South Seas Adventure

This is my long-awaited return to the world of Cinerama: 

As it’s been a few years since I’ve reviewed one of these-which were travelogues presented in a bold fashion for the 50’s and 60’s, although South Seas Adventure was a little different as I’ll elaborate upon later-it’s best to copy and past the opening paragraphs from an earlier review to describe what I viewed last night: 

“I need to explain the whole Cinerama presentation from the 50’s and 60’s. It is a presentation where three screens wrap around a viewer as films shot especially for that format are shown w/ 7 channel stereo; for those unfamiliar w/ film history, such a widescreen multichannel stereo presentation was astounding for the time. A few narrative films were shot that way along with various documentaries which presented nature & culture from around the world. 

The way people can view those now is via Blu-ray releases from niche label Flicker Alley. It’s a simulation of the tri-screen presentation done via Smilebox, which has a curved aspect ratio and they stitch the three prints together into one. The discs aren’t the cheapest purchases; on the other side of the coin, the picture & sound are both great, along with all the special features included. To me, they’re worth the money. 

In fact, as this is niche even in a community like Letterboxd, that is why a list was just created of all the ones I’ve seen; this includes a review of How the West was Won on Turner Classic Movies. That is because they started showing it via Smilebox, which is IMO preferable to the one screen version with the outrageous aspect ratio.”

Typically, these were travelogues where a narrator presented footage from around the world that would best impress an American viewer, both visually & aurally. A threadbare story would tie it together. However, in this case, while a narrator was heard (Orson Welles!), several different segments featuring fictional characters & plots were presented. Note that the first half is Hawaii and several tropical island areas in the South Pacific like Tonga and Fiji—the second half is New Zealand then Australia. Oceania is pretty cool as well so no complaints from me. When there’s a luscious Alex North score, that’s an asset.

It was nice to see what I’ll presume are traditional ceremonies and dances from the natives of those islands and weren’t made up specifically to present something “exotic” for ignorant crowds. Aide from marveling at those exotic sights & sounds, these are also educational. Today I Learned that medical services were (and still are) provided in remote Outback areas by the Royal Flying Doctor Service-where contact is made via radio back then-and School of the Air is how children in these same areas receive their education-via radio communication and homework is sent in via mail. This was done until 2009 when the Internet made this much easier for everyone. At least for me, this was quite educational. 

These Cinerama films will always be a niche proposition even among film fans. Me, I was happy to have learned about this niche from a fellow nerd & I can support a small label like Flicker Alley.

The Housemaid

The Housemaid (2025)

74% on Rotten Tomatoes (out of 193 reviews)

Runtime: 131 minutes

Directed by: Paul Feig

Starring: Sydney Sweeney, Amanda Seyfried, Brandon Skelnar, Indiana Elle, Elizabeth Perkins

From: Lionsgate

No, I did not watch this movie because I’m a heterosexual male who wanted to look at Sydney Sweeney and Amanda Seyfried on the big screen. In fact, my opinion of Ms. Sweeney is probably needed for context. She’s not someone I have as the wallpaper on the phone yet she isn’t loathed by me-which seems to be the increasingly popular opinion now-whether it be her alleged political beliefs or the quality of her acting. I have no idea what’s even true concerning the former (it’s perhaps best I don’t know for certain) and at least in my eyes, she isn’t dreadful when it comes to the latter. I’ll say more about her in the conclusion.

The main reason this was viewed did not relate to Paul Feig, either; the presumably similar A Simple Favor movies haven’t been tackled by me—to be blunt, most of his filmography is of no interest to my tastes. Instead, hearsay telling me The Housemaid was a trashy, tawdry tale plus my having the AMC A-List app meant I could take a chance on something like this. Indeed, this story of ex-con Sweeney being hired for the titular job at the house of rich couple Seyfried, husband Brandon Skelnar and 7-year-old daughter. Unfortunately, Seyfried appears to be out of her mind. Lest you think this is a standard “bitches me crazy” film…

Of course I hadn’t read the original Freida McFadden novel so this was a blind experience for me; there’s more than one twist along the way. In terms of acting, Amanda Seyfried was in fact better than Sydney Sweeney, although the latter wasn’t terrible in my eyes. Skelnar had a rather interesting role, because reasons… the main takeaway from the film was that it WAS tawdry trash (featuring nudity from Sweeney, for those interested in such sights), yet was entertaining at the same time despite some serious moments.

What helped the experience was that this Sunday evening screening at the cinema still drew a decent-sized crowd despite being out for over a month now. The movie was designed to elicit loud reactions from an audience at least a few times-my crowd responded appropriately, allowing for a fun atmosphere. This is a reason why I can’t get too mad at the film despite legit criticisms, such as logic or the need for the movie to be over 2 hours in length.

As for Sweeney, while I can’t condone her breaking the law and trespassing at the Hollywood sign to advertise her new lingerie line, otherwise I can’t get too mad at her playing up her sex appeal. Heck, who knows how long her shelf life will be, anyhow. At least I can commend her for being a producer on several films-Christy got a mixed reception at best but the story of boxer Christy Martin is an interesting one and it’s neat that Sydney purchased the rights to the script for Immaculate because it was in development hell and she believed in the story.

Both she and Amanda Seyfried (believe it or not, this was my first Seyfried movie, period) were among the executive producers; however, I’ll end this review here as the presumption is that more than a few reading this don’t care for Ms. Sweeney so it’s best if I don’t continue on; the fears that there will be arguments in the comments section… I really hope this doesn’t occur.

Nemesis

Nemesis (1992)

Runtime: 96 minutes

Directed by: Albert Pyun

Starring: Olivier Gruner, Tim Thomerson, Cary-Hiroyuki Tagawa, Merle Kennedy, Brion James

From: Several different companies, including one in Denmark, of all places

Another movie watched due to messageboard discussion. Just earlier in the month, a few people discussed Nemesis and praised the film (even its defenders will note that it is a pastiche of films like Blade Runner, The Terminator and RoboCop) for its B-action movie qualities; my discovering just yesterday that Arrow’s streaming platform added the flick made the decision easy for me.

The film certainly is the sort of nonsense I expect from Albert Pyun, yet this thankfully was entertaining crap. I hadn’t seen anything from Olivier Gruner before despite knowing for decades that he was a kickboxer who went on to act in various low to no-budget action films for a few decades now. I’d argue that he sounded robotic and that was appropriate as he became a cyborg… but he acted the same back when his character was only 13.5% cyborg! No disrespect to him as this was still early in his career and I’d judge better once I see him in a later part.

Regardless, his Alex Rain is a bounty hunter who hunts down cyborgs while working for the LAPD. After he becomes one himself, he is hired by old buddies to take out his former partner/lover, a cyborg named Julian. For reasons uncertain to me, some male characters have female names, and vice/versa-it’s not just the cyborgs that have this naming scheme. Was Pyun commenting on gender, or is it just wackiness from the guy that gave characters the names of guitar companies for his Cyborg?

Not to always harp on movies from the past having practical effects/stunt people risking harm or even death performing on camera, or some nice moments of cinematography even in a B-movie that outshine what we get now… but it’s also true in this case. The plot is not high art yet was fun for someone like me that has an affinity for the genre. Some wacky/creative moments with the camera or certain bits in the action setpieces helped make up for the basic acting that was sometimes on display. Best of all is the scene involving stop-motion animation.

Familiar faces in the supporting cast (Tim Thomerson, Cary-Hiroyuki Tagawa, Brion James w/ overstated German accent, Vincent Klyn, the surfer turned actor who had a popular YouTube video made about him last year, and even an early appearance from Thomas Jane, among others) and big roles from female actors like Deborah Shelton and Merle Kennedy-people can like knowing that detail for whatever reasons-made this a good time. If you generally like the work of Albert Pyun yet haven’t faced off against Nemesis yet, that should without a doubt be fixed.

Mercy

Mercy (2026)

22% on Rotten Tomatoes (out of 139 reviews)

Runtime: 100 minutes

Directed by: Timur Bekmambetov

Starring: Chris Pratt, Rebecca Ferguson, Kali Reis, Annabelle Wallis, Chris Sullivan

From: MGM

Lord Have Mercy, this wasn't good!

My only reasons for seeing the film: I still have an AMC A-List account, I had free time yesterday, I saw this in conjunction w/ another movie (that review will come on Wednesday), and there was chatter elsewhere-of course, a thread on a Discord server I won't mention publicly-concerning the film. The trailer sure as heck didn't sell me on the film; it also didn't tell me that the director was Timur Bekmambetov. As much as he probably wouldn't want me to, it's impossible not to compare this with another screenlife movie, the already legendary Ice Cube War of the Worlds, where he was one of the producers.

Both have a similar style; heck, Rebecca Ferguson's AI character has omniscient powers like Cube did, hacking and accessing any data at a moment's notice. In the far-flung future of 2029 (where the cops have flying motorcycles), police officer Chris Pratt-hamming it up, often yelling or acting wild even while strapped to a chair-is accused of murdering his wife. Can you believe that he has 90 minutes to prove to an AI judge that he's innocent? That's one of many logical fallacies throughout; the script is just utter bunk, filled with at least one huge contrivance. Minority Report, this is not... and I don't even love Minority Report like everyone else does.

BTW, what impeccable timing Mercy has; aside from it presenting a message that is pro-AI and it supports law enforcement, had Pratt (I've noticed many here don't like him, for I'm sure a variety of reasons) as a cop who wishes he would have executed a criminal that executed his cop partner-a subplot is civil discontent and people rioting on the streets in an American city. This is not me but many will strongly dislike the movie for that alone.

I don't despise the movie like some do; at the same time, more power to those that were fans of Mercy-it's a fine idea for something new and using modern talking points. That said, the movie was nonsensical and has an overblown, preposterous finale. Cube's War of the Worlds was much more inept and embarrassing, making it a more entertaining bad movie experience by far. Mercy was not boring and did not make me angry-otherwise the movie's plot shouldn't be scrutinized logically whatsoever and it squanders what could have been a decent premise.

In that aforementioned thread, even a big Ferguson fan said that Mercy was a bridge too far for him and he wasn't interested. I gave a brief negative review and mentioned that her performance often consisted of her staring at the camera. He'd probably like that aspect but boy, I can't imagine Ms. Ferguson ever having an easier acting paycheck.

The Night of the Hunter

The Night of the Hunter (1955)

Runtime: 93 minutes

Directed by: Charles Laughton

Starring: Robert Mitchum, Shelley Winters, Lillian Gish, James Gleason, Evelyn Varden

From: United Artists

It was time for me to finally give this picture another shot. Many years ago, I viewed this movie once on TCM; as blasphemous as it is to state, Hunter left me cold aside from Robert Mitchum & Lillian Gish. As most seem to love the film, perhaps the passage of time and my viewing of thousands of films since then will have changed my tune. Much of it was forgotten by me, including the Christmas elements. Mitchum’s Harry Powell was perversely entertaining as an evil preacher who has “LOVE” and “HATE” tattooed on his knuckles. He discovers from cellmate Ben Harper (who doesn’t have any Innocent Criminals) that his young children know where he hid $10,000 from a robbery.

 

I know most will vehemently disagree with this opinion but a LOT of time is spent on Ben’s annoying children; that bothered me then and now as it felt so apparent and cloying. Another issue is that this is like too many 21^st century movies in that the plot is full of contrivances that most seemingly are able to ignore or not even notice—I’m incapable of not noticing. The fact that there are also several irritating adults AND there’s a major tonal shift out of nowhere when one supporting character is introduced… sadly, I was reminded why the movie did and still does leave me cold. The “fairy tale” elements don’t charm me either.

 

It is a shame that the movie left me colder than the weather currently in most of the United States. Somehow, through the passage of time the Expressionistic style faded from my mind; this proved to be the highlight for me during the second viewing. There is great imagery throughout; it is for this reason that I found it a shame Charles Laughton never directed another film. The movie featured stunning imagery throughout; that kept me engaged when the story nor most of the characters did not connect with me.

 

Most people love this film far more than I; this is why I can still recommend it to everyone despite my lukewarm opinion. The visuals-how shadows and light are used were masterful-plus a lead performance that has been paid homage to many times in the preceding 70 years are good reasons why.

The Count of Monte Cristo

The Count of Monte Cristo (Le Comte de Monte-Cristo) (2024)

Runtime: 178 minutes; that’s right, just under three hours

Directed by: Matthieu Delaporte/Alexandre de La Pateelliere

Starring: Pierre Niney, Bastien Bouillon, Anais Demoustier, Anamaria Vartolomei, Laurent Lafitte

From: Several different European companies

A movie seen because of messageboard discussion… of the other recent big European adaptation of a famous Alexandre Dumas novel. Someone praised both halves of 2023’s The Three Musketeers-something not tackled by me yet-particularly Eva Green’s performance, then of course discussion swung to Green’s usual appearance in schlock so people were glad she was in something worthwhile. This was enough impetus for me to check this out.

I am kicking myself for not giving this movie a shot when it played in Orlando late in 2024; it’d be better if throughout 2026, I try to give more foreign pictures my attention when they come to my area. I’d much rather this be my first exposure to Anamaria Vartolomei than Mickey 17, a.k.a. the movie where she randomly appeared for 20 minutes in the second act so you’d think she would be an integral part of the plot but then vanished until the final scene… to be frank, I do realize why most people love Mickey 17, but it was just a mess and totally tone-deaf. In any event…

I’ve never read the novel (nor seen any other film adaptations, including the famous one from ’02) but knew the basics. In early 19th century France after the reign of Napoleon, poor Edmond Dantes gets screwed by enemies so he’s locked away for years. He escapes and cosplays as The Count of Monte Cristo. I won’t reveal much more of the plot but the story at least as told in this film is a handsomely mounted production which is an exciting adventure where it’s easy to root for the heroes (yet there’s some doubt and conflict concerning revenge blinding him) and sneer at the A-hole villains. I definitely enjoyed the Count’s idea for revenge… it’s far more than delicious than just killing those that wronged him.

Over the years I’ve carped over many modern Hollywood releases and perhaps was even too kind to some of them. I’ve grown tired over how drab and drained of color they are, how they needlessly interject “humor”, how it’s too safe, how they’re too risk-adverse, how they don’t kill characters, how they try for “four quadrant filmmaking” in a failed attempt to appeal to everyone, etc. Cristo thankfully isn’t that nor does it contain any of the modern movie-making sins I also gripe about. Instead, this felt like the sort of classic epic that Hollywood used to make. This is the sort of serious, well-made engrossing tales I wish they’d make now instead of comic book nonsense or braindead pictures micromanaged to death.

The Count of Monte Cristo looked great, actually showed colorful images, had a lovely score, was well-filmed, and had quality performances from a cast I mostly was unfamiliar with. For those that are enthralled by such stories (regardless if you have read the novel) I give the highest recommendation to this motion picture.

Tiger on the Beat

Tiger on the Beat (Lo Foo Chut Gang) (1988)

Runtime: 93 minutes

Directed by: Lau Kar-Leung

Starring: Chow Yun-Fat, Conan Lee, Nina Li Chi, Norman Tsui, Gordon Liu

From: Cinema City

I was happy to select this as my first rental from the Letterboxd video store. It’s not a service that will be used often but I was happy to pay more than typical for a streaming rental to see a picture that until recently was difficult to track down and thus I finally got around to something that’s been on my figurative watch list for many years.

This sure was a Hong Kong version of a Lethal Weapon big bombastic 80’s buddy cop action-comedy. That unfortunately meant “some gross misogynistic moments” that I really wish wasn’t in the film. In addition, it’s Hong Kong Humor, meaning that at least for me, it is hit or miss with the laughs. That noted, most of the movie was a sheer delight, especially after a first act where Chow Yun-Fat’s character toned down his goofball cop character.

He and Conan Lee’s loose cannon cop team up as a wacky duo to take out reprobates involved in selling drugs. Both Fat’s sister and the sister of a drug runner become integral to the plot. It’s the latter who is on the brunt end of the misogyny; I felt bad for Nina Li Chi, the actress (and the current Mrs. Jet Li) who portrayed her. Otherwise… this was what I wanted of this 80’s movie. Those ugly moments only make up a few minutes of the runtime. 

The period score and soundtrack often brought a smile to my face-either that or downright laughter. It was 80’s-riffic, from cheesy pop to tracks that resembled Tangerine Dream. 80’s excesses oozed out during the duration, especially during the action scenes that became more and more bombastic the further the viewer advanced in the plot, especially the finale that includes a wild improv moment with a shotgun and a darn CHAINSAW duel.

However, best of all: Fat’s wardrobe; it was loud and bold, colorful and hilarious. This includes the leather cap he often wore and multiple pairs of brightly-colored pants. If I was even half as cool as Chow Yun-Fat, I’d love to pull off that look. Those that dig 80’s Hong Kong, various actors known for appearing in many Shaw Brothers films, action-comedies of the time, wild stunts, and/or two dudes using chainsaws against each other as if they were swords… the restored print that I saw last night looks resplendent.