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Secret Life of a Sorority Girl (2024)
"Secret Life of a Sorority Girl"
These Lifetime made-for-TV movies with their straight-to-the-point titles are definitely a guilty pleasure. You know they're not that going to have a great script, star actors and actresses who you've never, ever heard of, but somehow they are compelling.
"Secret Life of a Sorority Girl" was a pretty good one, at least in comparison to other Lifetime dreck.
I liked the fact that there were a couple of options for who the bad guy was and you don't find out until near the end.
The suspense wasn't bad, the acting wasn't as bad as I thought it would be, the establishing shots of fall in Kentucky were quite spectacular, and the plot twist was - shock horror! - actually a good one.
U.S. Marshals (1998)
Loved it!
Yes, the premise of "US Marshals" is exactly the same as "The Fugitive" but you can easily look past that because the second appearance of Tommy Lee Jones as US Marshal Samuel Gerrard and his team is spectacular, a classic example of a big-budget 90's action epic from Warner Bros. Who seemed to have the market cornered back in the day.
TLJ is absolutely fantastic as no-nonsense Gerard. The deadpan delivery, the steely eyes. A really unique and fun character who takes centre stage in "U. S. Marshals" where you actually want him to catch the bad guy, unlike when he was after Harrison Ford's Dr. Richard Kimble and you wanted him to stay one step behind.
Wesley Snipes replaces Harrison Ford as the man on the run trying to clear his name, and does a great job in the role.
This is a fun action movie. Some great set pieces and an inventive story and lots of great characters. The pace barely shows from the first scene to the last.
A shame we never got a third glimpse of Sam Gerard on the big screen.
A Perfect Pairing (2022)
Strewth! Fair-dinkum Aussie, mate! (Not actually)
Yeah, nah, in the fair dinkum department, Hallmark has gone full Aussie, mate! Strewth, there's tinnies and meat pies, boss cockies and jillaroos. Put on your Blunnies and Akubra and throw another shrimp on the barbie!
I guess I shouldn't be surprised that "A Perfect Pairing", which takes a trope that has been done (almost to death, if we're being honest here) and gives it an Australian setting, is chock-full of Aussie cliches. You barely get through a minute without someone letting fly with an Aussie-ism. Adam Demos is your stereotypical Aussie farmer and Victoria Justice is the opposite: an American girl from Los Angeles. Their chemistry is very good. It needs to be, to make you look past the incredibly cliched plot. The Gold Coast hinterland in Queensland is a spectacular setting, and you can't deny the feel-good ending.
Canary Black (2024)
People didn't like this?
It seems like a fair few people didn't like this? I thought it was perfectly fine action entertainment with a good cast - Kate Beckinsale, Rupert Friend and the late Ray Stevenson amongst them - and a pretty good plot twist near the end.
Beckinsale's Avery Graves is a covert operative for the CIA who is incredibly capable and manages to fight her way out of most situations. Back at home, she's a doting wife, working for a risk mitigation type company, with a husband (Rupert Friend) who is none the wiser to her violent vocation. When Mr Graves is kidnapped to force Avery to bring unknown terrorists 'Canary Black', allegedly a huge blackmail file, Graves has to branch out on her own if her dearly beloved is to be saved. Lots and lots of action. Beckinsale as Avery takes no prisoners. There's plenty of nods to other movies along the way (it definitely had a "Mission: Impossible" vibe) and preposterously fun action sequences.
One of those mindless actioners, but I mean that in the very best sense of the word.
Interesting final scene, too...
Take Cover (2024)
A guilty pleasure
"Take Cover" is the second Scott Adkins movie I've watched this week after the putrid "Hard Target 2".
This is much better. Above average Adkins. The king of the action B-grade movie is in fine form as American sniper Sam Lorde, who ends up stuck in a hotel penthouse with his spotter and two women of the night when a mysterious sniper opens fire. It becomes a one-man army type of movie.
Lots of martial arts, stabbings and shootings, wooden acting and plot twists that you can see coming a mile away.
Kind of like most Adkins movies, really. He knows where his strengths lie, and "Take Cover" is one of his best. Implausible? Yes, very. Entertaining? Yes, very.
Settle in and enjoy the ride.
Alien: Romulus (2024)
Loved it!
It's fair to say that 2024's "Alien: Romulus" is something of a greatest hits homage to the excellent entries into the franchise that have preceded it.
All the iconic plot devices/developments you love most about "Alien" movies are here (and would cause disappointment if they were left out) and, if you ask me, that's not a bad thing.
At the same time, there are a few new inventive sequences as well: director Fede Alvarez adding a little to the "Alien" lore himself.
What else? Good pacing, decent acting, a decent script and spectacular visual effects.
If you're a fan of the franchise, I think you're going to come away from watching the latest instalment quite satisfied. I know I was.
Holiday Crashers (2024)
Just okay.
I won't bother with "Holiday Crashers" again. Aside from elements of the plot being somewhat close to illegal in the real world, it was kind of silly.
Although I enjoyed - as always - Lynsey Fonseca's performance, Daniella Monet as Bri really got on my nerves.
Props to Hallmark for casting Jag Bal as one of the love interests. I enjoy seeing a little diversity in these Christmas movies, unlike certain other networks where that seems to be a bridge too far.
Good to see Hallmark regulars/veterans Keith MacKechnie and Laura Soltis. They are both very reliable in the acting department, and "Holiday Crashers" certainly does not blot their respective copybooks.
A Vintage Christmas (2024)
A pleasant Christmas movie - well worth your time.
The well-used 'save the town' plot device is front and centre in "A Vintage Christmas" where Christopher Russell plays developer Noah Harrington and Merritt Patterson plays Tessa Findlay, the small town's historian.
The two are brought together after discovering a box of decades-old letters to Santa, and they set out to make Christmas wishes inside the letters come true, albeit a few decades too late.
Merritt Patterson is one of my favourites. She rarely stars in a bad film, and "A Vintage Christmas" continues that run. She had good chemistry with Russell, and - unlike some of the stars in these GAC Family movies - they are decent actors.
The old Santa letters was a clever idea, making "A Vintage Christmas" quite unique. A pleasant Christmas movie. Well worth your time.
'Twas the Date Before Christmas (2024)
Pretty good!
A very strong start to Hallmark's Countdown to Christmas 2024.
The fairly implausible plot line hardly seems to matter when you see Robert Buckley (of "One Tree Hill" and "Chesapeake Shores" fame) and Amy Groening on screen together.
They are both strong actors, and their chemistry is absolutely perfect - it carries the movie brilliantly. They elevate it from being a fairly run-of-the-mill movie to one you want to watch again.
It's great to see Groening in a lead role, and Buckley has been killing it as a Hallmark leading man for years now.
The story involves a family holding a 'Christmas Olympics', which gives us plenty of light moments, and the heavier ones are handed deftly.
I wouldn't be averse to a sequel.
Hard Target 2 (2016)
"Hard Target 2" is soft.
Nearly thirty years after the John Woo/Jean Claude Van Damme cult classic "Hard Target", Scott Adkins stars in a direct-to-video sequel that, it must be said, is inferior in every way. I enjoy most of Adkins' movies - "One Shot" and "One More Shot" especially - but this one has few redeeming qualities. The plot is a knock-off of the original, just set in the jungle. The main bad guy is trying hard to be like the original's Lance Henriksen but fails miserably, and in comical fashion. The action isn't that exciting. And don't get me started on the acting. Adkins' movies generally aren't going to garner any 'Best Actor' Oscar nominations, but the dialogue is noticeably wooden here, and the characters so one-dimensional it hurts. Don't waste your time. There are many better Scott Adkins movies (and B-grade sequels to action classics, for that matter" than this.
Roswell: Destiny (2000)
"Destiny"
The lead-up to "Destiny" promised a brilliant finale to Roswell's first season and the last chapter did not disappoint.
To my way of thinking, a good season finale should have action, drama, tension, some plot twists, big reveals and even a cliffhanger every now and again, (although sometimes it's nice to have everything tied up neatly).
"Destiny" had all of that, in spades. Good acting, good writing, good pacing. Jason Katims and co deserve a lot of credit for the way the debut season has progress.
The final scenes of "Destiny" weren't quite a cliffhanger, but they left plenty of unanswered questions for season two. I'm sure the last reveal will have supporters and detractors. All in all, it was such a good episode I didn't want it to end, and I can't wait for the second season. Great sci-fi entertainment.
Roswell: The White Room (2000)
"The White Room"
Unquestionably the most tense and dramatic episode of "Roswell" yet, with great acting from all the cast, but particularly Jason Behr.
As the episode picks up, Max is in a white room at a secret FBI location where Agent Pierce and the Special Unit are ready to torture him for information on his race. Michael, Tess, Isabel and Nasedo come up with a plan to rescue him that involves infiltrating the FBI facility on their own and using their powers.
Meanwhile, Liz tries a different avenue that involves their nemesis turned almost-comrade, Sheriff Valenti.
"The White Room" is the first of a two-part finale to season one.
Roswell: Max to the Max (2000)
"Max to the Max"
The setting of the tense finale - tense and epic enough to be a season finale - to "Max to the Max" - in the carnival hall of mirrors was fantastic. And, in a way emblematic of everything that has happened in the last few episodes.
"Max to the Max" ends with the titular character in all sorts of trouble in FBI Special Unit custody.
Agent Pierce is unmasked (not going to lie, I knew it was him, the moment he appeared in his undercover guise; he might as well have carried a sign - it was painfully obvious) and ready to start his tests.
It all started with Nasedo (appearing as Max) capturing Liz, and spiralled into an enormous saga afterward.
Definitely a sci-fi heavy episode, and brilliant as a result.
Roswell: Four-Square (2000)
"Four-Square"
Fair to say that "Four-Square" threw up a few curveballs that I didn't expect to see, not least of which is the fact that Michael and Isabel - after having concurrent semi-erotic dreams - are worried that Isabel might be pregnant with his child? Talk about a left-field entrance.
We finally found out the truth about Tess. I had suspected it would shake out the way it did, and it'll be fascinating to see where the series goes from here, particularly as her chemistry with Max seems intergalactic and is bound to upset the relationship between Max and Liz. (I can just about hear the howls from 1999 when Tess was introduced.)
Roswell: Tess, Lies and Videotape (2000)
"Tess, Lies and Videotape"
Things are picking up speed now!
As you might expect from an episode entitled "Tess, Lies and Videotape", the newcomer to West Roswell High - a plant of some kind, if ever there has been one - takes centre stage. Is Tess the new Topolsky in town to spy on Max, Michael and Isabel? Is she something else entirely? Who knows...until the very end of the episode, anyway.
Valenti has a bit of a moment of awakening in this episode, and plenty of screen time to try and figure out where he stands. To me, the character has never really been a quote-unquote bad guy - he's just doing his job, following leads, investigating strange happenings, if a little passionately, given his family history - and his journey over the episodes to come will be very interesting.
Roswell: Crazy (2000)
"Crazy"
A fantastic episode that lifts "Roswell" to new heights and opens a dangerous new chapter of life for Max, Michael and Isabel, not to mention Liz, Alex and Maria.
Julie Benz' Topolsky is back, and she warns of a secret alien hunter beholden to absolutely no one in the FBI (not even the director or the President) who is on the case following Valenti killing Hubble a few episodes back. Benz really nailed her role as the scared, paranoid (rightly so) and disturbed FBI agent. Brilliant acting.
We see the three aliens and the three humans form a loose alliance now that they are all in the FBI's crosshairs.
At the same time, a new girl - Tess - arrives at West Roswell High and befriends Isabel.
One of the better episode endings, too. Really sets up the final five episodes.
Roswell: Sexual Healing (2000)
"Sexual Healing"
This episode could be described as tossing extreme amounts of red meat to the Max/Liz fans out there.
Somehow, even though they are not together, Max and Liz end up making out in the Crashdown and during that, both of them start having visions: Liz of star clusters and the New Mexico desert and Max of Liz's intimate thoughts.
These visions set the couple off on a mission to figure out what Liz's visions mean - when they are not getting into trouble or placed on detention, that is.
It also inspires Michael and Maria and then Alex and Isabel (!!) to see if they can have the same visions.
So, if you wanted to see three human-alien couples making out a lot - and I do mean A LOT - then "Sexual Healing" is the episode for you. Otherwise, there's plenty of scenes you can skip ahead on.
I jest: there are some important developments in this episode.
Roswell: Independence Day (2000)
"Independence Day"
Pound for pound, maybe the best episode of "Roswell" yet, and definitely the best one since the pilot.
"Independence Day" hits all the right notes for this sci-fi soap opera. You have the issues between Michael and his abusive foster family, dovetailing into Sherriff Valenti's continued interest in Max, Michael and Isabel...and there's potentially an murdering alien out there as well, just to top things off. Everything works together perfectly; the balance between soap opera and sci-fi drama is just right.
Brendan Fehr's performance as Michael in "Independence Day" is his best work on the show to date. At times, gruff and surly Michael gets on my nerves, but the more vulnerable Michael we see here was very well handled.
Not a bad final scene, either.
Roswell: Blind Date (2000)
"Blind Date"
A good episode. After winning a local radio contest (that Maria entered them both in) for a Valentines Day blind date, Liz goes on - or, more accurately, is subjected to - a circus-type date with an archaeological student from the University of New Mexico, where the station DJ follows them everywhere they go.
Meanwhile, Kyle gets drunk and gets Max drunk, and then they head off to "win" Liz back, with predicably hilarious results for them, and sad ones for Liz. Drunk Kyle and Drunk Max are very amusing.
Whilst all of this is going on, Maria joins Alex's band for a performance on the radio (Majandra Delfino's voice is enchanting, and she nails the Phil Collins cover), and Michael leaves a message for the mysterious alien Nasedo.
Roswell: The Convention (2000)
"The Convention"
A great episode!
The tenth anniversary of the Roswell UFO Convention brings all sorts of people to town, including the couple who were in the Crashdown on the day Liz was shot and healed by Max, which leads to trouble for all involved.
Also back: an alien hunter by the name of Everett Hubble, who is still hot on the trail of Czechoslovakians, believes the Crashdown shooting witnesses, and has history with Sherriff Valenti and his father. Jonathan Frakes (in his guise as a "Star Trek" legend rather than "Roswell" executive producer) also pops up for a couple of amusing cameos.
A lot of drama and intrigue (plus Alex acting more than a little creepily), and a very good ending.
Autumn at Apple Hill (2024)
Wes Brown and Erin Cahill make this work.
Cast decisions make or break Hallmark movies. They can elevate movies that we've seen, in different settings and versions, many times before, which is exactly what happened with "Autumn at Apple Hill".
The storyline is an old trope - inn needs saving, in comes some workaholic hotshot from the city, the two leads fall in love and save the inn - but Wes Brown and Erin Cahill make it better. They are some of Hallmark's best. Can't remember ever seeing a bad film from either of them, which is saying something considering their extensive catalogues. With less competent actors, this is a slog.
Good acting, a decent script (even though the story is a retread of a retread of a retread!), spectacular fall-tinged establishing shots. A good start to Hallmark's fall/Halloween slate of films.
Heartbeat: Keep on Running (1992)
"Keep on Running"
The season one finale of "Heartbeat" is something of a continuation of the last episode, wrapping up a few loose ends without, it must be said, a tonne of drama or excitement...or a cliffhanger.
Alan Maskell heads off to London after being charged as an accessory in the respraying racket and Nick, who has a job offer to return to London an and work with Scotland Yard, causing tension between he and Kate, has to chase him down. It appears that Greengrass has finally gotten himself in some real trouble, this time relating to the sale of stolen sheep, a situation that delights Blaketon no-end. Kate gets a job offer that she doesn't want to refuse, and she has to help George Ward, who is having trouble driving his car and serving drinks at the Aidensfield Arms.
Heartbeat: Primal Instinct (1992)
"Primal Instinct"
A great episode! When a decorated police officer from Scotland Yard is found murdered, the best and brightest from London descend upon Aidensfield and Ashfordly to try and solve the case. The influx from the Met temporarily sidelines Nick and the others - to Blaketon's strong and immediate dislike - and forces Nick and Kate to have a house guest for the length of the investigation: a smooth-talking detective who causes trouble from the outset. The mystery of the killing was a good one, with a few revelations and an unexpected killer. A sad story, as many on "Heartbeat" are. Elsewhere, Greengrass is in the wars - the scene when Kate visits him at home is hilarious - and Alan Maskell is in trouble after spray-painting a stolen car.
Heartbeat: Outsiders (1992)
"Outsiders"
A great episode, and one of the few I remember from the first series. Some gypsies - or "gyppos", as the locals are calling them; tiny Aidensfield is not at it's most tolerant in this episode - have come into town and camped for mysterious reasons. They cause some a stir amongst the locals who all want them gone, and one of the gypsies attracts the eye of the engaged pastor's daughter, which inflames the situation further, and leads to plenty of work for Nick and the others. It turns out that the father of the gypsy family was born in Aidensfield and is back because he's dying of cancer, and wanted to see his home one final time. There's a great Greengrass/Blaketon scene (is there any other kind?) and a bittersweet ending as well.
Enemy of the State (1998)
Somewhat-forgotten 90's action classic.
A mid-1990's Jerry Bruckheimer action blockbuster starring Will Smith? Absolutely. Sign me up, every single time. The combination is close to unbeatable. Somehow, compared to other big actioners of the decade - "Bad Boys", "Con Air", "The Rock" etc. - it is somewhat overlooked.
Throw in Gene Hackman and Jon Voight and add Ridley's brother Tony Scott in the director's chair and you have yourself the makings of a damn good action movie.
Smith as lawyer Robert Clayton Dean (your classic 'wrong guy at the wrong place at the wrong time' character) is really good. A likeable hero. He plays off Gene Hackman's grouchy Edward Lyle very well. Voight is an effective bad guy.
The plot is pretty good - and unique! Some liberties taken on the tech side of things, I'm sure, but there's suspense, action and a satisfying ending. You don't watch these sorts of movies for their technical accuracy, after all.
Great entertainment. They don't make 'em like this, anymore.