plot and action are both enough to hold your interest, and even if the revelation of who is behind all this mess won't come exactly as a surprise, the ride to get there is short, sweet, and swift.

Thanks in large part to Willis, I really enjoyed Surrogates - though even for its look and story alone, the film is also worth a look. *** - Reel Cool

8) TORMENTED

Director: Jon Wright
Stars: Alex Pettyfer, April Pearson, Dimitri Leonidas, Tuppence Middleton, Calvin Dean, Georgia King, Mary Nighy, Olly Alexander, Tom Hopper, James Floyd
Year: 2009
Rating: N/R

A nifty little British horror flick that is surprisingly good - with equal dashes of suspense, humor and violence - Tormented, billing itself as "a slasher movie for the Skins generation," is about a set of British high school teens who are attractive, privileged, and rule the school ... and the class nerd they tormented for months, before the kid finally committed suicide.

The film does, in fact, start out at the funeral of Darren Mullet (Calvin Dean) - with the school's head girl, Justine (Tuppence Middleton) in charge of delivering the boy's eulogy. It is painfully obvious, from the start, that Justine didn't know Darren at all, and in fact causes Darren's best friend Jason (Olly Alexander) to disrupt the funeral and call her out.

Afterward, Justine is comforted by fellow classmate Alexis (Dimitri Leonidas), an attractive guy who obviously likes her. Justine likes the attention, and through Alexis is eventually invited into his circle of special friends - led by the vain, manipulative, mean-spirited Bradley (Alex Pettyfer). Turns out, in fact, that Alexis' friends are all a bunch of unlikable creeps - but as they're the cool kids, and as Justine really likes Alexis, she sort of decides to temporarily go along for the ride.

That is, until they start to die, one by one and in violent ways, seemingly at the hand of Darren Mullet - who has come back from the grave to enact his revenge. As Justine slowly learns just what role her new friends had in Darren's suicide, the body count rises and Justine learns that she may have not only been added to the list ... but moved to the top of it.

On the surface, Tormented might seem just like any other slasher/horror flick, but there are some really cool, subtle differences; little tweaks that make the film unique in its own way. You get some nice insight to Darren Mullet while he was alive, via video footage, and see the bulky, overweight asthmatic being tormented by his classmates ... which makes things more surreal later when, though Darren is dead, he still uses his inhaler to breathe. I also very much liked Alexis' character (and Dimitri Leonidas, who as Alexis is one of the best reasons to watch the film); without him acting as the bridge between Justine and his nasty friends, you wouldn't give a damn about the friends when they start dying. It's Alexis' regret over what happened, his desire to repent for what he and his friends did to Darren while Darren was alive, that makes you even remotely care about what happens to the others, in the end. And though there are a couple of fairly violent scenes, the film isn't a total gorefest like so many of its American counterparts have become. Even the humor is well-done, self-deprecating and keeping things a little light in between all the scares and giving the film a nice balance.

Overall, the film is a nice little thriller about the ghosts that come back to haunt us - in this case, literally. A really enjoyable thriller, with a good-looking cast of victims. ***1/2 - Reel Cool-Reel Awesome

7) A NIGHT IN CASABLANCA

Director: Archie Mayo
Stars: Groucho Marx, Chico Marx, Harpo Marx, Sig Ruman, Charles Drake, Lois Collier, Lisette Verea
Year: 1946
Rating: N/R

Hard to believe (for me, anyway), but there are still a handful of Marx Brothers films I have yet to see; something I am trying to rectify, so I thought I'd start with their last good one (and next-to-last film, overall). While A Night in Casablanca is nowhere near the quality of the films made in their early/golden years, the boys are pretty darned funny here - in a film set in post-war Casablanca, with murder, intrigue, Nazis ... and the Marx brothers caught up in it all.

The film opens with another murder of the new manager at the Hotel Casablanca. It seems that the last several managers of the famous hotel have all died under mysterious circumstances - and with no one left to turn to, next in line is Ronald Kornblow (Groucho), the manager of a small hotel far enough outside of town who has no clue as to the Casablanca's reputation. In fact, Kornblow has no clue about a lot of things ... and as the hotel's new manager, it seems Kornblow is next in line for check-out.

Chico and Harpo are aboard as hotel employees, while Marx Brothers regular Sig Ruman plays undercover Nazi Heinrich Stubel - the man behind the murders, scheming to eventually BE manager of the Casablanca so that he can start the hunt for the Nazi treasures still hidden somewhere within the hotel. Add a wicked woman scheming with Stubel to get rid of Kornblow (Lisette Verea), and a young serviceman (Charles Drake) eventually framed for the murders, along with his naive girlfriend (Lois Collier) who professes his total innocence - and you have a heady mix of characters, along with some laugh-out-loud scenes (Chico's piano playing and Harpo's scene strumming the harp are fitted in wonderfully here, without slowing down the film at all) that include the brothers slowly making a nightclub dance floor smaller and smaller by setting up dining tables amidst couples trying to dance. Oh yeah, and the packing scene, toward the end - PURE classic Marx Brothers! The chase scene at the film's finale is perfectly shot, choreographed flawlessly and a real homage to some of the boys' best work, and overall the film is definitely one of their better efforts in their later years ...

And yet somehow, the film feels only slightly above average. Terrific as a film in general, for a Marx Brothers film you can sort of feel the test of time here a bit. The gags, one-liners, and writing all hold up - yet somehow, none of it seems delivered with the sharp snap and wit of their earlier films. VERY entertaining, often funny, and genuinely enjoyable as a comedy, A Night in Casablanca is a great little film that just - somehow - feels like it could have been greater *** - Reel Cool

6) POWER KIDS

Director: Krissanapong Rachata
Stars: Nantawooti Boonrapsap, Sasisa Jindamanee, Paytaai Wongkamlao, Nawarat Techarathanaprasert, Johnny Nguyen
Year: 2009
Rating: R
(in Thai with English subtitles)

The great film with the silly title, Power Kids (original Thai title: 5 Heart Heroes, but also known as Force of Five) is a terrific, action-packed martial arts film produced by the director of Ong-bak and Chocolate - which, if you've seen either of these films means you know what a rollercoaster ride the action sequences in this will be. Kids are the heroes here, as the film opens with a little shrimp of a kid named Wun, who lives with his brother Wut at a Muy Thai school where they have grown close to a few other students, forming a close bond of friendship between all five. Adorable and precocious, all Wun wants to do is be a normal kid - but born with a severe heart condition, the little boy has always had to take things slow, always under the protective eye of his older brother.

When circumstances occur that make Wun even more ill, to the point where a transplant is the only solution or Wun will die, the local hospital seeks frantically around Bangkok for a compatible heart donor - finally locating one at another hospital nearby. But with only four hours to spare, the heart is held up at the hospital - literally - when a band of violent terrorists take over the hospital, taking hostages and threatening to kill any and every person who stands in their way until their demands are met. With Wun so close to death, young Wut and his three friends band together to sneak past the terrorists, retrieve the heart for Wun, and get it back to the hospital before it's too late.

Yeah, the film is pretty obvious in trying to tug at the heartstrings ... but it's also an entertaining, action-packed roller coaster ride that has, at its center, a story of bravery, dedication, and friendship. The kids, while decent actors, are freaking amazing martial artists; there are no "little people" stunt doubles here, and these kids can both give and take a hit with real conviction on-screen; you'll be rooting and cheering for Wut and his friends from the very beginning, fairly yelling at the screen for them to kick the total ass of the bad-guy terrorist leader (Johnny Nguyen, coolly evil here).

Sure, the film can be overly sentimental; the plot even a bit far-fetched. But Power Kids is one of those films you'll be completely, emotionally caught up in, that also happens to have a positive message about love and friendship (though definitely not for young children, due to the violence and fight/action sequences). A worthy addition to your DVD library, and also worth repeat viewings just for those way-freaking-cool fight sequences alone! ****1/2 - Reel Awesome-Reel Must-See

5) PIRANHA

Director: Alexandre Aja
Stars: Steven R. McQueen, Elisabeth Shue, Jerry O'Connell, Jessica Szohr, Christopher Lloyd, Ving Rhames, Adam Scott, Ricardo Chavira, Dina Meyer, Richard Dreyfuss
Year: 2010
Rating: R

Director Alexandre Aja has said, with Piranha (or Piranha 3D, as it was also known in theaters), that he wanted to invoke the era of big, bad monster/horror movies that permeated the 1980's. On that level, Piranha succeeds grandly - but even overall, the film is a fun, bloody, boob-heavy ride that is at times funny, gory, and sexually risque. Throw in a lake full of razor-toothed prehistoric man(and woman)-eating fish, and who could ask for more?

Set in the fictional city of Lake Victoria, Arizona, Piranha opens with the beginning of spring break, and Lake Victoria being overrun with horny college kids out for a good time. Trying to rein in all the insanity is Sheriff Julie Forester (Elisabeth Shue, playing things just seriously enough to be truly entertaining here), a no-nonsense single mom of three kids, whose oldest son Jake (Steven R. McQueen, of "The Vampire Diaries" fame) seems doomed to spend most of his week babysitting his younger siblings, as opposed to joining in on the fun ... something that truly makes Jake unhappy as it means he also has no chance of spending any time with the beautiful girl he's crushing on, Kelly (Jessica Szohr), who he pines for even though she's dating one of the big-mouthed jocks at school.

Things change, however, when a chance meeting puts Jake in touch with the hyperactive Derrick Jones (Jerry O'Connell, who is wonderfully insane here), a "Girls Gone Wild"-style producer of softcore girl (or girl-on-girl) porn who has come to the lakeside town to shoot some footage of hot college chicks. Hiring a reluctant Jake as a local guide to the best spots on the lake to shoot, Derrick promises the young man both fun and naked women - and ensures Jake's cooperation when he also enlists Kelly on-board his boat for the ride, hoping to get some hot footage of HER on film ... something Jake is determined to not let happen.

But while all this is going on above the water's surface, below it an underground tremor has cracked open a rift in the lake bed, setting free a huge school of prehistoric piranha now able to get to the warmer waters of Lake Victoria. Ugly-ass, nasty, extremely hungry piranha, and a hell of a lot of them - all set free just in time to enjoy the young, tasty, all-you-can-eat human buffet lining up on the surface to feed them.

Okay, so the plot is thinner than rice paper. Sometimes the acting is so-so; even over the top. Occasionally even the special effects get a tiny bit cheesy (although this, more than ever, invokes the 1980's period of such films). And if you have a problem with blood and gore, or naked women, this might not be the film for you.

But otherwise, Piranha is simply a whole lot of FUN. It fully lives up to its trailer, commercials, and all the advertising, pretending to be nothing more than what it is - bloody entertaining (literally). From Richard Dreyfuss' cameo in the opening scene, you know you are in for some genuine craziness here, and the film never lets you down from then on. It won't win any awards for acting, writing, or direction, but Piranha is a sweet little monster movie with (dare I say it) a whole lotta bite. Definitely worth catching for those who like this kind of thing; others would probably find it too gruesome or corny ... but hey, the world needs wimps, too! ***1/2 - Reel Cool-Reel Awesome

4) LOST BOYS: THE THIRST

Director: Dario Piana
Stars: Corey Feldman, Jamison Newlander, Casey B. Dolan, Tanit Phoenix, Seb Castang, Felix Mosse, Steven van Niekirk, Joe Vaz
Year: 2010
Rating: R

While Corey Haim turned down a role in this second sequel to what is now seen as a classic teen vampire film, The Lost Boys, Lost Boys: The Thirst still in many ways rates above its predecessor, Lost Boys: The Tribe (see my review for that film here) by NOT taking itself as seriously. While The Tribe was not that bad (it definitely has its moments, as well as a couple of strong cast members), The Thirst is all about enjoying the ride, thanks to a slightly hammy performance by Corey Feldman that, here, makes the film that much more fun to watch.

As the film opens, vampire hunter Edgar Frog (Feldman) is pretty down on his luck. He lives in a trailer in San Cazador, California, a rundown coastal town, and is within thirty days of being evicted from his home. Even selling his precious comic book collection to the local comic book guy, or via his friend who works in the store, Zoe (Casey B. Dolan) - who puts the better ones up on eBay - simply isn't going to save his behind. He's also become somewhat estranged from his brother Alan (Jamison Newlander), and doesn't even hunt bloodsuckers anymore, thanks to that parting with his brother.

Which makes Edgar even more conflicted when best-selling romance-horror author Gwen Lieber (Tanit Phoenix) finds him in San Cazador, and begs Edgar to help her find her brother Peter. It seems there is a new breed of vampires on their way to the top, led by a handsome, enigmatic alpha vamp named DJ X (Seb Castang) - and these bloodsuckers are playing for keeps. DJ X and his crew are going around the country throwing underground rave parties, and at those parties are giving some of the young attendees a "new drug" that gives them a kind of high they've never had before ... by turning them into vampires, as the "drug" is nothing more than vampire blood. The fang-bearers, led by DJ X, have kidnapped Gwen's teenaged brother Peter, and are planning to bring their biggest rave yet to San Cazador - on the night of the blood moon, no less, when Peter will be sacrificed and hundreds of partygoers turned into vampires for good, starting a worldwide plan the vamps have for taking control of the world.

Edgar won't bite at first, not wanting to believe Gwen's story - plus he has his own, very personal reasons for not wanting to hunt bloodsuckers anymore, which you learn in the film but I won't divulge here. But in the end, of course, it DOES become up to Edgar to save the world, and when his brother Alan refuses to join in Edgar instead enlists the aid of comic book store clerk Zoe - even as Gwen (a nice play on Twilight author Stephenie Meyer, by the way), after Edgar's initial refusal, has also brought in a dorky, slab-of-beef reality-TV star named Lars (who thinks this whole thing is a staged reality show, not realizing he will be fighting real vampires) and a cameraman, to join the team. And when Edgar learns the rave is going to be at an old, deserted slaughterhouse on an island just off the shore of San Cazador, Edgar and his crew have to set out in the hopes that they can stop the sacrifice before DJ X turns hundreds of young people into a bloodsucking plagues set loose on the world.

I almost hate to admit it, but I had a whole lot of fun watching Lost Boys: The Thirst. And if you're willing to just enjoy the ride, without looking for things like original plotting and rock-solid acting skills from some of the cast involved, I think you'll at least have fun with this one, too. It's got action, humor, blood/gore, and Corey Feldman talking like he's got a throatful of crushed glass; what more could you want? High-spirited and quirky, with (believe it or not) an ending/plot twist you almost don't see coming until you're already there, Lost Boys: The Tribe is sprinkled liberally with both jokes and jolts throughout, featuring inspired performances by a decent cast that at least keeps the tension and energy level high. It won't win any awards, but then again doesn't want to; this films seeks only to ENTERTAIN, and on that level does so nicely. ***1/2 - Reel Cool-Reel Awesome

3) PUSH

Director: Paul McGuigan
Stars: Chris Evans, Dakota Fanning, Camilla Belle, Djimon Hounsou, Cliff Curtis, Neil Jackson, Ming-Na
Year: 2009
Rating: PG-13

Convoluted to the point of being (at times) downright confusing, Push is still a feast for the eyes, with some decent performances and a killer soundtrack.

Chris Evans stars as Nick Gant, a "mover" (someone with the telekinetic ability to move objects with his mind, at will) living in Hong Kong forever under the watchful eye of The Division, a secret government agency who - years ago - conducted scientific experiments on Nick's father (as well as a slew of other people) to try and turn human beings into the ultimate weapon. Nick, a second-generation mover, watched his father killed by The Division, under direct orders from agent Henry Carver, over a decade before after Nick's dad tried to free him and young Nick from the Division's grip. Now living fairly peacefully in the highly-dense population of Hong Kong (which gives "sniffers" a harder time at finding you), Nick leads a relatively normal life, never practicing his talent for fear of being discovered - when, on one fateful day, a pair of "sniffers" (whose noses are so sensitive, they can smell your toothbrush and arouse images of their mind of when and how you last used it) show up at his door, demanding to know the whereabouts of a young woman named Kira (Camilla Belle), who escaped from The Division's headquarters with a suitcase containing something very dangerous The Division wants back.

Nick convinces The Division goons that he knows no such girl, but right after their departure he's visited by a 13-year-old second-generation "watcher" (those who can foretell the future, and must draw it out when they do so) named Cassie (Dakota Fanning), who is also seeking the case that Kira stole. Cassie's mother, a major-league watcher like Nick's dad was one of the best movers ever, is being held prisoner by The Division because she's too powerful to let loose on her own, and Cassie is determined to get her out ... by getting back whatever is in the case Kira stole, which Cassie is sure will take down The Division for good. She has seen, in the future, that Nick will help her to find Kira, while poor Nick still swears he doesn't even KNOW any Kira. But when a gang of Chinese "bleeders" (they can scream at such high decibels, glass shatters and the eardrums and eye sockets of those the scream is aimed at are eventually shattered, causing bleeding from the eyes and ears), Nick is almost killed and he ends up with no choice but to help Cassie ... and maybe, after over ten years, get revenge on Henry Carver - a powerful "mover" (someone who can manipulate another person's mind, making that person do anything they want) himself - for having his father killed. Enlisting the aids of a few other rogue watchers, sniffers and pushers, Cassie and Nick find Kira (also a powerful mover), learn what she's carrying ... and why she is so important to Carver and The Division.

Overall, I liked Push. The performances are uniformly good, with Dakota Fanning (as usual) standing out as Cassie. Even the supporting players show off their stuff, especially Cliff Curtis as roguish pusher Hook Waters, and Neil Jackson as the very evil, very loyal Victor, bodyguard for Henry Carver and a top-level mover himself that will defend his boss to the death. The special effects in the film are masterful, truly striking and a whole lot of fun to watch as they draw you into the action and story ... and after the film I even had the urge to get the soundtrack, the music in the film was so cool.

But overall, in plot and writing, the film comes up short. After awhile it's like, "Okay, so WHAT is going on here, again?" and you sort of lose track of what exactly is going on and why, even as you enjoy the stylized look and feel of the film. Even the ending is no real ending, of sorts, with certain major plot issues not even resolved.

Deserving of the extra half-reel I gave it simply for the special effects, this is good but not great entertainment; nice for a rainy day diversion, or if you're a Chris Evans or Dakota Fanning fan. Other than that, mixed results at best. *** - Reel Cool

2) CHERRYBOMB

Directors: Lisa Barros D'Sa & Glenn Leyburn
Stars: Rupert Grint, Robert Sheehan, Kimberley Nixon, James Nesbitt
Year: 2009
Rating: UR

Set in Belfast, in northern Ireland, Cherrybomb opens with a bruised and battered teenager named Malachy (Rupert Grint, of Harry Potter fame) being questioned by authorities along with his friend Luke (Robert Sheehan). Separately and in closeup, each boy gives a brief but strong indication that something is horribly, horribly wrong ... before the film flashes back to four days prior, and the start of what led the guys to where they are now.

Malachy works at the front desk of a huge workout/recreational facility owned and run by his aggressive and over-sexed boss Dave Crilly (James Nesbitt), who happens to be carrying on a sexual tryst with one of Malachy's fifteen-year-old co-workers named Donna. Malachy is a good student and good guy, well-groomed and presentable, who comes from a middle-class family very secure in his future because he's always been a smart, well-behaved boy they can rely on.

In fact, the only problem that Malachy's family - or even his boss Dave, for that matter - has with Malachy is his best friend Luke. Luke, the polar opposite of Malachy, smokes and drinks and seemingly has no future, living with his alcoholic father in a bad part of town, where both are forced to sell drugs out of their home by Luke's more "successful" older brother Chris. Both Dave and Malachy's family barely tolerate Luke's presence, but have no choice because Luke and Malachy have been best friends all their lives, and nothing is going to break that bond.

That is, until Dave's beautiful blond teenage daughter Michelle (Kimberley Nixon) arrives in Belfast, having lived with her mother in London for some time. The emotionally-distant Kimberley, shuffled back and forth from parent to parent, finds the instant attraction she generates in both Malachy (who is smitten with her) and Luke (who, seemingly emotionally distant himself, only wants to shag her) utterly intriguing, and soon plays the two best friends off each other. Seemingly attracted by Luke's bad boy side, as the two head out to party Malachy feels the need to keep up - to prove he can be bad-ass, as well - and the trio's weekend together includes starting fights, doing drugs, and stealing cars, as the boys' antics grow increasingly more dangerous in their efforts to impress ... the viewer always keeping that opening scene, of Luke and Malachy being grilled by the authorities, in mind.

Cherrybomb is a strong, well-acted film about teen angst that's very simple on plot but effective nonetheless (and with an ending that's a genuine surprise, to say the least). Watching the film, I sort of kept thinking of it as a modern-day Less Than Zero of sorts, even though the emphasis here isn't entirely on drugs; maybe the trio of two guys and a girl as the central characters made that comparison inevitable. I was very curious to see how much Rupert Grint could get away from his Harry Potter/Ron Weasley persona with this film, and was really happy to see him give a terrific, very heartfelt and sympathetic performance as Malachy; Grint truly is talented, and can play more than the comedic doofus for sure! Kimberley Nixon, as the center of the triangle, gives a good performance as the conflicted Michelle. But as fine a performance as Grint gives here, really adding to the film, the real star of Cherrybomb, to me, was Robert Sheehan. As Luke, Sheehan's character is more than just a bad boy who smokes and drinks and picks fights; Sheehan gives Luke an emotional complexity that resonates to the core of the character, making you feel such sympathy for him, hoping like hell he can escape the fate that seems laid out for him in life. It's a brilliant performance, subtle and totally convincing, and between this and his turn as Nathan on the UK series "Misfits" alone, Sheehan is shaping up to be one of the best actors of his generation.

While Cherrybomb doesn't cover a whole lot of new ground, the performances of its three young leads (as well as James Nesbitt as Dave, who is great here) and the story that unfolds in the end make it well worth watching. Grint definitely deserves a lengthy career beyond Ron Weasley, and Sheehan is headed for true stardom if he chooses his roles wisely; both, here, turn what could have been a so-so film into something more. ***1/2 - Reel Cool-Reel Awesome

1) DEVIL

Director: John Erick Dowdle
Stars: Chris Messina, Logan Marshall-Green, Jenny O'Hara, Bojana Novakovic, Bokeem Woodbine, Geoffrey Arend, Jacob Vargas
Year: 2010
Rating: PG-13

M. Night Shyamalan has developed a bad rep for mediocre films, of late. While producing and providing the story for Devil (he neither directed nor wrote the screenplay, as some would believe) - and while Devil has, itself, gotten its share of a bad reputation for having Shyamalan attached - the film itself is an effective, sometimes quite creepy little gem that aims to do nothing more than entertain; on that level, it succeeds quite well.

A security guard named Ramirez (played by Jacob Vargas - one of the best, most underrated actors working today) narrates the story, telling viewers in voice-over about a tale his mother always used to tell him as a child, about how each time someone commits suicide a door is opened that allows the devil to come to our world and claim some lost souls as his own. But first the devil torments and tortures these souls, prior to taking them ... so when the film begins with a guy taking a header from the thirty-fifth floor of a high-rise in downtown Philadelphia, we know that truly bad mojo is on the way.

Even as Detective Bowden (effectively played by Julie and Julia's Chris Messina) - a homicide cop with his own issues, still dealing with the loss his wife and child to a hit-and-run accident years ago - starts his investigating of the suicide (he happened to be in the area when it occurred), inside the same building five complete strangers have just stepped aboard elevator number 6, on their way up, when the elevator becomes stuck between floors. Disconcerted and annoyed at first, the small group of people - a mechanic named Tony (Logan Marshall-Green), a cranky old lady (Jenny O'Hara), a young, beautiful woman named Sarah (Bojana Novakovic), a temp security guard named Ben (Bokeem Woodbine), and a sleazy, smart-mouthed mattress salesman named Vince (Geoffrey Arend) - all become increasingly more alarmed when the security staff in the building keeps telling them they will get them out, yet all attempts to do so seem to fail.

Then things get even weirder as the lights start to flicker in the elevator, going in and out ... and each time they go out, something bad happens in the elevator, until finally one of the occupants, under cover of darkness, is murdered right there in the car.

This is when Detective Bowden comes aboard - but also when Ramirez sees something strange on the tapes, when he rewinds the footage from the elevator. It's a face, the face of the devil himself, and as the body count adds up it becomes apparent that the devil himself is in the elevator with his victims ... and that any attempts by humans to interfere will not be tolerated until the devil finishes his work and collects the souls of those sinners targets for damnation. Each person in the elevator has his or her dirty little secret to hide, and even those watching the events play are not where they are by accident.

Devil is, as said, a creepy little thriller that doesn't pack a huge punch, but should still get under your skin. The cast is uniformly excellent, and even if the mechanics of having most of the violence happening when the lights go out might grow a bit repetitive, at the same time it does keep the gore level down and makes the viewer, instead, use his or her own imagination against them about what's happening, effectively creating tension and suspense that works. Viewers enjoying the ride should be kept guessing right until the end, and even the last-minute twist in plot might not be the most shocking by the time you get there, but it still satisfies and provides a strong close to the story, tying up loose ends. I don't know that it will make anyone watching it creep out over their next elevator ride (I didn't think about it until I got on a full one for the first time), but at just eighty minutes Devil is a short, sweet little suspense tale worth catching. ***1/2 - Reel Cool-Reel Awesome

PREDATORS

Director: Nimrod Antal

Stars: Adrien Brody, Topher Grace, Alice Braga, Walton Goggins, Oleg Taktarov, Laurence Fishburne, Danny Trejo, Louis Ozawa Changchien, Mahershalalhashbaz Ali
Year: 2010
Rating: R

On the surface, this seemed a done deal; there's not an actor whose talent I respect more than Adrien Brody, and while I thought him a curious chose for the lead role in Predators, I was willing to go with the flow until I saw the film ... after all, I'm also a huge fan of the Predator series (yes, even the first Alien vs. Predator, although its sequel was quite a disappointment). And with a fine supporting cast that includes a few of the best "character actors" working today, I knew the film would at least have some substance in the acting department, if not the story itself.

The film certainly opens up with a bang; Adrien Brody, hurtling toward the ground after having evidently been tossed from a plane, regains consciousness just in time to open the parachute he wears, saving his life as he lands in the middle of a tropical jungle. Confused and disoriented, Brody's character soon learns he's not the only one in the same situation - in the first few minutes of the film, eight people of various nationalities and from different parts of the world all learn they share nothing in common but this same bizarre experience. None of them can remember what happened leading up to their blacking out, or why the hell they've been literally thrown into some wild jungle with various sorts of weapons they've never seen before on their person.

Brody's character, because of his military training and determined-to-survive mentality, becomes the unspoken leader as the others follow him, searching for a way out ... even as the lone woman in the group, Isabelle (Alice Braga, channeling Michelle Rodriguez at her toughest here), shows little trust and even less liking for Brody's tough, loner demeanor.

The group, forging their way toward high land to get an idea of where they are, soon come across some strange crates, attached to parachutes, that lay broken and open and empty on the ground. What was in the crates becomes frighteningly apparent when the group is attached by dog-like creatures the likes no human has ever seen before - and it becomes apparent, very quickly, that these creatures are only the first offense; behind them is something bigger, deadlier, and hot on their trail - an alien species out to hunt them for sport, tracking them through the forest to pick them off one by one.

Predators is very much a throwback to the first films in the series, negating the whole Aliens crossover films entirely. Here we are back in the jungle, with predators again hunting humans - only this time its a group of murderers and mercenaries, those who don't fit into society, chosen for the game, as opposed to a group of soldiers fighting a war ... and this time the action takes place on an alien world. The predators themselves have been upgraded, as well; know there are the "regular" predators as from the first two films, but also an even more advanced species of hunter, bigger and uglier and meaner than even the "regular" predators, who indeed hunt the smaller, "weaker" faction of society when there are no humans or other creatures to hunt. It's a nice upgrade, and the monsters in this film are most convincing.

As is the acting, thanks to a fine cast - led by Brody, who here is all buffed out and as Rambo-like as he can get, only with much better acting chops - who do their best with material that ranges from very intriguing to a bit on the melodramatic side. Laurence Fishburne, in particular, plays a nutcase named Noland and almost borders on over-acting in a couple of scenes - but overall the film's pacing is right, the cinematography beautiful, and even the music in the film is used smartly, when either heightening suspense of simply setting a somber mood ... as our little group is, indeed, picked off one by one by the predators.

Good points aside, the film has its share of problems. The road traveled here is all too familiar to anyone who has seen the previous films in the series, so that even though many things have changed since Arnold Schwarzenegger caked himself with mud in the first film, the mood and energy and storyline of the film just don't feel particularly fresh. The action overall is well-paced and suspenseful - but overall things feel a bit rushed here, and the downbeat ending , setting the scene for another sequel, gives a hint of things to come that just doesn't satisfy, or have any real resolution.

I liked Predators; just didn't love it. It's a must-see (maybe "should-see"?) for completists of the series - or even for Adrien Brody fans - but otherwise you can catch it on cable of via Netflix, and be perfectly satisfied. With the cast involved especially, however, you can't help but feel it could have been a little better. *** - Reel Cool

Artistic Inspiration: My Interview with KYLE CLARE

Since my first interview on this blog, with Gran Torino's Bee Vang, I've halfheartedly sought out other actors to speak with; actors whose work not only inspired me, but also who deserved the attention of everyone I knew, because his or her talent was so freaking out there, it should be seen. Well, between moving to L.A. and other things in life intervening, I came across an actor who - in just one performance - blew me away so much, I sort of dug in and hung on, more than happy to work around his busy schedule until he could find the time for a chat.

You may never have heard of him, but I suspect that is only temporary. It's real talent that holds its own in this town, building a lengthy career, and if that's the case I think Kyle Clare is pretty much set.

It was Watercolors that did it for me. The first time I saw the film, I sat down expecting another formulaic film about a young gay high school boy who falls for the jock he can never have - yet, somehow, manages to get, even if only temporarily. Such indie films are rampant, usually showing excessive skin in lieu of a plot or characterization, and almost always such films also end in tragedy for those involved, especially the main character (or someone he or she loves).

Watercolors broke that, beautifully. On paper it may play out as as read above, but thanks to the phenomenal heart and soul put into the film by writer/director David Oliveras, as well as the pure, very honest and humane performances of the two lead actors, Tye Olson and Kyle Clare, Watercolors takes a compassionate, very honest and wholly real approach to its subject matter - and delivers beautifully. And much as Tye Olson's character of Danny finds artistic inspiration for his drawings and paintings in the form of Kyle Clare's character Carter, it's Clare himself, with his performance, who inspired not only this interview, but my own work as a writer, as well. I hope he won't mind if I call him my friend, but that's just how Kyle is; one conversation, and he treats you like he's known you forever.

But enough of that; you can read the review here; this piece is about one of the stars of a film everyone who has ever fallen in love should see.

Kyle Clare, was born in Santa Monica in January of 1985, the son of parents who divorced while he was still very young. Movies were a big passion even from an early age, and a young Kyle would often find himself acting out characters to the point where he wouldn't answer to his own name. He was signed to a children's agency as a kid, but barely remembers the experience; it was in the eighth grade, after his class attended a show at the high school, that young Kyle first realized THIS was what he wanted to do.

Though he'd start off well, playing the purser in "Anything Goes" in high school, Clare's the first to admit, "I didn't have it all together in high school. I tested well, but didn't really have a plan." While he got good grades, and had landed the lead in every show by the time he was a senior, it was a guidance counselor who saw a young man in need of direction that saw the young man's talent and handed him a few applications for acting schools. Four days after graduating high school, Kyle auditioned for the prestigious AMDA (American Musical and Dramatic Academy) conservatory in New York City, who accepted him into their program. "So I was just graduated from high school and off to New York," Clare recalls, citing that his mother especially ask him, "Are you sure this is what you want to do?" - but by then, the acting bug had fully bitten.

Clare has nothing but good thing to say about the AMDA, though it was often all work and no play. "It was a tough school," he says. " There was no time to rest, you were always acting. But I learned that you get out only what you put into it ... and if you're really focused, which I was, then you can get a lot out of it." When asked how he feels attending the conservatory helped shape his career, Clare stresses "the best training an actor can get is from theater; theatrically-trained actors have a real advantage." That said, Clare did eventually choose to take the second year of his two-year training in Los Angeles, where he could focus more on film and television, though his respect and admiration for the school and for theater are obvious when he admits, "Looking back, had I been older I might have stayed (in New York) and pursued stage, but the glitz and glamor of being rich and famous gets to you ..."

Then, soon after graduating from AMDA, Kyle Clare only wanted to take a break when his girlfriend at the time, Jessica, talked him into submitting for an independent film he'd found was seeking actors online. After reading about the indie film Watercolors, which was to be shot on video for a more-than-modest budge of $35,000, Kyle wasn't sure about submitting for a role in which he'd be not only playing a closeted gay male (especially for his very first film role), but also for a part that, right out, stated would require nudity. But Jessica encouraged him to seek out the role, pointing out that Carter was Kyle Clare as described in the breakdown - a lean and athletic with long hair - but that didn't stop Clare from being more than a little nervous at the audition.

"What really made me nervous, though, was that I knew I was perfect for the role," Kyle says. "I was nervous about getting it, about playing a gay character and the nudity, but I called back and after the call back I heard from David (Oliveras, the writer and director). He told me it was between me and this other guy, and he wanted to get together and just hang out, get to know me. After the second time we hung out, he called to offer me the role."

From here, the friendship between Oliveras and Clare only grew, especially as Kyle grew more excited about the project, and even became a part of the casting process. "At the time I was cast, Danny's character was called Eric, and another actor had been cast in the role. But after two weeks of rehearsals the vibe just wasn't right, and David ended up letting the other actor go. He asked me to help him re-cast Eric, and we got this kid who dropped out, like, after one rehearsal ... so by now, five weeks since being cast as Carter, we were still looking for a Danny - which was what David had changed the other lead character's name to - and then Tye Olson walks in."

Clare was impressed from the beginning. "Tye walks in, and Tye was Danny. I read with him, then Tye left and I turned to David and said, 'I want him.' We called him at Starbucks and cast him."

But more than just winning a role, what makes Watercolors work is that the Olson and Clare seem absolutely in-sync with their performances; you fully believe in the characters and their relationship with each other, both good and bad. And talking with Kyle Clare, it's easy to see, now, why the film works on an emotional level the way it does.

"Even if I wasn't shooting, I was on-set all the time. David, Tye and I became "the trio" - we hung out together, talked about characters, and got very close. I don't like to over-rehearse, but forming this great friendship with Tye and David, just hanging out and talking about the characters and story, really helped the film."

And it works; just see the film to believe that. Better still, go by the fact that Kyle Clare - for his first feature-length role, won the 2008 Best Supporting Actor Audience Award at the Clip Film Festival, and FilmOut San Diego, in 2009, presented him with the Jury Award for Best Supporting Actor, for playing Carter Melman. Not bad, for a straight guy playing a complex, troubled and closeted gay teen in his first film.

When asked how his family and friends reacted to seeing him as Carter, Clare curiously mentions that his mother of all people had little problem with the character. "I had blond curly hair as a little kid," he remembers, "and was always made fun of, seen as artistic and a little weird. In school, because I was artistic and a performer, I was called gay a lot, so I think my mom sort of always wondered if I was gay, which prepared her a little more." To this day, while Clare knows he has his father's overall respect and support, he's not even sure if his father has seen the film - "though I know he bought it the day it came out on DVD" - and admits to taking a ribbing from his friends about playing Carter, especially for the nudity. And even his girlfriend at the time, Jessica - who started the whole thing - was very proud of his work as Carter, and loved the film.

Life since Watercolors involves Kyle Clare cutting his acting teeth back on the stage - particularly with Zombie Joe's Underground Theatre in North Hollywood. "It's really unique, a 50-set, black box theater; total audience immersion, with some crazy, really out there shows ... and I've learned a lot there; it's prepared me for when the right project comes along. Being forced to play some really crazy characters, its torn and pulled and stretched me; now I know, if I can do Zombie Joe's, then I can do into any audition, on any set, and pull off the character. With every show I'm stretched; tested."

It's also taught Clare to be an actor's actor. His taste in favorite performers - or actors he'd like to work with one day - runs toward a few of the most well-renowned working today. "Sean Penn is my man. He's so deep. I really relate my style to his in some way, he really seems to understand his characters; he's so cerebral." On Robert Downey Jr. - "One of the most naturally-gifted actors of all time; he never ceases to entertain or amaze me." And Clare adds Sam Rockwell as a third influence on his work, stating "he's just an incredible actor, period."

Just approaching his twenty-sixth birthday, when asked where he'd like to be in, say, five years, Clare - as many actors before him - mentions wanting to direct in time. But as always with Kyle Clare, it all has to come with meaning: "People have said they'll see me hitting my stride in my thirties," he says. "If so, I hope I can continue to do roles that I find interesting and satisfying. Working on things that mean something; heartfelt projects I want to do, and be able to sustain myself doing them. Just be able to act, and focus on that; whether theater or small, independent films, I would like to be where I can do the projects I want to do." When asked the kind of character he'd most like to play right now, Clare - in line with his theatrical training - cites his desire to explore the psychology of a character out of the norm of society. "Mental illness intrigues me," says Clare. "Exploring the character or a crazy person, or maybe a savant or even a psychopath, like Heath Ledger's Joker. I'd die a happy man if I could play a role like that, or maybe even like Sean Penn in I am Sam ... Hoffman in Rain Man. It's the only other role I've consciously thought of doing."

But no matter what, Kyle Clare is in it for the long haul. With most of his lengthy career still left ahead of him, the young and hugely talented performer has been around enough to have some good, solid and very realistic advice for the aspiring actor; advice as blunt and honest and together as Clare himself.

"Go home, sit down, and think about the whole thing. If you could ever see yourself doing anything else ... then do that. If you have doubts then do something else, because to be successful and effective and a good actor, it must be something you HAVE to do."

For more about this amazing actor and his work, go to www.kyleclare.com

BREAKFAST WITH SCOT

Director: Laurie Lynd
Stars: Tom Cavanagh, Ben Shenkman, Noah Bernett, Jeananne Goossen, Dylan Everett
Year: 2007
Rating: PG-13

While Breakfast with Scot plays more like a TV-movie with a twist, the characters - as well as the actors portraying them - give a certain charm to the tale, especially in the case of the three leads.

Tom Cavanagh (TV's "Ed") stars as Eric McNally, an ex-Toronto Maple Leafs hockey player whose career has been sidelined due to an injury. Now reporting for cable sports station in Toronto, Eric still rides on his popularity as a gruff, no-nonsense hard-head on the ice ... who happens to also harbor one small secret: that he's gay, and living with his boyfriend of several years named Sam, a corporate attorney. Eric and Sam lead a quiet life, Sam not so concerned about being out but Eric much more on the downlow about things because of his career and reputation ...

When one day that quiet is shattered, as Sam learns that his brother's ex-girlfriend has died of a drug overdose, and until Sam's brother (who is supposedly in Brazil) can be located, Sam and Eric are next in line to be granted custody of the dead woman's eleven-year-old son, Scot.

Eric freaks; the last thing he wants is a kid in the house, let alone a young roughneck kid he'll have to clean up after, or be responsible for. Sam calms him down, telling Eric they really have no choice and he'll make sure Scot doesn't cause any trouble; that this will only be until they find his brother, then Scot will be gone for good, but until then how can they desert a young boy?

But when Scot arrives, it's clear early on that this is no run-of-the-mill kid. In fact, with a wardrobe of tights, boas, hairbrushes that light up, and clothes with more sparkle than a Vegas showgirl costume, Scot alone is more flamboyant than Eric and Sam put together. At first, this tests Eric's patience even more - especially when, because of Sam's more rigid work schedule, he is forced to take care of and spend more time with Scot, especially out in public - but soon a bond does form between the flamboyant young boy and Eric, especially when Eric talks Scot into giving up some of his more "out" tendencies (the jewelry, his mother's makeup), and even teaches the boy to play hockey to sort of "man him up" a bit.

Question is, is this a good thing? As mentioned, the story plays out like a TV-movie, maybe on Lifetime if it were a gay channel, but even with a fairly schmaltzy ending the film still has some real heart and warmth to it; again, chiefly due to the three leads - though there is also an outstanding performance by young actor Dylan Everett in the film as well, playing a foul-mouthed kid in Eric and Sam's neighborhood who is all too realistic about his feelings on gays in general and Scot in particular.

Breakfast with Scot is harmless entertainment that will touch at the heartstrings a bit, even while being a bit manipulative in doing so. Tom Cavanagh is great as Eric, carrying the emotional weight of the film on his shoulders, and while Ben Shenkman does an equally impressive job as Sam, I wish his character were given much more to do. Special kudos, though, to Noah Bernett, who plays Scot with real humor and heart, in an engaging film with a very positive message of tolerance in the end. Definitely worth seeing (and no, I'm not going to tell you why there is only one "t" at the end of Scot's name; you'll have to watch it yourself to find out). ***1/2 - Reel Cool-Reel Awesome

DESPICABLE ME

Director: Pierre Coffin & Chris Renaud
Stars: Steve Carell, Jason Segel, Russell Brand, Julie Andrews, Will Arnett, Kristen Wiig
Year: 2010
Rating: PG

When we first meet Gru (voiced by Steve Carell) in the visually stunning animated feature Despicable Me, we understand right away that Gru is a pretty callous bad guy. Bearing more than a passing resemblance to Uncle Fester from "The Addams Family" television series, Gru is anything but lovable or altogether ooky; from making children cry to attempting to take over the world, Gru is a supervillain of the highest order.

Or, at least, he used to be. Gru's gotten older, and there is most definitely a crop of younger, even more evil supervillains coming up behind him, with bigger and more expensive plans to take over the world. SO expensive, in fact, that when Gru goes to the Bank of Evil to take out a loan for his latest, most evil plot of all - to shrink and steal the moon, holding it for ransom - he is turned down by the bank's president, who no longer is so sure of Gru's capabilities, and is instead forced to steal the shrink ray first, to prove he is still the baddest villain. The new villain on the block, a young impresario named Vector (voiced by Jason Segel), has recently stolen the great pyramid of Giza in Egypt, replacing it with an inflatable copy, and such daring, super-DUPER villainy has put Gru squarely into the #2 position of bad guys.

So Gru - along with the help of his elderly friend Dr Nefario (Russell Brand), and his many hundred of odd-looking, bright yellow minions, manages to steal the shrink ray ... only to have the machine, in turn, stolen from him by Vector, even as he escapes capture! Thwarted and determined to regain ground as #1 supervillain, a disgruntled Gru makes several attempts to break into Vector's compound - with hilarious results that prove, to a badly-bruised and beaten Gru, that Vector's fortress is impenetrable.

That is, until Gru witnesses three young orphan girls, out selling cookies to raise money for their orphanage, allowed in to the compound when Vector learns they have his favorite cookies. So Gru, being evil and uncaring, makes immediate plans to adopt the girls, plant robot cookies into their supply of treats, and use them to gain access to Vector's home and get the shrink ray machine back.

But what Gru doesn't count on is that raising three little girls can, in itself, be more work than the most evil of plots. What starts off as a nuisance and a chore, necessary to put his plans into action, instead starts to change the lives of Gru, the girls, and everyone around them. And even as Gru fights to get back his Most Evil Supervillain title, he also grows to learn a lot more about life, and love, and what's really important than he'd ever knew possible.

Yeah, you can sort of see where things are going in Despicable Me early on, but it takes nothing away from the joy in getting there. Carell, even with the harsh European accent, is perfect as Gru, turning from evil to empathetic in the course of the film, in scenes that go from hilarious to touching and everything in between. Visually the film is a treat for the eyes, the animation oddly quirky and perfect for the story. Happily, even all those yellow guys, Gru's minions, don't take over things like such supporting characters usually do in these films; instead, they remain wholly entertaining, surprisingly fresh and funny, and provide some great moments in the story without stealing them from other characters.

You won't find a lot of depth of story or character here, but on the other hand the silliness and slight story and appealing characters all come together to make Despicable Me a charming film worth seeing, even owning on DVD. It's feel-good animation that comes from the heart, and also provides some hearty laughs; who could ask for more? **** - Reel Awesome

Trailer: COWBOYS & ALIENS

THE TRAP

Director: Howard Bretherton
Stars: Sidney Toler, Victor Sen Yung, Mantan Moreland, Anne Nagel, Tanis Chandler, Kirk Alyn
Year: 1946
Rating: N/R

When Monogram picked up the Charlie Chan film series from Twentieth Century-Fox, the quality of the films - which had always been entertaining and just a lot of fun to watch - seriously dipped from low-budget to practically no-budget territory. Sidney Toler, having taken over the role years before after the death of Warner Oland, gave Charlie Chan a warmth and humor the character had not had on-screen before. Toler was pretty much my favorite Chan, and this was the last film he made as the character, before his death in 1947 from cancer. Sadly, it's not a fitting tribute to the fine character actor, as The Trap features poor acting, poor writing, and a weary Sidney Toler who looks ill here, and isn't even introduced into the film until twenty minutes in - which, considering the running time of The Trap is just over sixty minutes, is pretty significant.

The plot, such as it is, revolves around a theatrical troupe - mostly female - who rent a beach house in Malibu for some well-deserved time off. The female performers are headed by the vain, bossy Marcia (Anne Nagel), who knows enough dirt on the other girls, she pretty much gets away with everything, even though the others hate her. The very day they move into the beach house, Marcia blackmails a young ingenue named Lois into stealing some incrimination letters from the trunk of another girl, and during the theft Lois is strangled to death by an unknown assailant. A state trooper who had pulled the troop over earlier in the film (Kirk Alyn) starts the investigation, but it's one of the women - a young Chinese girl named San Toy - who calls Jimmy Chan (Victor Sen Yung) for help, and soon Jimmy's father, the great detective Charlie Chan, is on the case ... along with his bumbling chauffeur Birmingham, played with humor and to great "yessir, boss, yessir!" stereotype by Mantan Moreland. At first Charlie's mission seems to be to find Marcia - who has gone missing since the murder, and is presumed to be the killer - but when Marcia's body washes up on shore the next morning, also strangled, it's up to Charlie Chan to figure out the motives and means ... and the identity of a dangerous killer.

While the film is not a total waste - especially for Chan aficionados - there is not enough here to make the film worthy of more than maybe a single viewing. Most of the cast truly hams it up for the camera, and the cast of characters leans toward run-of-the-mill stereotypes you will find in any murder mystery/thriller, right down to the sinister housekeeper/caretaker of the beach house, a C-movie version of Mrs. Danvers from Rebecca who goes around quoting about drink being the root of all evil. The playful, humorous banter between Victor Sen Yung and Toler, which was one of the best reasons to watch the series (especially when it was with Twentieth Century-Fox) is almost non-existent, the plot is both convoluted and fairly laughable, with lots of screaming from the girls and an ending that's a bit boring to say the least.

Sad that this was Toler's last film - but good that he left a legacy of great work behind, Chan and otherwise, as a terrific character actor; one who deserved better than this for his final bow. ** - Reel Mediocre