I Saw The Light Review

Another year, another musical biopic. Last year we had Love and Mercy (The Beach Boys) and the rather well made Straight Outta Compton (N.W.A.). Now for something more classic, folk and country singer Hank Williams in I Saw The Light. 

I Saw The Light stars Tom Hiddleston, Elizabeth Olsen and Cherry Jones and is written and directed by Marc Abraham. The film follows the real-life story of Hank Williams, a folk and country singer from Alabama, his sudden rise to fame and his death at the age of 29.

Tom Hiddleston was the reason I was interested in seeing I Saw The Light. After his phenomenal performance in High-Rise and rumours that he may be the next James Bond, I’m intent on watching any film knowing he’s in it. Sadly though, I Saw The Light is one of the films I should have probably skipped. Hiddleston mostly shines (even with a ridiculous Southern accent) but everyone around him is either boring or forgettable. Elizabeth Olsen comes on screen now and again to be passive-aggressive towards Hiddleston, skipping between showering her love over him and then arguing with him.

I can attribute most of the problems to the story. It’s too unfocused. We start with Williams first touring around small clubs, playing on radio before finding his big break. It jumps all over the place and despite getting time stamps counting the years I was mostly lost as to where it was in William’s life. It feels more like a highlight reel of his defining moments rather than a full story, only for people who know his life and want to see Hiddleston try and find his way through it.

The film tries to hit all of William’s major points in his life, but even at two hours it feels rushed. Hiddelston downs one beer at breakfast and suddenly he’s a alcoholic. He takes a couple of pills on the road and snorts a couple of lines in a single scene and now he’s a drug addict. We see one woman leaving his hotel room in the entire films and he’s a compulsive cheater. If like me, you didn’t know Hank Williams’ story before you watched I Saw The Light, then you’d probably be completely lost as to what was going on.

I Saw The Light tries to fit in Amy style “talking head” interviews, filled with actors as the real life people who knew Williams. It’s an interesting mechanic for telling the story, but once again it’s under-used. We get a couple in the beginning, before a long dry spell and then another two near the end. If it had dispersed them throughout, it would have been an interesting feature, and if it had used more people, Williams’ wife, his children, his mother rather than just a couple of music record executives, we would have been able to get a nice side-view into his life. The newsreel footage of his tours and his funeral back in Alabama is used well and ends the film fittingly.

The saving grace is the music. Hiddleston sings and plays guitar in all of the concert sections and even though these are the best moments of the film, looking back they just feel wasted. You could have the exact same experience as watching I Saw The Light as listening to a Hank Williams best-of CD at home. You would get the best part of the film minus all of the things that don’t make the film work or bring it down to a much lower level.

In summary, I Saw The Light was just plain boring. You might get some enjoyment if you’re a Hank Williams fan or you know a lot about his personal life as you can fill in the blanks, but for everyone else, you can miss this one.

Score: 3/10 Hiddleston and the songs keep it from getting any lower.

Hardcore Henry Review

I saw the first trailer for Hardcore Henry in the cinema a few weeks ago and I was shaking my head at the ridiculousness of it. It seemed like just another dumb shooters with a gimmick of that it was in first person. But trailers have advertised their films wrong before and I always try to go into a new film with an open mind. So, does Hardcore Henry actually come together as a film?

Hardcore Henry stars Sharlto Copley, Danila Kozlovsky, Haley Bennett and Tim Roth and is directed by Ilya Naishuller. The film follows Henry as he is brought back to life as a cyborg by his wife Estelle (Bennett). She is soon captured by mercenaries led by villain Akan (Kozlovsky) and Henry sets out to save her.

Hardcore Henry‘s main selling point is its first-person camera perspective. While films have dabbled in first person (the adaptation of Doom had a cringe worthy stab at it), it hasn’t been widely used by creators for films. And sure, for a good while the first person viewpoint works. And extended sequence in an abandoned hotel, which features a floor-by-floor gunfight is gloriously dumb, along with several moments of flashy parkour chases, it comes together for a few minutes. Sadly, a film can’t be an hour and a half of continual gunfights and punch-ups. You need peaks and troughs, otherwise the audience doesn’t get a break. I eventually lost interest because there was no lull in the action for me to catch my breath.

The film proudly wears it’s inspirations on its chest. Naishuller as a director has obviously grown up with YouTube, as he swipes not only video game Let’s Play’s but also amateur parkour videos and smashes them together. But that’s actually a point against it, it doesn’t feel like it should be in the cinema, it feels like I should be watching this on my computer at home.

Most of the storyline can be swept aside by just saying “because video games.” The main character having amnesia and being mute? Because video games. Telekenisis? Because video games. Women used as catalyst for story and is trophy for completing mission? Because video games. The previously mentioned abandoned hotel is ripped straight from Call Of Duty, there is a strip club from Grand Theft Auto and the parkour is from Assassins Creed. It even tries it’s hand at a Bioshock type of twist (which even the most simple of audience member will guess). That’s where Hardcore Henry will find its audience, in video game lovers and players who want to see their favourite games on play out in real life.

The script even goes a bit video gamey. Henry get’s a phone from his friend Jimmy and he calls him with his next mission. “Go there. Kill this guy. Take his macguffin to keep the plot moving.” The script also tries it’s hand at a few jokes but most of these miss. Apart from a rip on The Magnificent Seven as well as a two second visual gag involving a doormat, most of the rest of the jokes feel aimed at the teenage audience that can’t even get into the screening (Hardcore Henry is an 18). Jokes about women and gays are throughout, with nothing more to say than “you’re not the target audience for this film so we’ll make fun of you.” The whole script feels like it was made by a twelve year old hooked on sherbet, filling it with all things he thinks are cool. The previously mentioned strip club scene, which brings in needless titillation, as well as heaps of gore throughout (that makes Deadpool look like it was made for kids) it all seems juenvenile.

In the end, Hardcore Henry is exhausting. If you can turn your brain to the male teen setting (other films in this category are 300 and Grown Ups) then you might find some enjoyment. If not, then skip it.

Score: 3/10 If you’re old enough you to see it, you’re probably not its target audience.

London Has Fallen Review

Finally, it’s March. We’re going to be having some great films this month, Hail Caesar!, Anomalisa and even though I’m not looking forward to it, many film-goers are eagerly anticipating Batman V Superman: Dawn of Justice. But, before we can enjoy those, I have to clean house one last time for London Has Fallen.

London Has Fallen stars Gerard Butler, Aaron Eckhart, Morgan Freeman and Alon Moni Aboutboul and is directed by Babak Najafi. The films follows secret service agent Mike Bannng (Butler) who must protect US President Benjamin Asher (Eckhart) after terrorists attack London.

I’ll start by saying that I haven’t seen Olympus Has Fallen. I’m much more of a White House Down kind of guy, but due to the former being a box office success and the latter flopping, we get an unnecessary sequel. But anyway, how does London Has Fallen stand as a film?

The answer is poorly. Very poorly.

The action scenes are passable. Most are just confusing jump-cut affairs, apart from one pretty good long take of a firefight in the London streets. Several explosions open the terrorist attack and it seems every single object in London has been doused in petrol and is a hair away from catching fire. Everything that can explode does explode, it starts to become almost comical. Director Babak Najafi seems to be giving Michael Bay a run for his money in the unnecessary explosions department, as we have around seven explosions delivered in a montage.

As the set-up for the film is the state funeral for the British Prime Minister, several heads of state are present in the film. Just in case we get confused between them, each one has a lapel pin of the flag of their nation attached to them, it’s like the film is holding your hand in case you get confused. The leaders on screen are thinly disguised versions of each the real life version, with Merkel, Berlusconi and Holland in all but name on screen. But as nearly all of them get wiped out in the opening ten minutes it falls to Gerard Butler as the world’s most Scottish American to save the day. He makes the British police and army look like bumbling fools, but that might be because Banning himself seems to be like a video game character in comparison, with the unlimited ammo and auto-aim cheats turned on.

The London displayed in the film was designed by someone who used tourist books as their research. The capital of England (not the capital of Britain, something the movie keeps getting wrong) is just made up of famous landmarks and tube stations. I guess this is to cater to the American audience, who only recognise London from Buckingham Palace and Big Ben.

While the first film had rogue elements of North Korea attacking the United States, for the sequel the bad guys are rogue elements of Pakistan. The films tries to put some motive into why the bad guys are staging a terrorist attack but it never really comes together. It tries to make the audience see their side of the conflict, with drone strikes killing their families, but then the film just turns around and becomes pro-US again, instead of staying with what could have been a good theme of the context of war. What we get is another modern action film that ends up painting all people from the Middle East as terrorists. For the finale it goes overboard, with Gerard Butler torturing the second-in-command bad guy while explaining why America is the best country in the world. I was half expecting to see an eagle fly overhead with the US flag in its talons and it screeching “‘MURICA!” for the end credits.

In conclusion, London Has Fallen is just a mindless action film with not much to recommend. If you want something as dumb as this to work, get Roland Emmerich to direct it. At least he knows how to make this stuff entertaining.

Score: 3/10 I can’t remember a single scene composition from the film…and I watched it yesterday. That should tell you all you need to know.

Ruth And Alex Review

Senior viewings are a fun little diversion from usual screenings. I do get some odd looks and questioned “You know this screening is for Seniors?” whenever I go to the cinema intent on seeing the film, but going to certain screenings has allowed me to see some great films. For example, 2014’s The Two Faces of January was, in my opinion one of the most underrated films of the year. But now for the review of the new release aimed at seniors, Ruth And Alex.

Ruth And Alex (Renamed 5 Flights Up in other countries) stars Diane Keaton, Morgan Freeman and Cynthia Nixon and the director is Richard Loncraine. Over one hectic weekend, married couple Ruth (Keaton) and Alex (Freeman) look into trying to sell their now-trendy Brooklyn apartment as they downsize their lives after retirement.

When I first went into Ruth And Alex I thought it was going to come down to a live action version of the first ten minutes from Up. The film does flit between the past and the present with the same rose tinted fondness that that famous ten-minute montage did, and this is where the film excels. It’s nice to see two people falling in love, even if it doesn’t raise any of the serious questions about the prejudice that would have occured at the time over a mixed race couple, nigh one line of dialogue. The only problem with these scenes is that they are too few and far between, with only around four, each lasting under a minute in the whole film. I wanted to see more of these scenes, to see the blossoming relationship that would turn into a long marriage between the two older actors.

Morgan Freeman and Diane Keaton are both on form, doing roles they could both do in their sleep. Freeman’s lines are accentuated by his dry humour/sarcastic delivery, while Keaton usually just seems to roll her eyes at his interjections, with a look of “You loveable rogue” on her face. Morgan Freeman as well does some opening and closing voiceover work, using that almost legendary voice to draw the audience in. In relation to the time jumping narrative, praise must also be given to Claire Van De Boom and Korey Jackson who play the young Ruth and Alex respectively, even if Van De Boom sometimes goes a bit over the top with her acting.

After seeing Ruth And Alex I can see why it was tapped for a senior release. Freeman’s opening monologue is laced with dry wit and disdain at Brooklyn becoming a haven for “Hipsters…A Wholefoods and…An Apple Store.” It’s full of scenes of children pushing past our older actors without much care and has some scumbag buyers trying to get Ruth and Alex’s apartment for less than it’s worth. It’s a film that rolls it’s eyes at the audience while saying, “Young people, Imma right?”

All Ruth and Alex comes down to is ninety minutes of apartment hunting through the boroughs of New York, but the writers knew that wouldn’t fill an entire film so there are two subplots, both coming out of nowhere and feeling totally incongruous. One involves a possible terrorist plot to blow up Brooklyn Bridge that is always jarring the sense of tone from romcom to…I don’t know, a thriller? The film almost touches on a few ideas later in the film, (through another soliloquy by Freeman, although nowhere near as good as his Shawshank days) about the demonization of minorities and trial by media, but again, these ideas aren’t for the type of film Ruth And Alex is.

The other is a small story about the couples old pet dog Dorothy, which is stumbled upon pretty early in the film and never really goes anywhere apart from to the vets and back. These odd diversions are also told in the various flashback sequences, with certain character details and family relationships of Ruth and Alex being subtly explored, each giving our lead characters shade but no depth.

In summary, Ruth And Alex is a mixed bag. While the small sections of the falling in love story are nice to see, the dual storylines of house-hunting and bizarre subplots feel out of place. It really should have been a story about the characters, rather than their retirement plans.

Score: 3/10 It could have, and should been so much better

Twin Peaks: Fire Walk With Me Review


Twin Peaks: Fire Walk With Me was originally meant to be part of the David Lynch Collection review. I left it out of the first review since I had not yet finished the Twin Peaks TV series, and since the film takes place before the TV show, it would have spoiled many of the twists that the show set up. After finally plowing through both series, I am here now able to review, Twin Peaks: Fire Walk With Me.


Twin Peaks: Fire Walk With Me stars Kyle MacLachlan, Sheryl Lee and Ray Wise and David Lynch as the director. The film is set before the TV show of the same name, and focuses on the last seven days of Laura Palmer’s life, as well as the mysterious Bob coming to Twin Peaks.

To start with, the acting is all sorts of bad. While the acting in the TV show had a sense of the uncanny about it, here it is soap-opera levels of bad. Sheryl Lee is the worst, flipping from laughing manically to screaming and crying; it all feels a little over the top. Kyle MacLachlan as well, doesn’t have any of his trademark quirks from the TV show, coming off as rather bland and boring.

While nearly all of the main cast return, it feels out of place when a recurring character has been recast. The main recast is Moira Kelly who takes over the role of Donna Hayward from Lara Flynn Boyle. While Kelly does a fine job of imitating Flynn Boyle’s character, without the inclusion of all the original characters the film seems to missing integral parts. There is also some odd casting choices for side characters, with musicians Chris Isaak and David Bowie both turning up as FBI agents. When I saw David Bowie, I was instantly pulled out of the film’s narrative because all I could think was “That’s David Bowie”. Apart from a few lines of throwaway dialogue Bowie’s part has no real bearing on the story and could have been cut from the story.

The film is just over two hours long, and the plot seems to meander quite a bit. While the film has to hit all of the certain plot points that were brought up in the TV show, it’s earlier plot points featuring different characters that could have been cut. The first half an hour of the film focuses on a completely different subplot which is tangentially connected to the Laura Palmer story, but this plot thread is never resolved fully and is left hanging throughout the rest of the film.

Twin Peaks: Fire Walk With Me does feature some great Lynchian scares and suspense, with a standout moment being a back and forth set piece involving a picture of a half open door Laura Palmer has on her wall, as well as the disturbing rape and murder of Laura by Bob. These last two scenes are elevated by Frank Silva’s portrayal of Bob, who as always is laughing and snarling at his victims.

In relation to the rape and murder of Laura Palmer, the film pushes its 15 certificate to new heights. With several scenes of violent rape, bloody and vicious murder as well as drug abuse and general sexually explicit scenes, the film goes further than many new films in establishing itself as a dark and mature film. As with most of Lynch’s filmography, this is one film not for younger viewers or those who find the above material upsetting.

In summary, Twin Peaks: Fire Walk With Me, while being an important part of the Twin Peaks canon and overall storyline, fails dramatically at being a great standalone film. With the new series of Twin Peaks coming out in 2017, let’s hope that the story can only get better.

Score: 3/10 Only for diehards of the franchise.

Knock Knock Review

When I first heard about Knock Knock, I was pretty excited. One of my favourite actors ever, Keanu Reeves, teaming up with renowned horror film director Eli Roth to create a low budget home invasion horror film, what could go wrong?

Knock Knock stars Keanu Reeves, Lorenza Izzo and Ana De Armas and is directed by Eli Roth. When his wife and children leave on holiday for the weekend, Evan (Reeves) is terrorised by a pair of femme fatales, Genesis and Bel (Izzo and De Armas respectively) after he let’s them into his house.

With Eli Roth as the director, I was hoping for some over-the-top violence and skin-crawling moments of savagery. His best-known films are the two horror masterpieces Cabin Fever and Hostel, with the latter one of the films that was considered in coining the phrase “torture porn”. While Knock Knock has an 18 certificate, Eli Roth doesn’t bring any of his trademark violence to the film. There are only really two moments of “violence” in the film and neither one is that visceral. One is making Reeves listen to a high-pitched feedback loop, which doesn’t really work since the sound effect that we get in the cinema isn’t anywhere near high enough.

The 18 certificate according to the BBFC is for “sustained and sadistic threat, sex, sex references and nudity.” The sadistic threat is what provides the bulk of the film, and is actually done pretty well. There were moments where my stomach churned as Izzo and De Armas explain to Reeves what sadistic torture method they are going to do to him, their sultry accents somehow making it seem even more despicable. The sex, nudity and references however seem pretty childish and awkward in their execution. The dialogue about sex feels like a 12 year old trying to write how he thinks adults talk, and the sex scenes look pretty cheesy with clichéd imagery such as hands grasping at bed sheets and lingering symbolic imagery of the rain pouring down outside.

The story would have been a interesting take on the home invasion genre, if it wasn’t just copied straight from the 1977 exploitation film Death Game. I won’t go too much into the story as I have the policy of no spoilers, but just to say that the way the whole plot is put in motion will leave you with no characters to root for. Despite Reeves’ insistence that he is a “good person” you know that he is anything but, leaving us as the audience cold since we have no one to project onto. The story however does allow for some subtle exploration into the themes of rape, consent as well as some subverting of gender tropes and an end scene about trial by social media, but all of it is just fluff and isn’t really explored apart from a few lines of throwaway dialogue and imagery.

The acting by all is bad, and I mean REALLY bad. While Izzo and De Armas play their roles of Genesis and Bel with more than a healthy dose of unhinged madness, it falls into pantomime fairly early on. Keanu Reeves meanwhile is overacting to the highest degree. Maybe I’m asking for more than a schlocky B movie can provide, but there were many times that I was laughing silently in the cinema because of Reeves’ acting. It’s mostly due to his overacting, enough to challenge Nicolas Cage in The Wicker Man, that the film falls flat at any of the home invasion horror that Eli Roth wanted to film.

By the end I was thoroughly appalled and amazed at how bad everything was, but was then stunned by the emergence of the song Where Is My Mind by The Pixies, the exact same song that is at the end of the excellent Fight Club. At that point I just couldn’t contain it any longer and began laughing my head off while the credits rolled.

The only real merit I can give Knock Knock is including the very talented Francisca Valenzuela in the soundtrack of the film, as Reeves plays the two girls one of her songs. Much how the excellent John Wick (which oddly enough also stars Keanu Reeves) introduced me to the female duo KALEIDA, Knock Knock introduced me to the work of Valenzuela, and for that I thank the film for bringing a brilliant musician to the forefront.

In conclusion, Knock Knock is just another throwaway horror film that fails to produce anything that is actually scary. It had the potential to become a cult classic, but weak acting and a daft and disappointing ending spoil what could have been a B Movie guilty pleasure.

Score: 3/10 Nothing of merit to recommend it.

A Royal Night Out Review

The words “inspired by true events” have become a staple in the film industry in the recent years. Mainly thrown around during Oscar season, there is always a divide in whether the story told is a true representation of facts or the story has been amped up for the movies (American Sniper being the main one in recent years). A Royal Night Out is definitely based on a true story, yet it seems to have had the latter approach given to it in the story department.

A Royal Night Out is about Princess Elizabeth (Sarah Gadon) and Princess Margaret (Bel Powley), who on VE Day left Buckingham Palace and celebrated with the masses in London. The film also stars Rupert Everett as King George and Emily Watson as the Queen Mother and Jack Reynor as an RAF pilot named Jack.

Films like these are the hardest to write reviews about, because there is nothing to it. There is nothing that makes it stand out, be it good or bad. A Royal Night Out is a safe, middle brow quasi-comedy, it’s 21 And Over re-skinned with the trappings of Downton Abbey and the Royal Family. Either way let’s at least try.

A Royal Night Out is based on the fact that on VE Day, both princesses left the palace to mingle with everyone who is partying on the streets, and seems to be the only resemblance to the idea that the film is “inspired by true events”. Unless both princesses went on a round-about tour of London, complete with visits to iconic landmarks and the odd Soho brothel, I guess most of the story is not factually correct. The story points, filled with misunderstandings and races to find people in crowds will seem clichéd to several viewers.  Within the first ten minutes you can tell where the film will be going (including the heavy handed message of the massive divide in the class system), making the quite short run time of 97 minutes feel a lot longer.

The acting on all fronts is varying levels of high class pantomime. It’s nice to see Rupert Everett perform in anything, but he, along with Emily Watson, Bel Powley and Sarah Gadon do a strong comedy caricature of the Royal accent. Everyone else in the film seem to be rejects from the musical Oliver! overflowing the film with Cockney impressions. These two polar opposites, the upper and working class, seem to be according to the film the only two distinctions in London. Jack Reynor fares a little better, with only a hint at a working class accent, even if it does fluctuate a bit.

As a jazz fan I did like the score, filled with several big brassy numbers and walking bass underscores. Being a film set during World War Two, it does include Glen Miller’s masterpiece In The Mood and Tuxedo Junction, making it a joy to see a few of the dance numbers in the film. There was one part of the film where the film did touch on something above its station, which was pleasant to see. Princess Elizabeth is discussing with the RAF pilot Jack (who is a needless romantic subplot) about whether she wants to ascend to the throne. Sarah Gadon’s soliloquy here is nice, filled with youthful desire of escaping to Paris, seeing the sights of the Eiffel Tower and Luxembourg Gardens and to be a normal person instead of being waited on hand and foot every day. This could have been a good running plot throughout the film, but the film only really brings it up at the end of the film.

To continue talking about the previously mentioned needless romantic subplot in the form of Jack, the film does eventually capitalise on this, but doesn’t show it. The camera instead pans to the side, before coming back a few seconds later. A message to director Julian Jarrold, if you are going to pay off an entire subplot you’ve been plying us with for the entire film, at least have the conviction to show us it instead of cutting away.

In summary, A Royal Night Out isn’t a bad film. That said, there is nothing that elevates it to a film you could watch on a lazy evening, let alone a film you must watch.

Score: 3/10 You will watch it and forget about it in a day.

The Gunman Review

The Gunman had so much potential. With a cast list that contains Sean Penn, Mark Rylance, Ray Winstone, Javier Bardem and Idris Elba and with the man behind the camera being Pierre Morrel, the director of Liam Neeson’s (possible) masterpiece Taken, it would seem that The Gunman has all that it needs to be a fantastic action flick. Think again.

The Gunman is about James Terrier (played by Penn), a mercenary working in the Congo, protecting aid workers when he gets an assignment to kill a senior politician. After a successful kill, Terrier is forced “into the wind” leaving behind the girl he loves, until he is attacked by a hit squad himself years later.

Just a quick question before the bulk of the review, what is it with the recent trend of “Dad Cinema”? The type of film that has a retired older gentleman beating seven shades out an assortment of bad guys, proving he’s “still got it”? I wouldn’t have known there is a market for this type of film, but somehow these films keep getting made. But while Neeson and Washington, two of the bigger names to come out of “Dad Cinema” actually dish out swift and brutal punishment, Sean Penn just can’t deliver. He definitely looks the part, as most of the film Penn is shirtless, showing off his stone-chiselled abs and pectorals, but the camera cuts away just before we see any impact from punches, leaving us with a comedy thwack sound effect. It was almost as bad as Quantum Of Solace, and any film that reminds me of Quantum Of Solace is doing something wrong.

Penn does however deliver his character with some much needed humanity to the role, looking genuinely like a man who is haunted by the demons of his past, culminating in some post concussive syndrome flashbacks. He’s a character whose altercations with foes leave him worse for wear; he’s not being able to just take punches and bullets like most of the other actors of “Dad Cinema”, which makes him a much more interesting character. Unfortunately Penn seems to be the only one who plays his role seriously, with all the other actors are floundering. Javier Bardem is especially off his game, acting like a third rate Bond villain, as well as Mark Rylance, who looks cartoonish in his actions next to Penn. Idris Elba is thankfully much more grounded, but his time on screen doesn’t add up to more than three minutes, leaving Penn once again to try and keep the film realistic. But even those PCS flashbacks that gave Penn some character soon turn into a gimmick, happening right at crucial moments in the film to ramp up the tension.

The film also fails in bringing us any visual flair or stunning scenery as its main selling point either. While the film may start in the Congo and move quickly to London, the main part of the film is spent in Barcelona and Gibraltar, but The Gunman decides to just devote it’s time to alleys and backstreets, not showing off the cities that it’s set in. Even the film’s finale, set in a bull ring and stadium, feels weak and empty. The only set that feels worthy is a stunning Spanish estate owned by Javier Bardem, but due to the action scene that then takes part in said estate, we hardly get to see any of it.

The problem with The Gunman is that it has no idea what type of thriller it wants to be. Without the aforementioned gritty violence it isn’t a pulpy action film, and even though it mentions ideas such as political corruption and morality they are soon dropped, meaning it doesn’t have enough weight to make it a cerebral thriller. It’s just bland, and that is one of the worst mistakes a film can make.

Score: 3/10 With a cast list so noteworthy, it’s a shame this film is so forgettable.