Red Sparrow Review

The good news is that no-ones mistaking this for Atomic Blonde 2: Blonde Harder.

The bad news is that I doubt many people will see it to mistake it for anything. Not just no-one I know is particularly excited for this film but because Red Sparrow is the most unpleasant spy film  I think i’e ever seen. Is Francis Lawrence a pen name for Hostel director Eli Roth? (No. He did direct 3 Hunger Games films though.)

I knew going in that this wasn’t going to be a James Bond film, if anything the trailer gave me a Jason Bourne vibe but that was wrong as well. No, the best description for this film is that Red Sparrow is Tinker Tailor Soldier Spy meets The Girl With the Dragon Tatoo directed by a not very talented Nihilist.

It’s great that Jennifer Laurence is such an amazing actress as she carries this film completely (and I wish her well in her attempt to fix Colonial politics in her year off.) However I find it a shame that pretty much every comment I have elicited up until now has related to the that that ms. Laurence’s erm…. ‘acting talents’ are on full display several times during the film. And according to an article I was sent, this is why pretty much every positive review come from a male critic and very few if any come from female critics.

Which is odd because I’m a male critic and I have absolutely no intention of giving this an overwhelmingly positive review.

Anyway, sometime after the end of the Cold War but before anyone has heard of the mobile telephone, Dominika Egorova (Jennifer Lawrence) is recruited to ‘Sparrow School,’ a Russian intelligence service where she is forced to use her body as a weapon. (Although she apparently skipped any hand to hand and armed combat training). Her first mission, targeting a C.I.A. agent, threatens to unravel the security of both nations.

And that seems like a pretty cool idea for a spy thriller, new agent trying to uncover a mole- unsure of who she can trust- high up in the Russian government whilst the CIA scrambles to get him out. Brilliant. Throw in a sick mum and an uncle high up in the security services and you have a pretty good setup for a new spy thriller franchise.

Aside from the fact it’s pretty coldly shot, takes a random pointless detour in London that adds 20 minutes to the run-time and implies that this film takes place after 2014 but everyone is still using floppy disks, pretty much everyone either beats up, attempts to or actually rapes Laurence’s character, the mole (who you should have spotted after about 20 minutes) is uncovered not by diligent work or some sort of slip up but by literally  saying ‘I am the mole’ just so the film can end and we can all go home.

And how this film got a mere 15 rating I have no idea. The BBFC states that this film has “strong bloody violence, gore, sexual violence, sex, very strong language” and it’s not kidding. This is a boundary pushing film but shot in such a style that it’s impossible to get involved and I remained disconnected from the whole preceding when I feel a better director would have made more of the material on offer here. Hell, some scenes are so overly, clumsily lit that they’re clearly taking place on a set. You can’t care about the characters, it’s not a terribly original story, it’s a tough sell: a bleak two-hour-plus Russian thriller with graphic rape and torture. It’s also surprisingly low on action, choosing talkiness over more audience-pleasing mayhem. It doesn’t entirely work, and there’s something about its full-throttle nastiness that lingers, but it’s refreshing to see something that exists in the studio system that possesses so many queasily perverse elements instead of being yet another 12a blandathon. It’s just not quite as seductive or clever or intelligent as it thinks it is.

I gather that there are two more books in the series (written by an actual CIA agent) but I’ll probably give them a miss.

My Score- Skip It


Darkest Hour (2017)

I was going to open with a pun about how you shouldn’t confuse this film with the 2011 turkey about aliens invading Moscow via it’s electricity supply starring a young Judge Anderson.

But i’m not, nor am I going to have a running gag about this film in the review. In fact i’m not going to mention it again because Darkest Hour (2017) has seriously, seriously hacked me off.

Because I need someone to explain something to me.

How is it that a British story, starring a British cast, set entirely in London, directed by a Brit and funded by a British company ( Working Title Films Limited) is coming to Britain 3 MONTHS after being released in the rest of the world? 1 September in the colonies, 1 December in China, 2 December in France and 18 November in Poland!?!! Seriously? I mean I get that this is the film that’s probably going to get Gary Oldmans prosthetics (and probably the rest of him) an Oscar and it’s great to see Churchill portrayed as a man who happened to be right once after a career featuring some horrific blunders as opposed to the messianic figure he’s usually portrayed as being.

Because Churchill wasn’t a universally beloved light in the darkness, he was a controversial figure, a man who, despite winning the Nobel Prize in Literature in 1953 for “his mastery of historical and biographical description as well as for brilliant oratory in defending exalted human values” was at risk of a vote of no-confidence within days as he refused to entertain the idea of peace talks with Nazi Germany when fighting on looked like a futile choice.

And I love that this film is telling a mostly true story (aside from one scene set on a tube train which seriously grated on me is entirely fictional and completely unnecessary). As the WW2 generation passes, it’s important that we have films that tell the truth (or as close to it as we can manage.)

And this is a really well acted film, Oldman has deserved an Oscar for years and this performance deserves one in its own right as he chomps through £18,000 worth of cigars, (although at times I could have sworn he was swapped out for Bill Nighy) which was slightly disconcerting. But it didn’t take away from the fact that Oldman is equally at home laughing at a joke told by Lily James playing a…. an audience insert character (and someone for him to for him to be at first grumpy and then soppy with) as he is delivering some of Churchills most famous speeches.

Now, wisely the film opts to only show the early days of Churchills time as Prime Minister- establishing his government- winning the trust of his people and dealing with the situation at Dunkirk via the medium of  “mobilizing the English language and sending it into battle.”

Which is a good call as not only is this an overlooked aspect of Churchills time as Prime Minister but it also opens the door for further films to examine other critical times during the war: The Blitz for example.

More House of Cards 1940 than Saving Private Ryan, Darkest Hour is a very good, if slightly limited film about a very important time in history. And it’s defiantly more than your traditional Oscar bait film. And I won’t even mind when it inevitably turns up in history classes.

My Score- See It 


Star Wars: The Last Jedi Review

If you hated that Star Wars film then I can never be your Scriptgremlin again! Whinged the Rebel Scum who until recently I had stopped ‘motivating’ with soap. Which I will start doing again as soon as possible.

And keep doing until the staff at Boots start asking questions again.

Anyway, I was looking forward to reviewing the film that came out this weekend. Not so much the bloated space wizard saga but The Prince Of Nothingwood a documentary about an Afghan film-maker who claims to have produced and directed more than one hundred movies (none of which is on IMDb!) and that he even was at work during the Taliban regime, when all recorded images, even photographs, were forbidden. Oh, and did I mention it currently has 100% on Rotten Tomatoes?

Sadly though, even in London! London! This film is nearly impossible to find, so I was left with no other option than to tangle with the bloated space wizard saga. Go me.

So, I think we can all agree that The Force Awakens was the greatest fan film ever made as it was basically a remake of A New Hope. And there’s very little argument to my opinion that Suicide Squad was basically a well meaning mis-fire that was at least trying something new. Sorry, I mean Rogue One. But it’s still a better Suicide Squad than Suicide Squad. 

Where was I?

Oh, right, The Last Jedi. The first original Star Wars film since Revenge of the Sith and the first watchable original Star Wars film since the original trilogy finished in 1983.

Well, I went into my screening at 10am on day of release (because i’m just that damn cool) and came out of it at 12.50! And that’s only because I had to skip on the credits. Seriously! 4 hours? I’ve had holidays were shorter than The Last Jedi! Good luck if your taking our under tens to see it. Just as an aisde, NO film has a right to be that long unless it’s going for Best Picture Oscar or rhymes with Lord of da Tings. 

And much like those films, this film could seriously do with about half an hour being shaved off of it. And about 99% of those minutes comes in the final 30 to 40 minutes. The is NO reason why the big end action scene could not have been placed at the beginning of the next film or simply scrapped entirely. It holds no memorable action, moments, character development and simply seems to exist to provide awesome visuals for the trailer.

Speaking of which, this film has some amazing visuals that are almost  amazing as those in Blade Runner 2049- which I think is the number of people that actually saw that modern masterpiece unlike the millions that will see this film in the next few weeks. And they will see a film that opens with arguably the greatest space battle of all time as a lone star-fighter goes up against something so huge, so vast, so massive that it succeeds in showing us what Rogue One was trying to do- show us the might of the empire and how truly outgunned and seemingly doomed to fail the Rebellion truly was. A theme that this film keeps hitting and hitting and hitting. And doing it so, so well. You truly do feel that there is no way out for the good guys this time.

At least you do at certain points- one subplot could have been removed completely and not affected the film in any way shape or form beyond allowing the film to focus on whats actually interesting- Rey attempting to get an incredibly unwilling Luke Skywalker to train her and a desperate rebel trying everything they can think of to escape a First Order fleet before they run out of fuel….

Wait, what?

Run out of fuel… In Space? Whilst going in a straight line!?!!? You do know that that’s impossible right? Newton’s First Law states that an object will remain at rest or in uniform motion in a straight line unless acted upon by an external force. Such as gravity, or friction, or a brick wall, none of which exists in deep !?!!? space. At least make it a leak in the ships air tanks or overheating reactors owing to being under so much fire or something. Yeash.

Like I say, the film looks amazing and John Williams as always sounds great. Hell, they even get fantastic performances out of the cast, although I would like to find the person who though Del Toro’s character should have a stutter and have a few… ‘quiet’ words with them. It’s a shame as his character does introduce something of  a moral grey area into the traditionally, morally black and white Star Wars universe and i’d love to see him return at some point.

I would also like to ask what person thought that Supreme leader Snoke should spend all of his time hanging around in what looks so much like a half dressed set you’d think that the budget had run out by that point in filming. And it’s a shame that it does look so cheap as it could so easily have looked so good and so many other scenes have little details that make the universe seem alive that this just seems like an oversight of some kind.

But, most of all I want to find the person who kept putting silly little Joss Wheedonesque little quips and one liners in the film as they seem really out of place and obvious in this universe (and pretty grating in others). The add nothing to film, kill tension really effectively and are a  becoming a Jai Courtney level blight on film.

On a happier note, Mark Hamill is to be commended  after allegedly telling  director Rian Johnson after reading the script for the film, “I pretty much fundamentally disagree with every choice you’ve made for this character. Now, having said that, I have gotten it off my chest, and my job now is to take what you’ve created and do my best to realize your vision.” It’s the best performance I’ve ever seen him give, even if he should really be disappointing his English teacher if he ever wants to be an effective Jedi teacher.

It’s a shame that Kylo Ren is still running around set like the emo that quality forgot and whilst he gets some really good writing this time I still don’t see what, if anything Adam Driver brings to this (or indeed any) role as, with better casting and some slightly better direction, there’s enough here for him to be a truly memorable and effective villain, instead of someone that I just wanted to tell to pull themselves together as he seemingly only has one ‘I just want a good cry’ face and… God I miss good villains. What happened to them?  Oh, right, it rhymes with Barvel.

Happily though, Ridley further marks herself as a major talent for the future and Boyega is good as Finn, but he’s more workmanlike than a major talent although he’s not awful in the role, I would liked to have seen him given more to do as his character does get some interesting character development.

All in all, it’s a solid entry into the Star Wars saga from Johnson who until now was best known for Looper back in 2012. But I think a more limited budget would have worked more as it would have made for a tighter, more engaging film. And, I am looking forward to his announced new Star Wars trilogy if his leash was given a little less slack. As this is a very good, very solid film that I think will be an infinitely better watch on the big screen (preferably IMAX 2d)  than on your plasma.

Cut the runtime, the one liners and a plot-line giving other characters both new and old time to breathe and grow, and this could have been a masterpiece.

As is?

My Score- See It 

The Debate Is Over; People Vote That ‘Die Hard’ Is NOT A Christmas Film

The Great British public have done it again.

Sorry, wrong intonation.

The Great British public have done it again.

Every time they get asked a simple question, they somehow manage to mess it up. Even on something so, so, easy to get right.

Take today’s example of ‘questions that should be impossible to get wrong.’ Possibly bored with endless polling over Brexit YouGov ( an international Internet-based market research and data analytics firm, headquartered in the UK, with operations in Europe, North America, the Middle East and Asia-Pacific.) Decided to ask the question “Do you think Die Hard is a Christmas film?

According to the YouGov poll, 52% of 5457 Brits surveyed didn’t consider Die Hard to be a Christmas film, with 30% (correctly) believing that it is, and the remaining 18% stating that they don’t know. How can you not know? It’s a simple yes or no question.

Furthermore, the poll asked people if they would “consider a movie that takes place at Christmas time, but is not about Christmas itself, to be a Christmas movie” (aka Die Hard), with only 31% saying ‘Yes’, 50% saying ‘No’ and 19% saying ‘I don’t know’.

Hate to break it to you, but that also means that Gremlins isn’t a Christmas film either…

Along with, as far as I can work out pretty much every film that the light of my life and I have and will enjoy over the next few weeks.

Needless to say, the poll caused quite a stir on social media, with one eagle-eyed statistician pointing out that the clearest naysayers to Die Hard being a Christmas film were actually UKIP voters.

And now I need a shower.

This also technically means that Saving Private Ryan is just set during War it isn’t a War film. Doesn’t it?

I mean, what in Die Hard isn’t Christmassy? It’s set on Christmas, it’s about family and love and coming together during troubles and overcoming them together and growing together. I’m pretty sure it also invokes Jesus Christ and God at various points. What more could you ask for in life?

Aside from a more intelligent, educated, film literate public that is.

But what is the greatest Christmas film of all time if not Die Hard? 

Geostorm Review

In 2003, we were treated to The Core, arguably the last gasp of the once mighty disaster movie genre before it slunk off to SyFy to de-evolve into Lavalantula whereupon Volcanic eruptions in Los Angeles unleash a swarm of gigantic, lava-breathing tarantulas.

Sorry, I lost my train of thought as to why Lavalantula (and its equally awesome sequel 2 Lava 2 Lantula) somehow failed to win every Oscar going ad become the highest grossing films ever.

I was, I was… Oh, right!  The Core and the destruction of a once mighty if ery, very cheesy  genre. Basically, the destruction genre did exactly what it said on the tin. Some pesky event (usually a volcano or asteroid or swarm of something- mostly bad CGI.) Would threaten the world, lots of things would blow up, a load of extras would compete to see who could die in the most over the top way possible and then a load of cardboard one dimensional cut-outs would save the day with seconds to spare and then stare off into the distance as the orchestra swells and the audience starts to get to it’s feet.

Like I say, in recent years the genre has gone downhill as disaster films tend to be expensive and these days most of the films that tick all of the boxes come with a Lycra clad fashion disaster with absolutely no sense of their own innate ridiculousness.

Which brings me to Geostorm, an absolute blast from the past which I half expected to find had been stuck on a shelf for 20 years. But it hasn’t, it’s been stuck on a shelf since 2016 as it was  bumped for the vastly inferior  Batman V  Superman Dawn of Migraines.

And make no mistake, this is a very big, very very dumb film. Before going anywhere near the cinema place your brain in a nice secure environment preferably surrounded by classical music and reading war and peace with a nice glass of Brandy.

The plot’s been recycled from, of all things the absolutely terrible Avengers film from 1998. Basically, in a bid to stop global warming, all of the nations of the world built a massive net around the Earth that can do…. stuff to stop extreme weather from killing people. However, one day  the network of satellites designed to control the global climate start to attack Earth, and it’s a race against the clock to uncover the real threat before a worldwide Geostorm wipes out everything and everyone.

Naturally, only one person can save the day- the man who designed and built the system… Gerard Butler. Because when you need a scientist you ask central casting to end you Gerard Butler. But for him I guess this is a career highlight. Because for a man who once had the world at his feet following 300, Butler has squandered his talents and my time starring in almost unwatchable drokk.

Anyway, he has to go and shout the satellites back into behaving and then there’s inevitably a conspiracy with a villain on Earth who you’ll spot in five minutes and one in space who when they reveal themselves engender less a realization that the clues were in front of us the entire time than “Who the hell were you again?”

But, bear in mind this is a film with the line “You get the car, I’ll get the President” Before kidnapping said President and driving backward in a huge orange taxi, firing a gun whilst firing a handgun with inch perfect accuracy.

Subtle it isn’t.

But every time you start thinking about a plot hole or six there’s another city getting destroyed or something else explodes and you forget all about it. Imagine a film directed by a can of energy drink and your halfway there.

I loved it.

I loved every over the top moment, every ridiculous scene or set piece or fight scene.  I loved that it was just stupid and fun and full of cardboard characters and seemed to have no idea of irony, or plot or worldbuilding or sequel baiting. I loved that the only person who seemed to be acting was the girl playing Butlers daughter who seems far too good to be in this film. I loved the fact that this is the film after 15 million dollars was spent on re-shoots! What was it like before? I need to see what it was like before.

Most importantly though, this is the first film in ages that I could see myself popping on when my mates are around and we’ve had a few beers and you want something to laugh at. It’s the best example of it’s genre since Armageddon and one I would love to catch on Saturday evenings when it’s repeated endlessly on ITV2.

What a shame it’s going to bomb at the box office because there’s a lot here to love. Alas, this film is an explosion and bad science filled butterfly that’s just too beautiful for this world.  It’s also a butterfly I’ll probably forget exists in about 3 hours.

But that’s life.

My Score If Nothing Else- With a Few Beers Inside You 



The Death Of Stalin Review


It is a fact universally acknowledged that satire is best left to the adults, which is why the Britsh have always been the best at.

And of the finest satirist working at the moment is Armando Ianovhi creator of legendary shows like The Thick Of It and Veep. However, possibly feeling that satire set in the year 2017 is irrelevant following the election of Donald Trump and whatever the hell the Conservative Party conference was about Armando has turned his attention to 1953 and the death of Stalin, which leads to a power vacuum in the USSR and the frantic battle to replace him. But remember, in the great game you win or you die…

Now I’ve been looking forward to a really good film set in the USSR forever? Which is why I felt so let down by Child 44, a rather disappointing murder mystery, which exists seemingly to prove that even Tom Hardy (for once not covering his face) can make a dud. And, to be honest, a dark satire is really the only way to tackle what was going on in a land where even something as small as a joke could wind up with you recieving a knock on the door at 3am, before being stuffed into the back of a truck never to be seen again.

And this film doesn’t why away from that in the slightest. Pretty much every minnow we meet is either living in absolute terror of being shot for the slightest real or imagined slight or mistake, about to be shot for an imagined slight or mistake, or about to shoot someone for their own survival.

Hell, even the big fish know that the slightest wrong move could lead to their own knock on the door for a short trip to an unmarked grave.

And yet it is very, very, funny in all of it’s gleeful, glorious darkness. I laughed a lot at this film. More than at every other ‘comedy’ Hollywood has churned out this year.

And I’m not alone, In September 2017, a high-ranking Russian official with the culture ministry said the Russian authorities were considering a ban on the upcoming film, which, he alleged, could be part of a “western plot to destabilise Russia by causing rifts in society.” Other Russian Critics have lauded the film, claiming that the film is an “unfriendly act by the British intellectual class” and that it was very clear that the film was part of an “anti-Russian information war”. Because in the West, governments are regularly brought down by satire.

Hell, the pro-Kremlin newspaper Vzglyad recommended the film should not be screened in Russia, calling it “a nasty sendup by outsiders who know nothing of our history”. Pavel Pozhigailo, an adviser to Russia’s culture ministry, said the film was a “planned provocation” aimed at angering Communists in Russia and had the potential to “incite hatred”.

And here was me thinking the only entertainer that could collapse governments was David Hasselhoff.

Back to the disgusting piece of capitalist propaganda and we find an insanely talented cast including Steve Buscemi, Olga Kurylenko, Michael Palin, Simon Russell Beale, Paddy Considine, Andrea Riseborough, Adrian McLoughlin, Rupert Friend, Jason Isaacs, and Paul Whitehouse in the cast. Not one of whom even attempts a Russian accent, which I think is for the best. No-one needs to see a Python attempting a comedy accent, as the material is more than strong enough to stand on its own. Even if it is based off a French comic book.

The laughs come thick and fast, from the entire cast, with no weak links in the chain. And yet, despite all the.laughter, we can see the casual way that people are disposed of, almost as an afterthought if they are even deemed worthy of that. We see strong men manipulate the weak, smile at them and then stab them in the back.

The cast is fantastic, the plot solid and pretty much every like lands. I liked the way every character was introduced, even if none of them ever really develop and real backstory. I didn’t even want ten minutes shortened off the runtime for once. Perhaps a few less cahrechters would have been nice but if they were there in real life there’s nothing you can do.

I guess what I’m saying is….

My Score – See It Now

Now, if you’ll excuse me, a perfectly ordinary van has pulled up with a loudspeaker saying it has free pizza and wine for all film critics. There’s even a perfectly ordinary pizza man getting out to knock on my door.

How nice.

See you next time.

Kingsman: The Golden Circle Review

The first Kingsman film told the tale of how someone from a council estate became a tuxedo-wearing super spy and was written in response to Casino Royale in which someone who’s a bit rough around the edges turns into a tuxedo wearing super spy but it didn’t go into enough detail for Mark Miller who created the franchise to detail James Bond’s true origins.

It was a love letter/parody to old school James Bond, particularly the Roger Moore and Sean Connery and I seriously enjoyed it, even if it did spend too long on its training regime and not enough on actually developing it’s world, character’s, style or tone.

But hey, that’s what first instalments are meant to do, right?

First film sets up the world, and from then on the training wheels are off and we get to see what The Kingsman can really do.

And speaking as a James Bond super fan, I haven’t seen a decent Bond parody since…. Hell, the first Austin Powers movie back in 1997. So, I had a beer, grabbed my popcorn sat back and….

Seriously missed the training wheels.

Because, well, I get that if you’re going to make an over the top cartoon version of James Bond, I realise that there’s going to be loads of over the top violence but maybe you could have told the CGI department that not to make their work really obvious or given them more than £20 to work with?

Seriously, if you don’t have the money for CGI then don’t do it CGI. Look into doing it with practical effects or models or stop motion or hell, even puppets because very few things spoil a film like bad CGI.

But on to the plot and it’s actually pretty simple. The world is being held hostage by a drugs kingpin who want all drugs legalised and a complete pardon for everything they’ve done. Yeah, the plots a carbon copy of On Her Majesties Secret Service except this time there’s no scene or stunt or moment where our main characters are in danger of so much as getting their suits wrinkled. Not only can none of the bad guys shoot straight but the hero’s have gadgets that shred the laws of physics and logic and serve only to paper over some of the many, many plot holes in this film.

And speaking of the plot, I should probably mention that as a gruff old traditionalist I like it when dead characters stay dead unless I’m watching a zombie film. And especially when that characters death was a fairly pivotal moment in the first film ad one of its most striking and long lasting moments.

And if you are going to bring back Colin Firth, maybe don’t spoil it so heavily in the trailers? And thanks again for taking what little tension there is out of the overlong, over-edited, slow-motion fight scenes because even if a character does get more than their suit wrinkled they can be back on their feet in three scenes teleporting around the world like nothing had ever happened.

Yes, teleporting, either that or this film takes place over about three weeks. Look, if I keep going on about all the things that annoyed me I’ll be here all day, so here are just a few.

Magic Mike barely gets a cameo, some halfwit told Jeff Bridges to shave so that he looks really badly de-aged via CGI. The film has no idea how to treat it’s female character’s so it sticks them behind a desk or a cooking counter, the villain was miscast and exudes as much menace as my friends three year old niece when she’s in a huff, there’s a high speed chase in London when the roads would be clogged to hell and the films tone shifts from over the top action cartoon to moments of serious romance about as smoothly as when my better half and I fight over the remote.

Even more annoyingly, given the hugely talented cast that’s been assembled here, no-body seems to have anything to do. Bridges is basically M and didn’t need to be in the film as much as he was, Firth is given a somewhat interesting character arc but the film doesn’t do anything with it. Eggsy goes back to square one in terms of his character, but at least Mark Strong gets a musical number?

Even more annoyingly, there’s a moment at Glastonbury that seemingly exists only to generate headlines and think pieces which I won’t discuss any more than to say it shocks and exists for shocks fate and could have been done about 15 different ways that would have been funny and inventive rather than the method that was used in the film.

And, worst off all is that taken as a whole, this doesn’t feel like a James Bond send up, rather than a film version of James Bond Jr. where Jr. has to prove himself to his Uncle James that he’s worthy of the name.

Kingsman: The Golden Circle is an overlong, tension free series of over-edited fight scenes followed by sometimes amusing dialogue when it’s not trying to suddenly try and give depth to it’s one dimensional cartoon character’s. The villain and her henchman are less interesting, menacing and memorable than those in the original film. I laughed, liked it slightly at the time but am finding it really hard to justify why I did so now.

Maybe this franchise should have just been a single film as the law of diminishing returns is a very harsh and uncompromising one. On the other hand, it did have a pulse, a pretty interesting if incredibly obvious message (and a distractingly optimistic message about US politics) but at the very least it easily provided the best use of Elton John in a film since The Lion King.

Deal with the tonal shifts, being in some more practical stunts, a bit of tension, give your insanely talented cast something to actually work with and this could have been as good as the first one.

But as is?

My Score- Skip It