Contrasting Narratives: A Deep Dive into "Tokunbo" vs. "Sambala: The Cost of Freedom"

"Tokunbo" and "Sambala: The Cost of Freedom" are two notable Nigerian films released in 2024, each offering distinct narratives and themes.

"Tokunbo"

Directed by Ramsey Nouah, "Tokunbo" is an action drama that follows an ex-car smuggler tasked with delivering a government official's daughter to her captor within three hours to prevent harm to his family. The film delves into themes of desperation and moral dilemmas. It premiered on Netflix on August 23, 2024, and features performances by Gideon Okeke, Chidi Mokeme, and Funlola Aofiyebi-Raimi.

"Sambala: The Cost of Freedom"

Directed by Kole Akintujoye, "Sambala: The Cost of Freedom" is a gripping drama set in a remote African village. The story centers on a young girl forced into an arranged marriage with a tyrant, leading her to spearhead a fight for freedom against oppressive forces. The film explores themes of resilience and the struggle for liberation. It has garnered attention for its powerful storytelling and cultural significance.

Comparative Overview

While both films are rooted in Nigerian cinema, they offer contrasting narratives:

Genre and Themes: "Tokunbo" is an action-packed thriller focusing on crime and personal sacrifice, whereas "Sambala" is a drama highlighting societal oppression and the quest for freedom.

Setting: "Tokunbo" is set in urban Nigeria, reflecting the complexities of city life and crime, while "Sambala" takes place in a rural village, emphasizing traditional practices and communal struggles.

Character Focus: "Tokunbo" centers on a male protagonist entangled in criminal activities, whereas "Sambala" features a female lead challenging societal norms and fighting for emancipation.

Where to Watch

"Tokunbo" is available for streaming on Netflix. As of now, "Sambala: The Cost of Freedom" has been showcased at film festivals and is anticipated to be available for wider viewing soon.

Trailers

You can watch the trailers for both films here:

Tokunbo Official Teaser

Sambala: The Cost of Freedom Official Trailer

Devil's Knight (2024) - Action Horror Fantasy

There can never be too many movies set in the medieval fantasy period, especially if they're based on a blend of action and horror. Simply put, the same mix of genres always provides a level of fun and thrills that nearly guarantees a good time for cinephiles of these types of films. Devil's Knight is one such film, and this title only recently came out. Here's how the film describes itself:

In the realm of Veroka, an elite group of global monster hunters is summoned by King Samuel to vanquish the ancient Bone Devil, whose reign of terror threatens the Kingdom of Remény.

 

The movie is directed by Adam Werth and stars John Wells, Kevin Sorbo, Angie Everhart, and Daniel Baldwin. It also features the legendary Eric Roberts. It was written by Vincent V. Gelsomino and Adam Werth. Devil's Knight is produced by Michael Mahal and Sonny Mahal of Mahal Empire Productions.

For more information, check out the Devil's Knight IMDb page!

Sambala: The Cost of Freedom - The Power and Impact of Nollywood’s Next Generation of Filmmakers

Nollywood, as the Nigerian film industry is today known, is continuing to make waves on a global scale and not just at the level of African cinema. Regionally, it has been a staple of production and quality for years, but now, films including Sambala: The Cost of Freedom are moving it even further. This process is propelled by filmmakers like Nigerian-American Kole Akintujoye, a veteran of the film business. His latest production, Sambala: The Cost of Freedom, created under GUODB Cinematics, shows just how quickly is Nollywood evolving from local but authentic storytelling to a place where it resonates with audiences worldwide. Here’s the plot of the film:

In a remote African village, a young girl is forced into a life of oppression when her parents arrange her marriage to a powerful tyrant. Defying tradition and risking everything, she leads a desperate fight for freedom, uncovering dark secrets and paying a heartbreaking price in her quest to break the chains of tyranny.

The film dives into themes of resilience and liberation, breaking away from expected storylines seen in Nigerian movies. Instead, it explores dark African narratives of the contemporary world and is willing to confront complex social issues. All the while, it is dedicated to using a thoroughly distinctive African perspective.

This film is part of a broader movement in Nollywood, showcasing narratives that speak authentically to universal themes and positioning global Nollywood as a cinematic force. Online content hubs like Netflix Naija, Amazon Prime Africa, and other streaming platforms are increasingly showcasing such works, drawing international attention to Nollywood and reshaping global perceptions of African cinema. That is a process that has been long overdue and people like Akintujoye are pushing it forward by leaps and bounds.

Films like Sambala highlight this new wave of Nigerian movies focused on cultural empowerment and authenticity, blending storytelling with a deeper examination of African perspectives and realities. Through such vibrant narratives, Nollywood is reinforcing its commitment to authentic storytelling and cultural empowerment, capturing the world’s attention and solidifying itself as a major player in the international film industry. Sambala: The Cost of Freedom is not just about cultural empowerment, it is a part of the next chapter of African heritage in film.

Film Review: Oddity (2024)

The power of Oddity as a very fresh and atypical horror is seen literally in the first five minutes of the film. That is the moment in the film when a brilliant and chilling conversation takes place between a woman, locked in an old Irish mansion, and a stranger on the other side of the door. In that short but impactful vignette, the film and its director Damian Mc Carthy showcase just how well they manage tension, expectation, and the bleak visual environment where both take place. In that space, we as a viewer cannot help but look for danger and threats in every dark doorway or dimly lit corner.

The same skill set propels Oddity to the very top of modern horror, especially when keeping in mind that it is coming from a European indie production. But, through the smart use of simple props and excellent storytelling, Oddity compensates for any lack of production values. Instead, it proves a deeply disturbing tale that is still very plausible and ultimately a very down-to-earth matter. Similarly to Late Night with the Devil, the film’s premise begins in an outlandish manner but becomes more and more personal and thus possible as time goes by.

With that strong and grounded setup, the tale of a blind woman and a medium, going on the quest to find out who really murdered her twin sister becomes something extraordinary. The acting cast understood that as well, which is why Carolyn Bracken and Caroline Menton do a great job, followed closely by Tadhg Murphy, Steve Wall, and Gwilym Lee. All of them attain amazing results without any apparent extraordinary effort. In a similar way, Oddity effortlessly shows that horror films are at the cutting edge of the present independent film industry.

VasDahiv Uncharted - YouTube Mystery-Horror Animated Series

It's always fantastic to see innovative art that blends a range of influences. VasDahiv Uncharted is an episodic YouTube animated series that was made in the same manner, with origins that are both diverse and global. That covers the subject matter of the series, but also how its team approached its storytelling. Here's how the series describes itself:

The first issue of VasDahiv: Uncharted introduces Vandad, a young adventurer, and his companions as they explore the mystical desert landscape of VasDahiv. While on a quest to solve an ancient mystery involving a strange box and a broken seal left by Vandad’s father, they encounter strange characters, including a mysterious old man who may not be what he seems. With elements of supernatural danger, tension, and Persian mythology, the series blends adventure, horror, and suspense as Vandad and his friends face unforeseen challenges that test their resolve and uncover secrets that have remained hidden for centuries.

In the first episode, the skill of the team behind VasDahiv Uncharted is immediately clear. The style of the animation is a great blend of cartoon, cell shading, and realistic approaches. From the perspective of the narrative, characters, and the entire storyline, the episode quickly sets up its premise and the central mystery, all the while using familiar elements like a road trip, (seemingly) random encounters, and abandoned, spooky gas stations. All of these immediately catch the attention of the viewer and draw them into the emerging story of VasDahiv.

On the production side, the series is really well-made, featuring great voiceover acting and soundtrack. Also, the level of polish that the animation comes with, especially that of the characters’ faces and facial expressions, is impressive, showing that the team painstakingly made sure everything looks, sounds, and feels excellent. All of this shows that the director Younes Hommasi and the team around him know what they're doing not just now, but for future episodes as well.

If you're into animated series and ancient mysteries that combine numerous elements, check out the official website of VasDahiv Uncharted. But first, watch the entire first episode of the series right here, and be sure to subscribe to its official YouTube channel for future episodes!

Film Review: Longlegs (2024)

 

Several factors related to Longlegs and the way Osgood Perkins directed the film are simply fantastic. These include photography and frame composition, but also the glorious fact that this work again forced (or enticed) Nicholas Cage to show the world his true talent. Unlike a range of B-class films he made in recent years, Longlegs is a true work of art. Maika Monroe, as the lead character of the confused but driven FBI agent Lee Harker also provides a very impressionable psychological study.

Finally, the initial atmosphere and narrative mood hint at the film being inside of the New Weird genre, here Harker gets a hypnotic FBI test that determines whether or not she might be a psychic. All of these fit perfectly into a generic story of a series of horrific crimes where a mysterious being, known only as Longlegs, somehow forces families to murder each other. Here, the plot is reminiscent of things like the Southern Reach trilogy from the writer Jeff VanderMeer or video games like Control. In the first half of the film, Perkins wants to tell the audience that horrible things can and will happen, while forces committing these, just as the forces opposing those, might be unknowable to us.

But, as the film breaks into the second half, all of that synergy is somehow lost. The mystery shifts into occult and satanism but does so in a bland, stuttering manner. The focus of the characters is lost as seemingly all of them suddenly fall into some kind of unclear family drama buried deep in their past. Even Cage appears to be questioning his approach to the role of an intensely deranged person, finally reverting to bizarre impressionism that is again, kind of silly. As the end and the culmination draws near, the events get bloodier, but everything gets unintentionally funnier as well.

The finale itself is more akin to the forest critters from South Park who engage in blood orgies and exclaim “Hail Satan” than a thought-through New Weird horror story. The film does tie all of its loose ends and provides closure to the mystery, but that closure ends up more comical than scary. With that, Perkins managed to make a work of art that feels more similar to a Tales from the Crypt episode than one of the most cerebral horror films of 2024, which Longlegs so very much could have been.

Dark Feathers: Dance of the Geisha - Mysterious Thriller Drama Blending the Exotic and Deadly

 

The concept of the Japanese Geisha has long fascinated the world of cinema. For decades, these enigmatic but alluring figures have been a prominent element of the endless appeal of the Far East. From their distinctive look and unique personal presentation, all the way to the complex psychological portraits behind the makeup and clothes, these ancient performing artists and entertainers never fail to capture our imagination. However, the latest film with the Geisha subjects manages to immerse the audience even deeper in the same cultural phenomenon. That film is Dark Feathers: Dance of the Geisha, and here is how it describes itself:

Geisha ladies of Japanese culture have long been revered for their beauty and entertaining skills of singing, dancing, and conversation. Some are known to possess special abilities that can drive men crazy. Kate (Crystal J. Huang) leads a mysterious life in San Francisco as a photographer and ballroom dancer. But when all her dance partners turn up dead, detective Remy (Gilles Marini) begins to investigate. As he gets closer to the truth, he too succumbs to passion for Kate, which strains his marriage with Amelia (Karina Smirnoff) and leads to his own death. With the body count growing, police pressure to catch Kate builds, revealing her participation in a secret underworld of honor and culture.

Crystal J. Huang, the producer and director of the film, clearly found inspiration in a range of subject matter associated with the phenomenon of the geisha. That is why the film offers a strong sense of atmosphere, combining the elegant and the deadly. In equal measure, the scenes of action and violence complement those of dancing and vice versa. In both cases, the exchange between the forces of life and the forces of death continues unabated. Here, the presence of the veteran actor, Michael Madsen, further enforces the sense of mystery and life-and-death choices.

Visually, Dark Feathers: Dance of the Geisha offers a very immersive experience, where ballroom dancing halls provide a playing field for grace and splendor. At the same time, the film uses other locations with just as much effect, offering an almost dream-like viewing experience. Through stellar cinematography, the film ultimately tells about very different cultures coming together through emotions, passion, and art, just as much as violence and drama.

Tactile, measured, and beautiful, Dark Feathers: Dance of the Geisha is a story that easily captivates with its unique story and characters. If you’d like to learn more about the film, check out its official website as well as its Facebook, X, Instagram, and TikTok profiles. Finally, watch the entire film right now on Amazon Prime US and Amazon Prime Canada and become lost in the beautiful, mysterious, and deadly world of the Geisha.

Review of Le Grand Vide

 

Le Grand Vide, the latest feature film from Jessy Dupont, surprises with its sobriety and minimalist approach. This film, which sits at the crossroads of a road movie and an introspective drama, immerses us in the story of Elliot, a man broken by the weight of his past, who sets off in search of his missing son. This quest, which could easily have slipped into heavy-handed drama, is instead handled with an almost unexpected lightness. Dupont focuses on moments of introspection, where silences and landscapes speak as much as the dialogue.

The strength of Le Grand Vide lies in how the storyline around the search for Elliot's son works so well. Far from stagnating in waiting, the story moves forward smoothly thanks to a well-structured script. Every step of Elliot's journey feels natural and inevitable, with the encounters and obstacles along the way serving to advance the plot without ever slowing the pace. The underlying tension of this quest is skillfully maintained throughout the film, engaging the audience in a narrative progression that is both emotional and dramatic.

Visually, the film manages to capture the raw, authentic beauty of the maritime landscapes. The images, though simple, are marked by an efficiency that serves Elliot and Bourk's story very well. Le Grand Vide could have benefited from greater technical resources, allowing for more elaborate cinematography. However, this visual modesty does not detract from the emotion it conveys; the simplicity of the shots enhances the human dimension of the film. Dupont's direction keeps the focus on the characters without unnecessary distraction. Still, it would have been interesting to see more financial resources at play, especially knowing that this is a small-budget production.

Jean Drolet's performance is full of restraint. He never tries to overplay his character's suffering but lets the pain of a man who has lost all hope subtly show through. Alongside him, Marc Lamontagne in the role of Bourk provides a more eccentric and vibrant counterbalance, bringing a welcome energy.

Despite these undeniable qualities, Le Grand Vide may leave some of the audience behind. The pacing, at times slower, may occasionally feel repetitive. Additionally, some viewers might find the musical score overwhelming or even abrasive, though the quality of the music itself is undeniable. Jessy took a high risk with his bold musical choices, but in my opinion, they are just right.

In summary, Le Grand Vide is a film worth seeing. 3.5 stars out of 5.

Review by Mark Harris

Film Review: Late Night with the Devil (2023)

It’s always great to see a particular film genre go through a big evolution. I’m not a big fan of the found-footage genre, but with Late Night with the Devil, it is clear that the film moved the entire domain of this type of moving-making. The premise involves a double layer of found footage, seen in a special episode of a late-night talk show from the 1970s, where a single guest apparently managed to summon the devil.

The film, directed by Cameron and Colin Cairnes, uses the two-fold approach in a really novel, but narratively very suitable manner. The first layer is the 1970s color (and 4:3 format) show that was broadcast live decades earlier, while the second layer is a regularly framed but black and white behind-the-scenes footage. Both blend perfectly in a modest runtime of an hour and a half.

The last element of this extraordinary film is David Dastmalchian as Jack Delroy, the late-night show host who has fallen to his lowest point in both life and career. Dastmalchian is fantastic in presenting the multi-faceted Delroy, where many elements of personal motivation and drive, motivation, guilt, grief, and regret all mix with the insatiable need to be the number one in his field of business.

It’s a shame that the film generated an aura of controversy due to its incredibly minor and trivial use of AI-generated images for a couple of still shots. Beyond the issue of AI art use, Late Night with the Devil is a fantastic and innovative horror film that does for its genre what few have managed in many previous years.

This Christmas Chance - Romance Comedy about Second Chances

This year's holiday season might be some months away, but a good Christmas movie can touch its audience at any time. Thanks to that fact, classic holiday films endure in our hearts for years, even decades, mainly thanks to their characters and a meaning that goes deeper than merry Christmas decoration. This Christmas Chance is a movie that offers the exact same thing, mostly because it uses the holidays to tell a resonating story about making poor decisions and getting those rare, but crucial second chances in life and love. Here is how the film describes itself:

Chance Philips is a successful entrepreneur with a bright future and a dark past. While trying to build his business and right his wrongs, he meets Gabriel Dupree, a beautiful doctor who has a few secrets of her own. The two hit it off but everyone isn’t rooting for the new couple to succeed. The bitter, the broken, and the bad have aligned to destroy the couple’s chance for love and a joyous Christmas season.

The film was directed by William Collins and written by Leah Pride. It stars Benny L Andrews Jr. and Ashley Forrestier, alongside Ali Siddiq, who plays himself. Siddiq, whose unique style of stand-up got its start behind the walls of incarceration and later blossomed into a booming career. In 2022, Ali released a two-hour special called THE DOMINO EFFECT on YouTube. To date, THE DOMINO EFFECT four-part series has over 20 million views, ranking it in the top five most-watched comedy specials of all time. Like the film, Siddiq proves that second chances miracles happen every day.

He, along with the entire crew and cast, makes This Christmas Chance a truly unique film. The same is further enforced by the clear productional quality that puts the film on the same level as a big Hollywood release. But, ultimately, the key aspect of This Christmas Chance lies in the way it tells its story about giving love another chance, even when that chance seems a very distant possibility.

The entire film is available for free on YouTube and Tubi. Watch it right now, right here, and enjoy the holiday spirits in what is certainly going to become a classic Christmas movie!

Movie Review: Rebel Ridge (2024)

There’s no doubt that Jeremy Saulnier can deliver a mean and unusual thriller. Blue Ruin is borderline brilliant, while Green Room does a good job at keeping you interested past its exploitation-level punks vs nazis premise. But, at the same time, Saulnier’s films tend to pay a price for their unique vision. Hold the Dark is a perfect example of this notion and now, Rebel Ridge is likely taking the same bold but faulty formula even further.

The concept of his latest film is very straightforward - a former marine martial arts expert, Terry, goes via bicycle to a local courthouse in a backwater southern US. He wants to bail his cousin Mike out of jail and do it fast, as his life might be in danger inside. That is why Tery feels that he has only a limited time to do the same before potentially deadly harm comes to Mike. But, a chance encounter with a police patrol derlails the entire plan and puts him on a crash course with the entire local law enforcement.

Some have hailed Rebel Ridge as a thinking man’s modern version of Rambo. But, while the main character, played exceedingly well by Aaron Pierre, has the charisma to pull it off, the rest of the cast does not. What’s worse, the script also doesn’t have the fuel needed for a Rambo-like experience.

There is a huge focus on the police and court procedures, which should likely shine a light on the US system’s terror of those with the wrong color of skin or insufficient bank accounts. So, the entire script from start to finish is rooted in some kind of police procedural setup. To make things worse, these procedures take over nearly two and a half hours over the course of the film’s run time, which was completely unnecessary as well. Due to this, the constant but lackluster attempt at social commentary falls short and is more of a burden to the film than anything poignant or meaningful.

Rebel Ridge is a well-crafted film with a clear artistic design behind it, as well as a cast that gave it its best shot. But, Aaron Pierre alone cannot carry the faults that Saulnier embedded in the film’s script before the first shot was even filmed.

Beauty Grace Malice - Powerful Drama about Personal Change and the Empowerment of Growth

Anyone's life is a story of decisions and half-chances, some good, some bad. In the case of the independent film Beauty Grace Malice, the same life belongs to Grace, a woman down on her luck who risks losing the thing she loves the most. However, in the same dark, dangerous, and even violent chapter of her life, Grace also finds a chance to change herself and not just overcome her issues, but grow as an empowered woman who takes over control of her future. Here is how the film describes itself:

Starring TaJa Brittaney as Grace and Marlon Ladd as Elijah, Beauty Grace Malice tells the story of a resilient single mother, Grace, whose life unravels after being framed for a crime by her best friend and lover. As Grace fights to clear her name and reclaim custody of her son, Logan, she seeks the help of Elijah, a private investigator. But Elijah isn’t the stereotypical hero; instead, he serves as a mentor, teaching Grace how to regain control of her own life. Together, they navigate the treacherous world of deceit and betrayal, with Grace emerging not just as a survivor, but as an empowered woman determined to take control of her destiny.

The film, produced by Kris Young at 19 Artists Development and directed by the veteran movie maker, Terry Spears, Beauty Grace Malice dares to look behind the veil of everyday, regular society. Here, it finds and showcases a scene of broken families, crime, addiction, escorting services, and wanton violence. Sadly, these things are also commonplace in the modern reality, but often too disturbing for artists. For the crew in front and behind the camera of Beauty Grace Malice, there is a sense that these topics had to be explored and presented to the audience. Check out the film's trailer right here.

Through a multitude of characters and several developing plotlines, Beauty Grace Malice is clearly a powerful film that blends genres of thriller and drama to great effect. That in particular reverberates with anyone who also desires to see growth and change happen in their lives. At the same time, great art is always bold and there is little doubt that this film strives for the same ideal. The film is distributed by Indie Rights Movies and set for release on Amazon and Google Play October 2024. After the premiere the film will also make its way to Tubi and Indie Rights Movies' YouTube channel. For more information follow 19ArtistsDevelopment.com and once Beauty Grace Malice comes out, be sure to watch it!

Film Review: Hit Man (2024)

 

So many things in Hit Man look like other things. The directorial approach that Richard Linklater takes feels like something that mixes Quentin Tarantino with Guy Richie. The lead man, Glen Powell, feels a lot like young Tom Cruise. The lead female character, Adria Arjona, is reminiscent of the young Penelope Cruise. Thanks to that, from the start, Hit Man works as something you feel you saw time and time again in the past.

Its story, which focuses on a professor-turned-fake-hitman working for the New Orelans PD, is ultimately a “fish out of water” tale, but it too slowly slides into Donny Brasco territory. Wherever this movie and its complete cast turn, there is already something there that pretty much did it in the same way, likely a bit better as well.

That is not to say that the film is not engaging and manages, especially in the start, to grip the audience’s attention. The main problems arise at the halfway point, when the novelty wears off and too many similarities begin to pile up. Linklater is a brilliant veteran director, but even he didn’t manage to steer clear the film away from all of the copycat pitfalls. Unfortunately, the film ultimately rams straight into most of them.

AMC, Vue, Cinepolis, Cineworld, Cinemark, and Cineplex Entertainment Take Notice - Tube-E Movie is Ready for a Great Theatre Run!

Here on Movies, Films and Movies, the interesting project known as Tube-E Movie has already been showcased some weeks ago. This independent film by Will Adams presents a satirical and highly entertaining take on the mass production of streaming-only, low-budget films that became their own set of tropes. Through this, Adams managed to create something that is both a homage to filmmaking against all odds and a fun ride in a bizarre world of insane plot twists, characters who notice crew members, and many more elements of a great modern satire. Now, it is time for film projection and theater distribution companies, mainly AMC, Vue, Cinepolis, Cineworld, Cinemark, and Cineplex Entertainment to take notice of Tube-E Movie and get it in front of their audiences. 

Today, the sad fact is that many people choose to watch movies on their home TV sets while they're scrolling through their phones. The issues and problems related to excessive screen time are also well-known. By getting people to watch movies in theaters, they could find a chance to put down their phones and share engaging moments of laughter and fun with their actual peers in the audience.

So, why should the same companies want to have a chance to give this film a theater run? First off, Tube-E Movie is ideal for a theater run because it covers all the technical elements of movie making. Adams, with over 20 years in the film business, made sure of that with this release. But, more importantly, having Tube-E Movies in theaters belonging to AMC, Vue, Cinepolis, Cineworld, Cinemark, and/or Cineplex Entertainment would provide an influx of new audiences. For many of them, being accustomed to watching films at home on streaming services like Tubi, a movie-going experience might be new and thrilling.

That way, any of these distribution companies would do themselves a favor by supporting a Tube-E Movie theater run. It is a clear win-win scenario for everyone involved, especially moviegoers and theater companies. While many would get to enjoy this unique film, many more would likely take the chance to visit one of their theaters and get reacquainted with the joy of going to the movies!

Temp to Fire - Great Comedy now Streaming on Tubi!

 

The history of movie-making clearly shows that great comedies never go out of fashion. A hilarious film can be years or even many decades old and still manage to get many laughs. Temp to Fire, written and directed by Ash Davito, is an independent comedy that came out in 2015. Now, nearly a decade later, the same film is streaming on Tubi and still can connect to the audience with its themes of love, ambition and chasing dreams. Here is how the film describes itself:

Single Playboy and struggling actor "Phillip Cox" finds himself unfulfilled in his career and love-life. After getting dumped by his famous ex-girlfriend "Valerie Mills" for a rich director, Phillip also loses his dream job. In-spite of being unemployed with a broken heart, Phillip remains hopeful and determined to reach for the stars. While job hunting Phillip lands a temporary position teaching Theater Arts, along with his best-friend "Mooch" as a janitor at Goon Middle School. Sparkles really fly when Phillip pursues a romantic interest with his beautiful co-worker "Zenobia".

As the synopsis shows, Temp to Fire juggles a range of characters which are all in some shape or form interconnected. Out of those connections many situations arise, leading to a range of hilarious results. Here's the official trailer for the same film, showing a bit of its atmosphere:

10 years after its release, Temp to Fire still also looks great, showcasing some exceedingly high production values. From great cinematography and lighting, to excellent sound design, the movie clearly aged very well. Thanks to all of that, Temps to Fire on Tubi can now find a brand new audience and share laughs and fun with millions around the world!

Check out the film on Tubi and enjoy Temp to Fire right now!

Film Review: Road House (2024)

To have a good laugh, go watch a random clip from the original Road House film from 1989. There, so many things are completely god-awful and terribly unintentionally funny, but Patrick Swayze somehow made it all work out in the end. Today, the film is a classic of campy movies and something that offers loads of fun whether you ultimately appreciate it as a work of cinematography or something that is basically a reel of Fail Army videos with a shared common topic.

The 2024 remake of Road House works broadly in a similar manner, offering the central point of Jake Gyllenhaal as the ex-MMA now wanton bouncer coming to the Florida Keys to set everything right without even trying. The director of the film, Doug Liman, focused on the need to keep the original’s carefree fun spirit and he managed to do a moderately good job there. The photography of the film is great, the warm Florida sun shines on the white sands, while the night shots are all clad in colorful bar lights. Liman previous did films like Edge of Tomorrow, so his cinematography, including inventive camera movements, is excellent. Overall, the visuals are definitely there, but the narrative essence doesn’t manage to follow suit.

The reason for that is that neither Man nor Gillenhall managed to fully capture the once-in-generation mixture of unintentional charm that the original had. That is why the new version has drastically fewer insanely dumb parts, but just as few very good parts as well. There are also many abs and biceps in the film, countlessly more than any appreciation of the female body. Also, people wrestle and fight all of the time, grappling on the floors and bar tables with no end in sight. Because of that, at least, Road House from 2024 will become an iconic gay film in the coming years and decades.

Tube-E Movie - A Satirical Crash into the Forth Wall of Filmmaking

 

Creating independent films has never been a simple process and too often, it becomes a harrowing ordeal for its authors. However, in the present day and age, with the ability to shoot and then distribute films through modern technology, it might seem that making small indie films has never been easier either. Streaming services in particular provide a huge range of film content, much of which was made completely independently, but also with somewhat lacking results that the audience often lampoons and ridicules. In that odd and conflicting paradigm, the long-time film director Will Adams decided to create his film, Tube-E Movie. Here is how the film describes itself:

In 'Tube-E Movie", follow the zany journey of a young couple, their wise-be-yond-his-years son, and romantically perplexed couples. This isn't your typical family comedy-actors break character, venting frustrations to the bewildered cast and crew, while the rest stay delightfully in character. This film hilariously pokes fun at Tubi's outrageous content library, diving into wacky romance, perplexing plot twists, and side-splitting satire. "Tube-E Movie'' is a laugh-out-loud experience that celebrates the quirkiest offerings of the streaming universe, perfect for those who appreciate wild and unpredictable humor.

This interesting premise quickly comes to the forefront thanks to Adams' writing and 20-plus years of experience in making indie films. Also, the cast, including Damon Williams, Adele Givens, and Brandall Cole manages to get on the same wavelength as the unusual, but very appealing script. The result is at moments strange and unnerving, but also a very funny outlook on the process of filmmaking by those who might lack the means, but not the drive to make their art. Here's the film's official trailer which shows the quirky weirdness right from the get-go:

There's little doubt that Tube-E Movie as a short film has a unique outlook on the art of cinematography. It comes from a place of extensive experience and deep love for the same craft, but also the ability to break the fourth wall and offer some insider light onto the same field that is equally amusing as it is insightful.

Film Review: Maggie Moore(s)

From the start of Maggie Moore(s), this quirky little film works as a mixture of Breaking Bad, especially because of its New Mexico setting, and a Coen brothers movie. However, in that fusion, the film somewhat takes away from both influences, ending up as something theoretically similar, but ultimately less fun and less engaging.

In its story, which is partly built on real events, the film deals with the double murder of two women named Maggie Moore, living in a small town and both having zero reasons to be killed. Smartly written, the script opens with a resolved mystery, putting the viewers in a position where they already know everything.

As the story progresses, a set of initial blunders only continues to grow around the evil-doers, while Sheriff Sanders, played by Jon Hamm, and his love interest Rita, played by Tina Fey, try to unravel the bizarre and apparently senseless murders. At the same time, their middle-age romance blossoms in its full awkward glory.

But, despite the great leading cast and a good script, the film's dark comedy angle simply never comes to full fruition. It remains stuck in a place where it is neither a thriller nor a true black comedy, leaving it looking very pale, which rarely happened to its main influences.

Film Review - Godzilla Minus One (2023)

 

Defining a genre for Godzilla Minus One is a hard task, but an even harder one is trying to remember a big Japanese film that deals with the aftermath of WW2 on individuals and society as a whole. Things like the Yasukuni Shrine show that the Japanese public consciousness always had a strange process of trying to square the circle of the terrible Second World War and the events that took place during it. Here, the notion of trying to examine civil society and place it in a context outside of the Japanese military mindset, at that point nearly a millennium old, is probably one of the most unique features of Godzilla Minus One.

While this film doesn’t exactly take on the legacy of the Nanjing Massacre or anything like that, it takes on a big monster in Japanese consciousness - the legacy of sacrificing oneself for the ideas of the State. In a simple story of Koichi, a young kamikaze pilot who decides to abandon his mission, only to find himself facing an actual monster from the depths twice in several years, the film deals with a broad range of topics. Through this, it overcomes the notion of being a monster film. Instead, it morphs, just like Gozzila, into something more powerful.

Additionally, the period of the film where it follows Koichi, still devastated by his wartime experiences, his not-wife Noriko, and their not-daughter as they struggle in obliterated Japan, works as an impactful drama about recovery and self-forgiveness. The fact that a monster element, which was excellently delivered in terms of visuals and pacing, works just as well, shows how unique and successful Godzilla Minus One truly is. 

The film also completely avoids any of the recent Western formulas, like the elements seen, for example, in Godzilla from 2014. Godzilla Minus One and its director, Takashi Yamazaki, take on their route. It shows that Yamazaki is not only a brilliant cinematographer mind but also one of those rare voices in Japan’s international art scene ready and willing to take a look into some dark, troublesome corners of the country’s bloody past.

Arena Wars (2024) - Death Games, Bloody Mayhem, and Fun!

Humanity has always been fascinated with the concept of competitions where the participants risk mortal injuries or even fight to the death. In ancient times, cultures like the Roman Empire had their gladiators, while Aztecs sacrificed prisoners of war in similar game-like events. In the present day, such practices are either non-existent or highly illegal, but the fascination remains, especially when modern technology is thrown into the mix. That is why films like the legendary Running Man became cult classics. Now, a new feature film takes on this concept, but does it in a fresh and unique manner. That film is Arena Wars and it comes out very soon with its hellish version of death games. 

Gravitas Ventures is well known for bringing innovative independent films to a worldwide audience. On June 25th, Arena Wars will bring the battle to the big screen in North America and on VOD in most geographic regions. Be warned, folks, Arena Wars is not for the faint of heart as it places our heroes, who happen to be freedom-seeking convicted criminals, on a live television show "Arena Wars" to engage in mortal combat for your evening entertainment! Think the masked singer meets WWE but with knives, sludge hammers, convicted murderers, and chain-saws.

Our protagonist Luke Bender (John Wells) is a wrongfully convicted Marine serving a life sentence, who leads a group of ragtag convicts through a series of arenas in the ultimate quest of good vs evil, freedom vs certain death. In Arena Wars, convicted criminals can fight their way to freedom against seven of the world's most dangerous masked gladiators. Enter our masked gladiators in full combat armor: Master Blaster, a chain-saw-toting psychopath; Cutie-pie, whose machete is sure to capture your heart; Calypso, who is ready for a fight in some scary WW2 riot gear; Meat Wagon, and many more. 

 

 

 

Arena Wars also stars its TV host, Michael Madsen (Kill Bill, Hateful Eight), and Robert Lasardo as Perez (The Mule, Death Race), Eric Roberts as Admiral Jordan (Runaway Train, The Dark Knight). The very capable Brandon Slagle is at the helm, directing and capturing the action of the Arena Wars mayhem (The Flood, Battle for Saipan). Mark your calendars for June 25th, folks; that's when Arena Wars slashes, punches, and kicks its way to select theaters and VOD! Arena Wars is not to be missed!

The film is a must-watch for all fans of genres like action, gore horror, and thrillers, especially those that involve the tech aspect, seen here in humanity’s insatiable hunger for TV and online video violence. However, Arena Wars doesn’t shy away from dark humor, which is a great counterbalance to the somber note of death games. Here, a great cast, including Roberts, Lasardo, and Madsen, is a perfect fit, as veterans who can effectively dabble in both serious characters and those roles with a comedic twist. Also, as the trailer shows, the movie features a high level of polish, seen in editing and color correction, as well as other elements that make it big scene-worthy for sure.

Arena Wars will hit theaters and video-on-demand services on June 25, 2024. All who find this setup intriguing should pre-order the film on Amazon right now, but every action movie fan out there should be aware - when the 25th comes, be ready for your bloody dose of Arena Wars!

Two Paragraph Review: Plane (2023)

 

Flying is often scary and Plane is at its best when it tackles this idea. The film begins as a very grounded drama of a south Asia flight going badly wrong, but then the second part mutates into a hostage action flick. Here, the level of quality and believability also drops, despite the fact that the main characters, played by Gerard Butler and Mike Colter, do a solid job with their roles of the airplane captain and a convicted criminal, now bound to work together to survive.

However, it is the plot that meanders and presents a very lackluster main villain, here in the form of a Philippine island warlord who loves violence as much as his crisp curly hairdo. The director, Jean-François Richet, still resuscitates the film at the very end with a satisfying nail biting finale, which places the entire experience of watching Plane in a more interesting thriller action category. Seeing how much more expensive films like Rebel Moon fail at countless more things than this movie, it can be said  that Plane is overall a good action piece.

Civil War (2024) - Conflict Origin Explained and Ending Implications

Alex Garland's Civil War is an incredible feat of cinematic accomplishment, offering an unnervingly realistic insight into the possible massive conflict that could envelop the real United States of America and how the society at large, seen through a photo lens of a journalist, tries to document and make sense of it. Everything Garland learned in films like Annihilation and Ex Machina is in this film, but there is so much more. At the same time, its depiction of the balance of power at the end of the war (or its first phase anyway) can be somewhat confusing. So, here's the chronological breakdown of the same timeline as far as I understand it - heavy spoilers ahead!

The film's premise begins somewhere in the present period - all of the technology shown in the film, including armaments, is contemporary and there's no hint that the plot is set even 10 or 20 years in the future. Instead, the film takes place in the form of a slightly alternative political reality, but with massive and horrific implications.

In that timeline, Nick Offerman's US President takes on his third term, somehow overriding the US Constitution. After that, he disbands the FBI, likely forcing additional police state rules on the citizens. This results in some form of citizen uprisings, but which, thanks to the US accessibility of weapons, turn deadly in no time at all. Here is where the tyrannical President authorizes the military to engage the uprisings with direct force, including very indiscriminate aerial bombings. This means that the Posse Comitatus Act - which bans federal troops from any kind of law enforcement activities - is no longer active. The US dollar implodes into inflation, becoming near-worthless and Washington D.C. becomes a fortified island of an ever-shrinking old USA. Uprisings turn into open warfare.  

Here, the civil war commences, but it still has a political dimension. The central and eastern US remain loyal to the President and others succeed instead of trying to bring down the regime from within a unified country. That includes three major new powers. Western Forces, made up of California and Texas, were now united despite their previous huge political differences. The New People's Army controls the Northwestern states, while the Florida Alliance is mainly focused on the Southeast region.

The Loyalist forces quickly begin to lose ground and initiative. The tide of war turns against the President mercilessly and without any chances for a reversal of fortunes. The start of the film’s plot showcases the moment when all three sessions factions flood into the central Loyalist states with the simple aim of killing the President. The suicide bombing at the start of the film shows that even states like New York, still loyal formally to the President, see him as a dictator who does not represent the actual USA.

The main characters too believe that the President is as good as dead. Over the course of the film, both Western Forces and Florida Alliance troops (which are present in the sequence where a squad of Hawaiian shirt-wearing soldiers kills a group of loyalist soldiers) slowly saturate the approaches to the D.C. area, facing little formal or well-organized resistance. At the same time, at least the Western Forces are equipped with serious logistics and armaments, including tanks and gunships. They could be the saviors of the USA, but clearly, the same faction doesn’t want anything like that. Instead, they are fighting for their own, new country.

The Battle for D.C. doesn’t change anything, apart from bringing more death to all included. In the end, the US President lies dead at the hands of Western Forces and Washington D.C. is now no-man's land. However, his killers are not there to liberate the USA of its tyrant. Instead, they’re simply fighting their enemy to the death. That means that the winning sides are just that - several sides, where no one wants to reestablish the old country. Western Forces already have their flag with only two stars. As the character Stephen McKinley Henderson notes, with the death of the common enemy, these sides will likely turn on each other.

Throughout the film as well, many instances, like the sniper battle on the winter fairground, imply that the process of everyone fighting everyone else has already begun. The mass grave scene underlines this with an additional dose of ethnic hatred that is now free to define new parties of the old US however anyone likes, echoing real-world horrors like those of the breakup of former Yugoslavia. Here as well, the blank term “Americans”, just like the term “Yugoslav” in 1993, for example, no longer means anything.

That’s the final concept of the film. The brutal end of a clearly tyrannical President didn’t solve anything. In essence, the situation is similar to the moment Muammar Gaddafi was killed in Libya or Saddam Hussein in Iraq. The boogeyman might be dead, but the nightmare doesn’t just end, it even intensifies. In the film, each of the winning sides now has a lot of territory from the former Loyalist states that are right there for the taking. But, their borders and intentions are unclear and all are heavily armed - including the “neutral” civilians and many micro-factions that will only come about.

That is why the end of the Civil War film is not the end of the same fictional conflict. Instead, the state of war where some individuals (usually living on farms as the main character notes) could pretend is not happening will now engulf all of its participants. In the next phase of the civil war, there will be no quiet little towns and safe, isolated farms. They will all be swept into a Lebanon-like, all-against-all war status and with it, the last step of the complete destruction of the USA.

Film Review: Nope (2022)

Jordan Peel is probably one of the best-known relative newcomer directors in the US that emerged in recent years. If other similar filmmakers who got into Star Wars and similar mega-franchises are excluded, then Peel is likely without any competition. Yet, for me both Get Out and Us strangely missed the mark of greatness, whatever that mark might be. Most of the necessary stuff was there, but ultimately, they ended up being something that is utterly forgettable. That fact stood despite having so many great ideas and effective executions, except when it comes to the same artwork as a whole.

Nope is a completely different beast, which is something I’m more than happy to report. While I was always rooting for Peel only to feel let down, the latest film broke that streak in a fantastic manner. Like the previous two times, the film begins with a somewhat odd setup of an African-American family running a multi-generation horse ranch for the film industry. There, challenges are constant for a brother and sistem team, but one day, an extremely fast-falling coin coming from the sky and a case of the wrong place at the wrong time collide, leading to a deadly outcome.

Suddenly without their father, they have to pick up the pieces of a failing business. At the same time, the official verdict for the death is an object that accidently fell from an airplane. But, the brother, OJ doesn’t buy it and instead believes that an UFO located above their ranch might be responsible. From this premise a very interesting film arises completely spontaneously. Like other films from Peel, this too is a mixture of social commentary, drama, thriller, science-fiction and fully fleshed out horror. Here, these elements are supplemented by a healthy dose of neo-western and all of it works.

The cast does a great job, especially the toned-down OJ played by Daniel Kaluuya, as they all together progress through a very unlikely but also very scary story. Parallel to that, the nature of celebrity news is also examined and what can and could do those that are in the spotlight, especially if they lack the biological setup to process it on a human level. Also, unlike both older films from the same director, the ending on offer here is complete and resonates strongly with all of the numerous themes in the film. Nope shows, through this weird but functional mixture, that Jordan Peel’s artistic mind is maturing and forming into one of the definite cinematographic voices in the global film industry.

Film Review: Bull (2021)

 

Paul Andrew Williams, the director of Bull, takes very little to move from an ordinary-looking British drama-thriller to something very bloody and disturbing. The plot, which begins with a man called Bull, played masterfly like always by Neil Maskell, returning to his old criminal crew. After ten years, he's simply seeking his son, but the method of his search mainly involves bladed weapons and murder.

In no time at all, the film descends into a mundane version of Crow, where a man is apparently back from the grave and ready to do almost anything to complete his self-assigned objective. Here, the film shines in the form of a strange crime thriller, where the main character is a somewhat melancholic psychotic murderer from hell.

Through a series of flashbacks, we see how Bull came to his predicament and what actually took place a decade before. The past is just as violent and detached as the present, apart from the fact that everyone agrees that Bull cannot be really alive. Here, the cast of Bull 2021 manages to do a lot with not that much, being that the film's locations are as exciting as a regular UK kitchen sink drama from the 1990s. Below all of that, we also witness Bull’s true and undying (literally) love for his son.

But, to watch Bull 2021 is, at least somewhat, to descend into a dark and unscrupulous place mixing crime and family in equal measure. The very end of the film introduces a weak horror twist which was completely unnecessary, but fortunately it doesn't manage to spoil the whole experience. Vengeance, no matter how desirable by the wronged individual, is pointless and brutal, says Bull 2021, but redemption can come nonetheless. Yet, it will not come from a blade or a gun, but from saving someone.

Film Review: Smile (2022)

 

The photography of the opening of Smile is anything but horror-like, which is why it has this instant appeal for anyone who is both into and not into the same genre. Instead of dark, brooding, and partially lit spaces, Smile offers strong colors and crisp, airy environments, reminiscent of an IKEA showroom. If, that is to say, IKEA furnished mental institutions for potentially dangerous patients.

Here, not long after that, the first suicide takes place. With that, along with strong visuals and with too much meandering, the first-time feature film director Parker Finn and the movie itself establish an atmosphere of almost nightmare-like reality for its main character.

That setting is the basis of one of the more interesting horror releases in recent years. As the plot follows a psychiatrist who witnessed a violent death and becomes infected by the potential for a similar fate, the director focuses more on the feel of the movie and less on its internal logic or its progression.

That formula works marvelously well most of the time, especially in tying into concepts like personal trauma. A decade before, films like The Babadook did something similar but with a more conservative budget. In the case of Smile, money was there and some of it did go to elements that we regularly see in horror films. But, for me, it made no difference that the plot used a lot of time-is-running-out tropes present in films like The Ring or The Final Destination. It also helps that throughout the film both Sosie Bacon and Kyle Gallner do a great and convincing job as the lead roles.

The world of cinema learned time and time again that for works that embrace a genre strongly, the level of manifested originality is often irrelevant. But, it also has to be said that Smile somewhat struggles at the very end, where a simple script modification would have allowed for a much more satisfying and logical finale. However, we also have to forgive that to Parker Finn, knowing that there is a squeal in the works. After all, what is more appropriate for the horror genre than the idea of turning a single film into a series?

Film Review: Dune: Part Two (2024)

There’s a clear and definite characteristic of both Dune films and it’s not something, at least in my experience, that the reviews tend to notice or mention. That characteristic relates to the issue of characters and their relatability. While both films come with many different individuals who have widely different personalities and goals, all of them have in common the fact that I don’t really care what happens to them.

I don’t want any righteous retribution against Baron Harkonnen, just as I don’t care if Paul Atreids becomes the emperor. I’m not invested in whether or not Chani ends up with Paul or if the Sardukars protect the Emperor or die trying to do that. I also couldn’t care less whatever Stilgar or Gurney Halleck want or aim for.

Instead, like the first Dune film, we’re left with an audio-visual spectacle that dazzles the senses, potentially tickets the mind, but does next to nothing to the way we feel about it. The second film, furthermore, even follows the Hollywood blockbuster formula. As we follow Paul in his newly instated guerilla war against Harkonens, we get the well-known 1-2-3 punch. First step is dialogue, followed by combat, followed by something mysterious and grand, like a spice trip, impressive outwordly location, or a fever dream.

All of these - including dialogues - look great, but feel void. Through this shuffle of elements, the film streams on through its plot and races to its completion. The only moment it breaks its stride is the short excursion to the Harkonne world, where again, we get the same 1-2-3 formula, but this time in black and white.

A clear pattern is emerging from Denis Villenu in his last three films - that includes the two Dune movies, but also the Blade Runner 2049 that came before them. These films feel great visually as you watch them and there is an undeniable aesthetic power to them. But, beyond the nice shots there is a plethora of cardboard cutouts representing characters and that, sadly, undermines the entire experience in a subtle but unmistakable manner.

Two Paragraph Review: The Zone of Interest (2023)

Creating a film that takes on a different perspective on the Holocaust is not a new thing. Movies like The White Ribbon and The Counterfeiters quickly captured the attention of critics and audiences alike. However, few of them are as ambiguous on the surface in their topic and presentation as The Zone of Interest is. The film follows Rudolf Höss and his family, all of whom seem completely normal people. However, Rudolf is the commandant of a German death camp and their family home lies just beyond its walls.

In the film, director Jonathan Glazer does so much with the things unsaid, unseen, and finally, even unshown. In these moments, when the camera showcases nothing but colors, red and black mainly, the full force of the film can be presented. Through these colors and background sounds, the film showcases that evil is often neither malicious nor dumb, but simply present. The resonance of that idea with the modern world is not just poignant, it is bordering on a dark prophecy that could see the whole of humanity slid into oblivion of its own making.

Enter the Gripping Myth of The Kiamichi Beast with The Quachita Beast Incident!

The legend of the Kiamichi Beast dates back over 200 years. Back then, in the area of the mountains in Oklahoma, the tales of the local Native American tribes tell of an elusive creature that is haunting the same wild woodlands. In that rugged terrain, this mythical creature has been accused of bringing fear into the hearts of men and even worse, disappearing into the night with their children. 

 

This story is the basis of a whole series of films from Master Hughes Productions. Behind them is Master Hughes, director, actor and producer who took on the legend of the Kiamichi. The series begins with The Kiamichi Beast Expedition, where Hughes, along with a veteran tracker Victor Inman, sets off into the mountains for a perilous mission. There, things that are not only dangerous for them, but also able to install unspeakable terror, lie in wait.

The successful title was followed by The Kiamichi Beast Expedition 2, Trail of the Kiamichi Beast and finally the latest entrance in the series, The Quachita Beast incident. All of the films were more greeted by the Bigfoot enthusiasts community, but also found their audience among other interested viewers. Through them, the crew around Master Hughes focused on creating the best possible experience for the audience of this series. In the foundation of each sequel was the unshakable desire of everyone involved to blend reality and imagination into an unforgeable cinematographic encounter.

Now, with The Quachita Beast Incident being available for online viewing, it is certain that a brand new generation of fans will learn about this series. If you're interested in Bigfoot and many other mysteries that our great world offers, check out the same film on TubiTv right now and watch it - it will be an unforgettable experience no matter what!