Displaying items by tag: Peter Malone's Movie Reviews

THE LAST STOP IN YUMA COUNTY

US, 2023, 90 minutes, Colour.

Jim Cummings, Jocelin Donohue, Faison Love, Michael Abbott Jr, Nicholas Logan, Richard Brake, Barbara Crampton, Gene Jones, Robin Bartlett, Conor Paolo, Pete Proudstar.

Directed by Francis Galluppi.

A small budget action story, long prepared by the writer-director, who also edited the film, eventually a producer putting up his house for sale to raise the money.

The end result is surprisingly entertaining. It is not an unfamiliar story, a diner out in the desert, travellers, thieves who robbed a bank, taking refuge, eventual revelations, confrontations, shootings and deaths. But, the situation in the dialogue is sufficiently well-written to make the characters distinctive and the episodes of interest and entertaining.

The film also parodies the easy-going local police and their interactions.

The situation is the stranding of travellers waiting for the truck which will replenish the local service station. And they spend their time in the diner. But tension mounts when the two thieves turn up. And, there are quite a number of unfortunate victims in the shootout.

And, there is a moral to the story with a travelling salesman, selling sharp knives, on his way home from his daughter’s birthday, his being stranded at the diner. He is timid, takes cover, survives the shootings – and, with the moral of the film about greed, decides to take the money and escape, having a final confrontation which tests his morality (and he fails).

A piece of entertaining Americana.

1. A surprisingly interesting and entertaining story? Situation, characters, interactions?
2. The Arizona countryside, open spaces, the roads, the gas station, the diner, interiors? The musical score and atmosphere?
3. The introduction through the knife salesman, out of petrol, Verne, expecting the truck to arrive, going to the diner, his manner, reserved, Charlotte dropped off by her husband, the sheriff, opening the diner, talking, the demonstration of the knives, trying to be unobtrusive?
4. The news about the robbing of the bank, the thieves arriving, their characters, interactions, manner, waiting in the diner, interactions with Charlotte? Charlotte ringing her husband, the call cut-off, the cutting of the phone?
5. The sheriff, easy-going, 17 years married, his assistant, young and chirpy, fastidious, going to the diner, bumping into the thief, spilling the coffee, his manner, getting the new cups, Charlotte writing help on the cup lid? His going back to the station, the easy-going discussions, the sheriff in the toy, the secretary?
6. The young couple, shooting, driving, arriving, suspecting the thieves, the plan, in the diner?
7. Verne, coming over for his breakfast? Pete, Native American, his explanation, in the diner? The elderly couple, out of petrol, the conversations?
8. The serious aspect of the story, but the satiric presentation of characters and situations, the young man and his assertions, guns drawn, the confrontations, the shootings, Charlotte stabbing the leader, pushed to the floor after being held, the thieves and their being shot, the elderly couple, the young man, Verne and Pete, the knife salesman and his hiding? The young woman, holding people up, the knife, her death?
9. The sheriff, ringing Verne, deciding to come, on the road?
10. The salesman, timid, his decision, surviving, going to the car, taking the money, getting the petrol, the young couple, the confrontation, the promise of the money, the attack, the death of the wife? And discovery of the baby crying the car? His driving away, the scenes throughout of the upturned petrol truck, the pursuit of the sheriff, the leak in the salesman’s car, out of petrol? Lighting the explosion?
11. The tension of the situation, familiar, characters and confrontations, the touch of parody, and the moral about greed and money?

THE THICKET

US, 2024, 105 minutes, Colour.

Peter Dinklage, Juliette Lewis, Levon Hawke, Esme Creed-Miles, Gbenga Akinnmagbe, Ned Dennehy, James Hetfield, Macon Blair, Arliss Howard, Leslie Grace.

Directed by Elliot Lester.

A Western with many familiar themes portrayed in a different way.

It is a film about bounty hunters, a very unusual duo, Peter Donklage as an accomplished bounty hunter, with a telescopic rifle, Reginald Jones, travelling with his African-American partner, Gbenga Akinnmagbe, Eustace, in an auto vehicle at first and then by horseback. They do burials, are paid, but are stood up by arrogant sheriff who mocks Reginald Jones because of his height. Jones inflicts wounds on the sheriff who then deputises a pair of brothers to pursue them.

The film opens with a family disaster, a brother and sister left without a family, the sister abducted by an outlaw, Cutthroat Bill (short for Wilhelmina), a distinctively ugly and sinister performance by Juliette Lewis. She has her tough entourage, takes the sister captive, makes comparisons about beauty and appearances with herself.

The brother is wounded, decides to go on a mission to rescue his sister, encounters Reginald Jones and Eustace, tags along with them, becomes embroiled in their struggles in pursuit, eventually catching up with his sister, all travelling towards a destination, The Thicket.

As expected, the climax builds up to a violent confrontation, the telescopic rifle doing its part, Bill and her violent death, and the surprise death of the young man but the survival of his sister.

Grim and tough but an interesting variation on Western themes.

(Movie trivia: James Hatfield is the lead singer for Metallica. Levon Hawke is the son of Ethan Hawke and Emma Thurman, brother of Maya Hawke. Esme Creed-Mills is the daughter of Samantha Morton and Charlie Creed-Mills.)

1. The title, the sketches during credits, the destination for the travellers, the final visuals and the action in the thicket?
2. A variation on Western themes, bounty hunters, gunslingers (and cutthroats), African-Americans in the West, Native Americans, families and settlers, traders? And the musical score?
3. The opening, the need for clarity about what was going on, the young man and his sister, the parents dying of smallpox, the grandfather, the rider on the motorbike, the confusion, the funeral, the attack, the taking of the girl, confrontation at the ferry, the death of the grandfather, Jack and his quest for his sister?
4. The introduction to Cutthroat Bill, Juliette Lewis’s performance, her appearance, constant references to beauty, the ugliness and scars? Ruthless? Some background? Her entourage and her tough dealings with them, their personalities, beholden to her? The attack, her taking the girl, not killing her, keeping her captive, taking her dress and burning it, her henchmen’s singlet? The young girl, her age, the terror, her determination?
5. The funeral, Reginald Jones with Eustace, the burial, the bounty hunters, the confrontation with the sheriff, his taunting Jones because of his height, Jones demanding the right money, the mockery, the fight, the owner being wounded? His deputising the brothers, their pursuit of Jones and Eustace?
6. The encounter with Jack, tensions, his search for his sister, his age, inexperience, the guns? Travelling with Jones and Eustace, their vehicle, and the horses, and in the desert, the two deputised brothers and their pursuit? The fight, one brother dead? The other hiding?
7. Jack, following on, in the town, look of his sister, the saloon, the brothel, Jimmy Sue, the owner, the taunts, Jack going with her to the room, his wanting to save her, the confrontation with the owner? Jimmy Sue and joining in the search for the sister?
8. Bill, her continuing on, going to the thicket, the trading post, the shop, her encounters with Jones? His speaking loudly, helping the sister know that Jack was searching?
9. The continued travel, Bill’s men and their attack on the girl, Bill’s treatment of them? The old man, his warning to the girl?
10. The continued pursuit, Jones and Eustace and their decisions, Jack promising the property in Montana, Jones taking a stand and then relenting?
11. The buildup to the final confrontation, the girl taking an initiative, the treatment by Bill, Jones and Bill, Jones and his telescopic rifle, killing Bill? The irony of the shootout, Jack and his search, his death? Jimmy Sue surviving?
12. A variation on grim Western stories, bounty hunters, racial differences, sexual brutality, gun violence?

WRONG PLACE

US, 2022, 96 minutes, Colour.

Ashley Greene, Bruce Willis, Michael Sirow, Texas Battle, Massi Furlan, Adam Huel Potter, Lauren Schiff.

Directed by Mike Burns.

The main reason for seeing this thriller is to see and complete all the films featuring Bruce Willis. From the mid-2010s he appeared in quite a number of films every year, sometime starring, sometimes supporting, sometimes guest roles, but mainly in thrillers. And, they did not generally receive very favourable reviews – as is the case here.

And this is one of the 11 films released in 2022 with Bruce Willis in the cast. He was then diagnosed with aphasia and retired from films.

The film opens with a husband and wife in a restaurant, The husband a police officer, drinking, a car crash and the death of his wife, his grief, resignation, getting a security job in a store. This focus but there is also the plot issue of his daughter and her cancer diagnosis, her coming to see him with her girlfriend.

In the meantime, there are drug dealers, pursuits, shooting of a dealer, a father and son involved in the shootout, and also Bruce Willis as security guard observing and intervening.

Which means then that Bruce Willis is being pursued, the attacking father in hospital, his son bent on vengeance, getting information about the daughter, holding the two women to ransom.

There is also a complication in his successor, African-American police chief, discussions between the two, his helping the pursuit, getting shot, surviving, saving the day.

In many ways, a routine thriller with several subplot items – and Bruce Willis looking his serious and stern self, self-sacrificing.

NOW AND FOREVER

UK, 1956, 90 minutes, Colour.

Janette Scott, Vernon Gray, Kay Walsh, Jack Warner, Pamela Brown, Charles Victor, Marjorie Rhodes, Ronald Squire, Wilfred Lawson, Sonia Dresdel, David Kossoff, Moultrie Kelsall, Guy Middleton, Michael Pertwee, Bryan Forbes, Thora Hird.

Directed by Mario Zampi.

Not a well-known British film from the mid-1950s – a young romance, and in colour.

It is a star vehicle for Janette Scott who was to appear in a number of British films in the coming decade, and she appears with her actress mother, Thora Hird, as the family cook. Her co-star is the Canadian Vernon Gray, who made only a few films.

What will be of interest to audiences who like watching the British films of the 1950s, generally small, local issues… Will be very interested in the range of the supporting cast, Kay Walsh is the school headmistress, Jack Warner not a policeman this time but the owner of a garage, father of the character played by Vernon Gray. Pamela Brown is the young girl’s severe mother, Pamela Brown expert at this kind of superior disdainful kind of character. There is Charles Victor a sympathetic, and Marjorie Rhodes his unsympathetic wife, Sonia Dresdel as one of the schoolteachers, David Kossoff in a small role as a pawnbroker, Guy Middleton as the mother’s boyfriend, and Ronald Squire as an eyebrow-raising waiter in a cafe.

The film was directed by Mario Zampi, an Italian who set up the company in London. His best-known films are Laughter in Paradise, with Alistair Sim, and Too Many Crooks.

The story is the familiar one that would be treated in a much more open, even permissive way in the 21^st-century. The 18-year-old daughter lives with her mother, a severe socialite, but loves her father who has been divorced from her mother. Then the news that he dies. She encounters the son of the local garage mechanic, her mother hiring him for drives. They are attracted to each other, he driving her to school, her mother disapproving, his father more tolerant, then all kinds of ups and downs, her mother wanting to send her to Canada, her feeling suicidal, the help of the headmistress, the plan to elope with the young man, the police after them, various escapades, and their being caught on the Scottish border, the young man’s father being kindly, trying to persuade her mother to some kind of compassion.

All very familiar – but with a 1950s kind of propriety and reticence.

CHILDREN OF THE CORN II: THE FINAL SACRIFICE

US, 1992, 92 minutes, Colour.

Terence Knox, Paul Scherrer, Ryan Bollman, Christie Clark, Rosalind, Ned Romero, Ed Grady.

Directed by David Price.

The original Children of the Corn franchise was based on a Stephen King story, released in 1984 to some success, the period when there was a Stephen King adaptation almost every year.

Eight years later, this sequel appeared, taking up from the end of the original but speculating about the characters and the situation. And there was to be a third in the series, remakes and further elaborations of the themes.

The children in the town have killed their parents under the influence of some kind of demonic power, associated with the corn and the cornfields. Adults from neighbouring towns and families are offering to adopt the children, the police investigating, journalists looking for scoops.

The central character of this film is Micah (Ryan Bollman) whose parents are dead but who is taken over, in a sequence in a cornfield, by the demonic power, making something of an evil cult leader with power over the children, then reverting to a quiet manner.

The other central characters are a father and son, quite alienated, the father a journalist looking for a story, having time with his resentful son. The father finds an attractive woman who runs a bed-and-breakfast. The boy encounters a lively teenage girl. The filmmakers obviously thought that this was necessary for the popular appeal but it all seems very contrived. Micah boards with them and friends the son, capitalising on his resentment of his father.

The goal of the children is to destroy all the adults. The journalist encounters a Native American, treating him with condescension and implicit racism, only to find that he is a professor of archaeology at the University and is able to show the journalist paintings and stone indications of the past, children wanting to take possession from their parents.

The horror aspects of the film include several spectacular deaths, especially the children undermining the stilts under a house collapses on an old woman, her sister (played by the same actress) is in a wheelchair and is smashed into by truck. She then hurtles through a window into a room where the oldies are playing bingo. The local doctor and the sheriff are part of a scheme to hoard the corn and make a profit of this – and both of them meeting their and deaths.

About the final confrontation, the woman and the girl bound, in the cornfields, Micah with power over the son and willing him to kill the women, the Native American and the father on a huge tractor with which the sheriff had previously threatened them, mayhem and Micah are dragged into the tractor and hideously transforming into the monster possessing him.

This sequel was quite well-received – and then a further film is in series.

WHAT LIES BELOW

US, 2020, 84 minutes, Colour.

Ema Horvath, Trey Tucker, Mena Suvari.

Directed by Braden R. Duemmler.

While there are many intriguing aspects to this drama with touches of horror, it does not always make sense to the viewer while we were watching though there is some kind of ultimate explanation  the end.

The audience needs to note the colours and fire and mystery of the opening, the touch of the eerie – so when it is repeated at the end, there will be some kind of explanation.

However, the drama side of the plot focuses on a teenage girl, interested in science, rather introspective, coming from the summer camp, picked up by her rather giddily carefree mother, played by Mena Suvari, the mother eager to introduce her daughter to her new boyfriend, their clashing contrast during the car trip, the mother eager to impress her, often referring to her as, baby girl.

Then there is the boyfriend, John Smith, played by Trey Tucker, the tall dark and handsome type, very tall, musclebound, working around the house, and her daughter, partly intrigued, partly repelled, partly suspicious, bonding a little out of curiosity but because of his interest in science and his experiments and research.

On the one hand, he is absolutely devoted to his girlfriend, even proposing, she delighted. On the other hand, he is seen to be suspiciously interested in the daughter, a disturbing initial period experience, his hovering outside the door while daughter showers…

But, ultimately, there are weird things going on, his laboratory, the mother and her being transformed and captured and held, the interventions of the daughter, attempts at rescue, confrontation with John Smith – and, then the ending, the supernatural aspect of the whole story, the bright maelstrom and whatever power comes from there to inhabit John Smith.

Many audiences did not follow the film well and rubbished it. But, if this kind of drama/melodrama/romance/horror appeals, then this is an offbeat example.

ELLA McCAY

US, 2025, 115 minutes, Colour.

Emma Mackey, Jamie Lee Curtis, Albert Brooks, Julie Kavner, Woody Harrelson, Kumail Nanjiani, Spike Fearn, Ayo Edebiri, Jack Lowden, Rebecca Hall.

Directed by James L. Brooks.

In many ways an old-fashioned film, with an appeal to older audiences or those who like their entertainment as variations on familiar social themes and relationships. It was written and directed by James L. Brooks, released as he turned 86. He has had a long career, originally on television (writing and producing hundreds of episodes of The Mary Tyler Moore Show, Lou Grant, Taxi) and then producing almost 800 episodes of The Simpsons.

Ella McCay is reminiscent of his award-winning and multi-nominated films, Terms of Endearment, Broadcast News, As Good as it Gets.

While the film opens with the central character in her teens during the 1990s, the main action takes place in 2008. Ella McCay is, in fact, at age 34, the Lieutenant Governor of her state, a determined woman, idealistic (and one blogger suggested, interestingly, that she may be neuro-divergent). When the governor, played by veteran Albert Brooks (star of Broadcast News) is appointed to a presidential position, she becomes Governor.

But Ella (Emma Mackey, who could pass as the sister of Anne Hathaway and Margot Robbie) has had a difficult childhood, seen in the flashbacks, her patiently loving mother (Rebecca Hall), her seemingly carefree, womanising father (Woody Harrelson), her psychologically damaged brother (Spike Fearn) but relying on her devoted and very forthright aunt (Jamie Lee Curtis stealing every scene when she appears). Her mother dies. She loses contact with her father, unable to forgive him.

One of the enjoyable features of the film is the narration by Ella’s assistant, Estelle. She is played by Julie Kavner – and Simpsons’ audiences will immediately hear her and remember that she has been the voice of Marge Simpson for those hundreds of episodes.

Most of the action takes place over the couple of days in which she assumes the role of Governor, potential for her social benefits plans which alienate opposition, which are often too overwhelming for her own party, full of great intentions.

Then, behind-the-scenes, serious dealing with her seemingly agoraphobic brother, the arrival of her father who wants reconciliation, the audience discovering that she is married, her high school sweetheart (Jack Lowden) and some relational consequences some of which test her as well as audience tolerance. And, then there is the press, government protocols, potential scandals, political exploitation…

James L. Brooks, throughout his career, has been a man of optimism, hopeful endings. And audiences with social consciences will be strongly in favour.

However, the ending would have been in the spirit of the Obama and Biden administrations. The achievement that Ella McCay accomplishes in social outreach to those in need and which audiences enjoying the consequences the film would have been the immediate target of Elon Musk and his DOGE cutbacks, and the staff for these operations would have been immediately the target of minimising diversity in US public works. Ella McCay is not the kind of film that would be supported by the MAGA movement.

1. The films of James L. Brooks, family relationships, political issues, 20^th century popular styles? For the 21^st-century?, Comedy, screwball touches?
2. The picture liberal USA, politics, social concern, released in the first year of the second Trump administration, the contrast?
3. The style of the film, introduction, flashbacks, the strong cast? The musical score?
4. Introduction to Ella, Lieutenant Governor, age, experience, ambitions? Relationship with Bill, the genial governor, his promotion, prepared, her succeeding him?
5. The flashbacks, and her brother as children, the sadness of her mother, the philandering of her father, the boy withdrawn, Ella unforgiving, the move, and her staying with aunt Helen, aunt Helen’s criticism of her brother, her growing up cared for by Helen? Encouraging her? And Helen’s forthright character, expressing herself?
6. The action taking place over several days, Bill, his personality, getting his position, talking with Ella, the social issues, his not being supportive, his warning about others reactions to her? The announcement, her meeting the press, her response to the press?
7. The situation with her husband, the flashbacks, her high school sweetheart, the courtship, Helen’s disapproval, his staying the night, at the window, chasing him, the confrontation with Ella, the truth? His personality, his mother and ambitions, the marriage, Helen talking to him, his declaration? The marriage, the issue of the government room, the sexual relationship and regulations, the issue of the journalist, his telling the journalist, paying off the journalist?
8. And her husband, his ambitions, surveying the room, his expectations, building up to the confrontation with Ella, upset, urged on by his mother, conference, his lying about the cheque, the effect on Ella, talk of the divorce, his anger?
9. Ella, her concern about her brother, agoraphobic, age, personality, job, memories of Susan, the drugs and stimuli, Ella confronting him, the drugs, staying with him, the issue of his father and the emails, upset?
10. The announcement, her speech, the notes from Bill, her not mentioning her husband?
11. Ella, her driver, the conversations, his support of her, taking her to her brother, his partner, financial issues, the overtime, Ella upset, taking responsibility for their overtime? Apologies?
12. Her brother, Susan, the past, getting in touch, the visit, the conversations, her stances, the kiss, going out for the meal, his future?
13. Ella and her father, the sadness of her mother’s death, the years of separation, his arrival, his psychologist girlfriend, wanting him to reconcile, to get his children’s forgiveness, with Helen, his meeting with Ella, their discussions? The final confrontation, her inability to forgive him?
14. Estelle, her voice-over, her personality, devotion to Ella, the work in the office, shielding her, advising, confronting her husband? Her character?
15. Ella, her working with her team, the long meetings, members going to sleep, the aims of her legislation?
16. The press conference, the truth, the response of the journalists, literally falling over themselves, her being knocked down, the concern? The support of Helen? Decisions to be taken, her strong stands? Bill and his advice, the discussions with the party leadership, her personality, the deals, finding a solution?
17. The success of her legislation, social concern, success? (And images of 2025 in contrast with the first year of the Trump administration?)

SHANGHAI

China/US/Thailand, 2010, 105 minutes, Colour.

John Cusack, Gong Li, Chow Yun-Fat, David Morse, Ken Watanabe, Franka Potente, Jeffrey Dean Morgan, Hugh Bonneville, Benedict Wong, Christopher Buchholz.

Directed by Mikael Halfstrom.

Shanghai was not so well reviewed on its release – however, it does have something of a more favourable following now (as instanced by comments on the IMDb).

Production was prepared for filming in Shanghai but permission withdrawn after complaints about presentation of sexual matters in Ang Lee’s Lust: Caution. The production was moved to Thailand – and the sets to recreate Shanghai in 1941 are quite elaborate, blocks of city streets of the time, buildings, facades, lights, as well as elaborate interiors, especially in a casino with the gambling, the stage entertainment, the crowds. And, the film is filled with extras, quite a number of strong crowd sequences, Japanese troops killing people in the streets and subsequent panic, panic at a railway station, and crowds at the end trying to get away on ships leaving Shanghai.

And the audience needs to pay attention to the complexities of the plot. The focus is on the journalist coming from Nazi Berlin, some considering him favourable to the Nazis, but is now collaborating with the Americans present and finding himself in complex situations with the Chinese resistance to the Japanese. He is played, rather sternly, by John Cusack.

The film has a strong supporting cast, led by celebrated Chinese actress (especially in the 1990s in ang Yimou films), Gong Li. She is married to Anthony, a power in the crime community of Shanghai, and played also by veteran Chinese actor, Chow Yun-Fat (famous at the time for his appearance in John Woo films). There is also the military chief played by Ken Watanabe.

The plot involves John Cusack searching for the killer of his journalist friend, played by Jeffrey Dean Morgan, leading him to the crime chief as well as the military chief. But the important thing is the role of the wife and her involvement with the resistance, and especially at the end, trying to get a young woman who has been mistress both to the military chief and the American journalist who has been killed out of Shanghai.

The film has been directed by Swedish director, Mikael Halfstrom.

1. The title and focused, 1941, Shanghai’s place in China at the time, International Centre, the war with Japan, the year of Pearl Harbor?
2. The production values, the elaborate sets for Shanghai, streets and buildings, interiors, casinos, offices, apartments? The large cast, the many crowd scenes, war, action, railway stations, wharfs? The musical score, songs and performance? International atmosphere?
3. International intrigue, the background of Germany during the 30s, the outbreak of the war? The situation of Japan and its attack on China, the 30s? Japan preparing for the world war? The effect on Chinese citizens? The resistance? International presence, the dividing of the city into zones, the British, American, French, the Germans?
4. The focus on Paul Soames, the American, undercover, agent, journalist, his work in Berlin, reputation, coming to Shanghai, his friendship with Connor? Meeting him, Sumi, his work, information, his death? wanting to find out the truth?
5. The opening with Tanaka, the arrest, the interrogation, the threats? Going back two months?
6. Paul, his friendship with Richard Astor, commissions, the American presence, international intrigue?
7. Paul and his work as a journalist, the British editor, hostility, suspicions of his political stances?
8. His getting the background information, travelling through Shanghai, observing, the people, the politics, the Japanese presence, the resistance, the shootings in the street…?
9. The encounter with Anna, the attraction, questions, her relationship with her husband, his criminal background, power, at the casino? The revelations about Anna, the resistance, at the casino, passing on messages, but her relationship with her husband? The secrecy? The continued encounters with Paul, his following her and her knowing it? The issue of his friend and his death, the girl who is his mistress, the revelation of her relationship with Tanaka, her role as an agent? Her drug addiction, her being shielded and hidden? The plan to get her out of Shanghai?
10. Social life in Shanghai, the German Embassy, the Consul, his wife, relationship with Paul, from the past?
11. Tanaka, his presence, suspicions, authority, the relationship with Anthony, with Anna? The arrest of Paul, the brutality, the interrogation? Watching the execution of the Chinese agent?
12. The complexities of getting the mistress out of Shanghai, the intrigue, all watching, Anna and her friends with the girl, the railway station, Japanese suspicions, the creating of the diversion, the shooting, the crowd and confusion? Tanaka, with the young girl, his love for her, the final injection?
13. The final complications, Anthony and his giving infomration to Tanaka, the confrontation at the house, the bodyguard, the driver, the shootings, Anthony taking a stance, his death, can occur wounded, Paul and Anna escaping? Going to the wharf, the passport, Paul saying and it was his wife, there seem Tanaka, or having spent his life, their being allowed on the ship? Indications of returning later?
14. Espionage, journalism, war atmosphere, in an exotic location?

SIDELINED 2: INTERCEPTION

US, 2024, 100 minutes, Colour.

Sienna Agudong, Noah Beck, Drew Ray Tanner, Charlie Gillespie, James van der Beek, Asia Lizardo, Jason Fernandes.

Directed by Justin Wu.

The screenplay is based on a Wattpad novel, the site where one can read and publish original material. This is a sequel to the original Sidelined: The QB and Me. And, for non-American or non-football fans, QB stands for Quarterback!

The films are aimed at young audiences in their mid to late teens, both male and female. It may not appeal to younger audiences for whom all this is to come. The first film was set in high school – and now the mood is to first year at college, the target audience still late teens. And, for those over high school and college age, they may feel they have got over this phase of their life. And, many times during the film, they may well be wanting to shout out at the characters that it’s time to grow up! (Actually, eventually, they even have to admit this themselves.)

This film presupposes the audience liking and understanding the two central characters, Drayton and Dallas. The two actors established themselves persuasively in the first film. However, this film spends a lot of time showing Drayton with his football team, the coach and his demands, practice, an injury, the young female medico who helps him recover – and suggestions of a possible romantic attraction. And, his football hero severe father, James van der Beek, is also present.

And the film spends a lot of time with Dallas and her dancing, possibilities, encouragement, memories of her dancing mother, the possibility of scholarships but the need to take on the job to raise money – and at a diner, a very pleasant character, Skylar (Charlie Gillespie) who employs her, is a singer, encourages her, more or less falls in love with her but her not noticing, especially at a party where he sings a song for her birthday and she goes on the phone with her boyfriend.

The issue is distance. The other issue is focusing on specialisations, football and dancing, the absences, the emotional demands, breaking off, good advice from friends and elders, and reconciliation as well as great success in both football and dancing and the fans who have been praising of the first film and this one, will be expecting the next instalment.

FIVE NIGHTS AT FREDDY's 2

US, 2025, 104 minutes, Colour.

Josh Hutcherson, Piper Rubio, Elizabeth Lail, Matthew Lillard, Skeet Ulrich, Freddy Carter, Wayne Knight, Mackenna Grace.

Directed by Emma Tammi.

In 2023, horror fans were delighted, generally, with a family-friendly and family-hostile horror film based on a popular game. The screenplay was written by the creator of the game, Scott Cawthorn, so he is offering his fans what they want and, of course, what he wants.

Freddy’s was a popular early 1980s pizzeria with families, and some popular characters to delight the kids, but, coming to life in a deadly manner, deaths and sadness. Audiences for this sequel will need to be up-to-date on the details of the first film as many of the characters continue on, especially Josh Hutcherson is Mike, the hero of the first film, looking after his young sister, Abby, their brother disappearing. And there was the sinister creator of Freddy’s who makes a fantasy reappearance. And his daughter, Vanessa, police, offering protection, but this time tormented by the family pressures, the disappearance of her brother, attracted to Mike, teased by Abby, but tension in the relationship.

In fact, this sequel begins with a parallel story to the prologue of the first film, families enjoying themselves at Freddy’s, a little girl sitting brooding, noticing a little boy vanishing, searching for him, carrying him out dead, desperate pleas to the parents who ignore her, harsh responses, push her away. She wants to get vengeance on those parents and, here we are 20 years later.

And the animatronics are back again, larger than life, friendly, sinister, aggressive. And the townspeople are celebrating at Freddy’s feast, upsetting to some of the survivors. And Abby is involved in the school project, robotics, presided over by a complacent Wayne Knight as the superior teacher, she wanting to create a robotic image from the past and submitted to the science exhibition.

Danger looms when a young television crew arrive to take a tour of the ruins of Freddy’s, meet a sinister smiling guide, and then death and mayhem.

So, the feast and robotics exhibition go ahead, the creatures are on the loose, Mike is desperate to destroy their wireless control, Vanessa confronts her childhood friend, the original malevolent girl.

And, audience expectations of the second visit to Freddy’s are fulfilled – and promises of more to come in discussions during the final credits.

1. The popularity of the game? The impact of the first film? A sequel and a variation on the original themes?
2. The return of so many of the cast of characters, the director? The creator of the game, writing the screenplay, his vision of the game and the film?
3. The presupposition is from the original film, Freddie’s, the pizzeria, families enjoying the atmosphere, the games? The haunting of the first film, Mike, Abby, the disappearance of their brother? The role of their aunt? Vanessa, her sinister father, her brother disappeared, the father’s death, her role in the police?
4. The prologue of the same as the first film, Charlotte, brooding, families, the disappearance of the boy, her appeal to everyone, the harshness of their ignoring her, putting her down, going to rescue the boy, emerging, her vengeance on the parents present? Her friendship with Vanessa, the bond with her father, the gift of the music box? Freddy’s closing down, but Charlotte present?
5. The impact of the animatronics, actual puppets rather than CGI, the variety of characters, friendly, yet sinister, the originals, the developed giant-sized puppets? In the abandoned Freddy’s, yet still able to be activated?
6. 20 years later, Mike and Abby at home, her preoccupation with her friends, going to school, teasing Mike and his relationship with Vanessa, the robotics, the teacher, his attitude towards Abbey, crossing her off the list, his manner? The Festival? In the background of the Freddie Festival?
7. The Freddy Festival, the atmosphere, celebration, the drawings, the murdered notice on the wall, Michael ringing the number, Charlotte’s father, the music box?
8. Mike, edgy, caring for Abby, the relationship with Vanessa, memories of her father in the past? The dinner, tentative? Vanessa, her character, police, strength, yet upset by the past? The sequence of the imagination of her father, confronting him again?
9. Abby, watching the TV program, the team going to Freddie’s, Cavalier attitude, encountering Michael, his name, the tour, their wandering around, their torture and deaths? Michael’s relish?
10. Abby, going to Freddie’s, sitting, befriending, taking the animatronic character, to the Festival, the teacher’s reaction, his going to his office, the character wanting to know was in his mind, crushing him? The consequent mayhem?
11. The frantic conclusion, Mike, the electronics, with Vanessa, her being taken by Charlotte, the past memories, tied up, escaping? Trying to close down the creatures? The lighting up in different places? Michael coming confronting Vanessa, destroyed?
12. The buildup to the confrontations, the various characters, coming to life, falling apart, the menace?
13. In the credits’ sequences, a new group coming in, opening up possibilities for a sequel?