The Invisible Man Review: A Fresh Take On An Old Classic

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Rating: 4 ½ stars out of 5 stars

At one point, sharing cinematic universes were all the rage thanks to the successful formula perfected by Marvel studios. Universal Studios wished to have their own “Dark Universe” with remaking classic Universal monsters and bringing them together in an “Avengers” like story. After the colossal failure of Tom Cruises’ “The Mummy,” the “Dark Universe” concept was scrapped and all other Universal monster films were either killed on the spot or morphed/reworked into something completely different/original, like with what Guillermo Del Toro did with his award-winning masterful piece of work, “The Shape of Water.”

“Saw” director Leigh Whannell also made a significant turnaround with his new take on “The Invisible Man.” This time, the focus is not on the titular monster but rather on one of his victims: Cecilia Kass (Elizabeth Moss) barely manages to escape her barbaric ex-boyfriend Adrian (Oliver-Jackson Cohen) and go into hiding. Two weeks later, she received word he’s committed suicide and left his entire billion-dollar estate to her provided she remains mentally competent. Things seem to be go better for her until she starts noticing odd events, strange instances leading her to one disturbing and horrifying conclusion: Adrian isn’t dead, and worst of all, he’s found a way to disappear completely and is back in her life with no one believing her.

While clearly being fueled and influenced by the “MeToo” movement in the narrative and structure of the film, “The Invisible Man” rarely skews off into implausible territory and keeps everything from the emotions, the relationships, and even the science to a fairly intense lens of reality. Cecilia’s story is entirely relatable and cleverly uses that victim perspective to make the story connect on levels no other take on the “Invisible Man” story has ever managed to accomplish. This is very much her story and that paranoid sense of being followed manages to be amplified brilliantly by simple camera shots of basic landscapes and environment. Every hallway, front lawn or parking lot becomes a potential death trap with a faceless enemy looming out there.

This is a fresh take on an old classic that anyone can sit down and understand through its excellent filmmaking and simple but effective story cues surrounding the concept. Elizabeth Moss truly exemplifies the longing for power sensation after feeling so powerless for so long and striving to conquer her fears and her enemy. You feel every shiver across her spine, every disturbing sound possibly signaling his presence, so much is said in the most silent of scenes. The family that takes Cecilia in contributes to the dangers and risks this unseen threat is presenting. Even when the titular character is making a move, it’s carefully planned and calculated and feels very natural and dangerously realistic to how someone with this power would act.

I think the best thing to commend this film is its unpredictability. While some of the supporting cast fall into predictable roles and lack any real growth in comparison to Cecilia, the movie has some “blink and you’ll miss it” shocker moments that will leave your jaws firmly planted on the floor; all without the use of jump scares I might add. The secret behind the “Invisible Man” is quite a clever one (no spoilers obviously) and is actually something I could see being a real possibility with today’s technological advancements. It seems the collapse of the “Dark Universe” project has ultimately been for the best. It’s given directors creative opportunities to recreate these monsters in new and exciting ways through top quality films.

Overall, “The Invisible Man” is a masterfully sculpted horror-thriller that invokes the essence of a supernatural threat but modernizes it for today’s day and age with relatable subtext, moral messaging and empathic motivations. The simplest pan shot creates incredible tension every time and Elizabeth Moss embodies everything flawlessly from start to finish. This is how you update a Universal monster character and THIS is how you make a great film.

The Verdict On In The Tall Grass: Is It Worth Watching??

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Rating: 1 ½ out of 4 stars

One of the advantages of streaming services like “Netflix” and “Hulu” is they can provide smaller budget adaptations to certain films or stories big-budget Hollywood studios like Warner Bros. wouldn’t think twice about. Stephen King had great success with his story “Gerald’s Game” being adapted to a film on Netflix. Unfortunately, Netflix tried to strike gold again but ended up with a freshly polished turd that doesn’t work, doesn’t make sense and doesn’t do Stephen King, the director, the cast and Netflix any justice whatsoever. This is the creepy, winding, confusing Stephen King adaptation of his novella story, “In the Tall Grass.”

Siblings Becky and Cal DeMuth (Laysla De Oliveira and Avery Whitted) are on a road trip when they are stopped by a young boy calling out for help inside a field of tall grass. When they go inside to investigate, they can’t find the boy and also discover they can’t find their way out of the grass fields. A sinister force lurks in the seemingly endless grassy fields, warping reality, confusing the people inside and turning things around to the point people start losing their minds and turning on each other. Now they must escape this unavoidable prison and return to the outside world before they become a part of these grassy fields forever and ever.

I never heard of this story by King before, let alone read it so I can’t really say how accurate it is or isn’t. I will say though that if this film is an accurate adaptation of the novella, then the quality issues of this film clearly started with the ludicrously off-putting source material. “In the tall grass” has a simple yet eerie premise that (typical of King’s work) combines simplicity with supernatural themes seamlessly. While films landlocked in one central location for the duration of the story (Phone Booth, The Shallows) can be tense, engaging thrillers, “In the tall grass” feels like it’s already worn out its welcome about 15 minutes into the film. Even with all the twists and disturbing turns, the characters experience while in the fields, it all starts to look and feel the same and the horror and confusion end up becoming sluggish and even annoying.

Even once the story gets to the “supernatural setting is turning people against each other” angle, another common trope of King’s work, things only get even more confusing and poses more questions than it answers (and those they do answer are done quite poorly). There are some images and sequences that really crank up the absurdity and weirdness of the film’s mysterious threat, effective and unusual at times but don’t stay long enough to linger in your mind. The cast is a serviceable one, decent at times and dismal at others with only a very small window of talent being displayed. That window I spoke of gravitates almost exclusively around Patrick Wilson, who plays the father of the boy who called people into the grass. His talent is being wasted on this film. He’s clearly giving A+ effort in a D- film and it’s a commendable effort.

Harrison Gilbertson is the only other person who actually tries, he does a good enough job and I greatly enjoyed learning more about his character; though can’t say the same for anyone or anything else that happens. The content in the film borderlines mind-bending to outright uncomfortable, almost to the point of wanting to turn it off and re-watch “The Office” for the thousandth time. It’s creepy and eerie at times with its fairly decent camerawork and soundtrack, but it never lives up to its full frightening or even comprehensible potential. It’s a weird film that doesn’t know what it’s trying to present or if it does, it’s doing in the most asinine and mind-numbing way; just like the last act of “Arrival.”

“In the tall grass” could have been more chilling, more effective and more cerebral but it falls short every time on every front. Patrick Wilson is literally carrying the whole movie and the rest of the story can’t keep it together long enough for the movie to make sense or for you, the viewer, to care if it does or doesn’t. Just go watch “Gerald’s Game” or “The Mist” movie, Hell. Even “Silver Bullet” has more entertainment value than this film does.

Gentlemen Movie Review: Highly Entertaining But Borderlines Offensive

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Rating: 4/5 Stars

Nothing is as mesmerizing as a Guy Ritchie movie.

His recipe consists of fast-paced dialogue, a spritz of the black comedy and marinated in metaphors and embellishments of cinematic genius. The movie “Gentlemen” has been marked as Ritchie’s return to his signature cockney crime genres such as Snatch and Lock, Stock and Two Smoking Barriers and it definitely did not disappoint.

Told from the perspective of Fletcher (Hugh Grant), a selfish and conniving private investigator who was hired by newspaper mogul to trail multi-millionaire British expatriate, Mickey Pearson (Matthew McConahey) who owns a marijuana empire, through sheer tyranny, violence, and coercion. Word got out that Pearson is going to retire from his criminal career and plans to liquidate his weed farm to potential buyers including; Jewish – American billionaire, Matthew Berger and British- Chinese mobster, Dry Eye (Henry Golding). However, instead of relaying the information to and cooperating with the newspaper, Fletcher goes to the belly of the beast and decides to blackmail Raymond (Charlie Hunnam), who is the resident’s right-hand man of Mickey Pearson.

With Fletcher being an unreliable narrator, he hopes to exploit Mickey Pearson’s empire and his criminal activities through writing a movie script, called BUSH, which he is planning to sell to Miramax studios if he does not get his money. A very meta-reference about the film within a film, distributed by the said studio.

The movie is entertaining nonetheless, with nonsensical dialogue that borderlines offensive which makes viewers laugh nervously to every unpredictable turn of events. Every actors’ performance in this movie is hilarious and over the top. Hugh Grant who usually is typecast as the polished English gentlemen has been subverted into a grimey, calculating and obnoxious private investigator who has ill-intentions. Hugh Grant completely disappears into the character and leaves slightly amused about the actor/character conceit. The same with Henry Golding, the actor who played Nick Young in Crazy Rich Asians – he turned into a two-faced, arrogant gangster who had the audacity to rip off Pearson.

 Much of the movie itself is a colossal conceit, which says a lot about the title of the film, “The Gentlemen,’ meant to be an ironic nod to the character’s unruly, destructive and violent personalities. Although with the black comedy, there were some distasteful jokes such as Raymond and Coach pronouncing an Asian name as a pseudo – swear word or Jewish billionaire speaking in a ‘stereotypically gay’ way- having a lisp.

After decades of directing films that are huge franchises such as Sherlock Holmes, King Arthur, and more significant projects, Ritchie finally gives his fans want they wanted in the Gentlemen. A chaotically organised, nonsensical movie filled with never-ending hypotheticals and lightning-fast dialogue for two straight hours that makes you want to watch it over and over again.

5 Important Tips For Aspiring Talents Looking To Break Into The Entertainment Industry In 2020

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Image via Shutterstock / lassedesignen

Here’s something most people aren’t aware of – talent alone is actually not enough to make you succeed in the entertainment industry. Besides being talented, if you want to succeed in the entertainment industry you also need monetary investment, the right connections, dedication, persistence as well as a great deal of planning.

Now here are top five tips for aspiring artists, models and actors looking to break into the entertainment industry.

1. Think smart

In business, we call it strategy. In acting, we call it “attack.” In every other aspect of life, we call it a plan. If you want to succeed, you need to be clear in what you want to achieve in your career. Be smart. Plan smart. Create goals and objectives that are specific, measurable, achievable, relevant, and time-based.

First of all, you wouldn’t want to be wading in an ocean of all sorts of dreams of other aspiring artists, without you first having a definite idea what you are aiming at. You need to specify goals (either long-term or short-term) that can be quantified as doable. These goals should also likewise be pertinent to your career and should also be set to be achieved at a particular time.

If you want to move forward with your career then you need to be smart. Plan ahead and think smart.

2. Network your way to stardom

No one really got anywhere in their career by just doing his/her own thing without anyone’s help. Over the process of building careers, personal as well as business networks are likewise built. You will need the right agents, managers, and producers to help you out on your way to success and be the shining star that you are meant to be.

Can you think of any actor who did not go through personal connections or contacts before actually getting into the spotlight? I bet you can’t even name one!

As you meet people in your quest to stardom, make sure that you keep in constant contact with them—even the most insignificant people you meet. You will never know who these people are related to unless you have already built a steady relationship with them.

Keeping a calling card will also come handy from time to time. Make sure yours had been printed legibly and with the exact details. Always hand them over to people any time there’s an opportunity.

3. Leverage the power of the internet

Consider those people who were discovered through their video uploads via YouTube. Perhaps, you can also leverage on this social media platform as well as other online platforms such as Facebook, Twitter, Pinterest, LinkedIn, etc. to meet other people who might be able to help your career in the future.

Did you know that Justin Bieber grew up in a small town, and that he didn’t have an agent or any valid connections? He actually only started uploading videos on YouTube for his friends and family who couldn’t make it to his singing competitions, Someone important came across his videos though and liked his voice and voila – Bieber fever was born!

4. Promote yourself

Your first follower is yourself. If you believe in yourself and you are passionate in what you can do then others will catch on and they will inevitably share that same belief with others they come in contact with. It’ll be a ripple effect. Once a portion of water is activated it will set the surrounding water to create the same action.

Preparing your personal portfolio will come in handy any time. Just make sure that the data you include are updated, including the headshots. You should always stick to the truth. Your portfolio may be customised to how you think agents or directors might want to see in it, however the truth will always come out in the end so just be accurate and honest.

Think about Zac Efron who started by auditioning for the Disney Channel movie “High School Musical.” All he did was turn up at the auditions and promote himself and now look at what he has accomplished: High School Musical 1/2/3, 17 Again, Hairspray…The list goes on!

5. Take Charge

Let your passion drive you to your way to stardom. Invest in yourself and commit to learning and mastering your craft. If you’re an actor perhaps you can check out acting workshops or organizations who offer trainings and seminars. You can even start with your local theatre. If there’s any available role you think you are able to perform, audition. Once you’ve appeared in a few performances, you’ll have the experience needed to get an agent’s attention that may be able to find other related jobs for you. A number of stage actors work in commercials, TV and movies, so your theatre colleagues will be able to advise you, and even recommend agents who may be able to help you.

If you’re a model you can always start by doing things for free to get your foot in the door. Start doing portfolio shoots with legitimate photographers and start getting involved in various runway events even if initially it’s for free to get exposure and you never know – someone important might spot you and give you the break you’ve been waiting for.

If you’re an aspiring artist you always can start with the best and easiest social media platform out there – YouTube. Start uploading videos and start making appearances in various events even if there’s no talent fee in the beginning because you’ll never know who will be on these events. You need to start somewhere to get somewhere right?

Building a career is a process, as much as becoming one in a million and shining the brightest. Start with tip number one and then proceed with the other tips. This will pave the way for your next stop over—success!

“Joker” Movie Review: Is It Worth Your Time And Money??

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Rating: 5/5 Stars

DC has been circling the cinematic port-o-john drain for some time now. While blockbuster success stories like “Shazam” and “Wonder Woman” have certainly raised some dollars and new fan bases, all the dark brooding and more intense edge they proclaimed was one of their strongest suits has yet to rear its gritty head…until now. Todd Phillips, director of “The Hangover” films decided to break the mold and attempt a new, daring, disturbing standalone take on one of the most classic and legendary supervillains in comic book history, The Joker. Having zero connections to any previous Joker or Batman incarnation, “Joker” is a wild take of a film that hits all too close to home for many people and finally gives me hope that DC could be good again.

Arthur Fleck (Joaquin Phoenix) is a failed comedian and a failed human being; slumming through his broken life at a dead-end job as a party clown in Gotham City. As society mistreats and demeans him, along with his own mother (Frances Conroy) and TV hero (Robert De Niro), Arthur’s life spirals out of control and quickly descends to the madness that changes everything he knows and is as a person. Taking on the persona of “The Joker,” Fleck plans to make an impact on society, an impact so bloody and destructive that the people will never forget who he is, what he’s done and what he is about to inspire the people of Gotham to become.

It would be grossly unfair to call “Joker” an origin film. This is a film unlike any you’ve seen before, an alternative take on a comic book character that speaks to people on a level that is painfully all too real in all the best ways imaginable. This take on this iconic character puts people’s empathy and sympathy squarely on the clown prince of crime’s shoulders; something no other cinematic adaption has been able to come close to accomplishing. “Joker” reminds us of the people suffering not only under the discrimination of high society and perceived “norms” of the world, but also the insufficiently funded mental health treatment system that hit this reviewer a lot harder than I expected it would. It’s a depressing representation but accurate as well.

The violence displayed is never glorified or justified here, if anything, the brutality of it shows how heavy murder impacts a person, which is something most films gloss over when you have action sequences piling up off-screen body counts. In a lot of ways, “Joker” feels like a cautionary tale to the world; reminding us how discarded people feel like they have nothing and no one in their lives and are willing to do anything to get people to give a damn about them, even murder. Phoenix truly transforms into the character; physically and emotionally. He presents the Joker in a way that he is neither inherently evil nor is he a tragic hero. He’s written and portrayed not as a character but more as a whole, full living human being and it is truly remarkable.

The film cleverly blurs the line between reality and Arthur’s own personal fantasized reality, putting into question everything he does and everything that happens; constantly keeping you guessing about whose reality is a worse place to live in. Robert De Niro is perfectly cast as a Johnny Carson like talk show host, inspiring and infuriating Arthur throughout the film; leading to a climactic final act that will leave everyone (inside and outside of the film) horrifically shocked. Despite not being connected to any previous DC film or Batman film, I applaud the interwoven minor references to Bruce Wayne and feel they add a bit of framework to Arthur’s journey and feel more like necessary components than shoehorned Easter eggs.

“The Dark Knight” was egregiously ignored at just about every award show and category (save for a posthumous award for Heath Ledger’s performance as the Joker), so if there was ever a chance at a comic book movie that deserves to win some golden recognition, it’s “Joker.” This is a film unlike any other film I can think of, a warped take into the human mind that makes you feel a plethora of emotions and perceptions on this highly divisive character. “Joker” is a must-see film, a truly visionary piece of filmmaking that will raise questions and spark conversations for years to come.

“Between Two Ferns” Movie Review: Is It Worth Your Money??

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Rating: 2 and ½ out of 4 Stars

As “Saturday Night Live” will tell you, making movies out of skits is not a terribly smart business decision. With the exception of “Wayne’s World,” every film based off a skit like “Night at the Roxbury,” “The Ladies Man” and “Superstar” has been a disastrous failure with both audiences and box office grosses. Will Ferrell’s “Funny or Die” network has accumulated a great deal of talent, sketches, and recognition that they produce high-quality comedy in small, short video bursts that keep them relevant without becoming oversaturated or longwinded. Zach Galifianakis has a show called “Between two ferns,” a short comedic interview series where he awkwardly talks to and insults celebrity stars in this offbeat “Funny or Die” original series.

The film naturally follows Zach wanting more than his dinky little public access interview show currently offers. When a disaster demolishes the set and forces Will Ferrell to rethink Zach’s worth. Ferrell challenges Zack to complete 10 episodes with 10 different celebrities on the road to meet a deadline and if he pulls it off, he’ll receive his own network show. Now Zach is on the road meeting big name celebrities like Benedict Cumberbatch, Paul Rudd, Brie Larson, Peter Dinklage and others trying to save his weird and awkward show.

It’s kind of hard to review a movie based on a show like this, truth be told, it’s even weirder to understand HOW someone can even MAKE a movie out of an interview talk show skit like this. Luckily, “Between two ferns: the movie” manages to keep what made it funny and great consistent, plentiful and it doesn’t try and make a weird story or emotional journey to the extent of previous skit based films have attempted. In a lot of ways, the movie plays like you’re watching a bunch of “Between two ferns” episodes back to back; watching one celebrity get awkwardly roasted and then immediately jumping right into the next one. It doesn’t sound like you could fill a movie out of that but it does and it helps that the writing and comedic timing of everyone involved is spot on and is some of the best the “Two ferns” show has ever produced.

The story involving Zach and his crew going around meeting random celebrities in unusual places even helps add to the humor of new, unpredictable situations like one involving John Legend and Chrissy Tiegen and a visit to Peter Dinklage’s house. There is a wraparound story involving a student documentary crew filming and following Zach and his staff around but it doesn’t go anywhere and the same can be said of Zach’s crew. Similar to “Borat,” there are small roles with characters to try to fill in supporting roles in-between the interviews. They don’t really develop the characters to any extent so they serve more like funny commercial breaks before Zack gets weird with the next guest.

It’s hard to cite this as a criticism as I didn’t want or expect anything more than just lots of hilarious interviews with big-name stars, and on that front, they definitely delivered. But as a film with an overall structure, it misses a golden opportunity to explore more humorous chances and scenes with Zach’s crew. Their introduction was hysterical, it felt like an R rated version of “The Office” and if they had more of that quality sprinkled throughout the rest of the crew’s scenes, this film would have been even funnier than it could have imagined.

All in all, “Between two ferns: the movie” actually DOES work as a movie. It’s got a great cast of stars with impeccable comedic delivery and writing; it keeps what works and sticks to its strong suits from start to finish. The cast could have been used a bit more creatively and doubled up the comedic potential but overall, whether your familiar with the skit series or not, this is a comedic gem you don’t want to miss.

The Trailer For The Next ‘Fast & Furious’ Movie Called ‘F9’ Is Finally Here And It Looks AWESOME

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The Fast and Furious family is back and this is the ninth installment in the Fast and Furious franchise.

The trailer shows Dominic Toretto (Vin Diesel) and Letty Ortiz (Michelle Rodriguez) attempting to raise Toretto’s son Brian (named after the late Paul Walker’s character) – but all hell breaks loose when Dom’s brother Jacob (John Cena) turns up to create havoc as the main villain in this movie.

Check out the trailer below courtesy of Universal:

“Frozen 2″ Movie Review: Is It Worth Your Money??

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Rating: 4/5 Stars

I remember seeing “Frozen” for the first time when it first came to theaters. I knew next to nothing about it thanks to very few witnessed advertisements so I went in mostly blind and was very pleased to see how everything played out. It was a beautiful, wonderful, elegantly scored film that felt like a real return to Disney’s classic film quality levels. Imagine my surprise at how quickly the film evolved into a massive phenomenon and then, Disney taking a whopping 6-year gap before finally putting out the sequel. Needless to say, the hype surrounding “Frozen” was obscenely high and left a great deal to live up to for “Frozen 2” to match.

Our story takes us back to Arendelle where Elsa (Idina Menzel) enjoys a peaceful reign as queen until she starts hearing a strange voice calling her to the enchanted forest; outside of the kingdom. Desperate to find answers to the origins of her powers, Elsa ventures into the forest along with her sister Anna (Kristen Bell) and friends Kristoff (Jonathon Gruff) Olaf (Josh Gad) and Sven the reindeer. What the group discovers is a new side to the sister’s parents, the king, and queen, and how their ties to the magic world are far more complicated and dangerous than Ana or Elsa ever imagined.

Topping a juggernaut like the original “Frozen” is no easy task for any sequel, thankfully, “Frozen 2” doesn’t just try to merely copy its original formula and instead treats the film’s story just like it treats its characters: allowing them to age. “Frozen 2” has grown up in every aspect compared to its “sister” movie; everything from the themes, morals, drama, music, and conflicts have all escalated into much bigger and more mature elements that I don’t think anyone was expecting. Gone are the catchy, Disney pop-ish musical numbers that can be easily lip-synched on sing-along CD albums and are now deeper, more emotionally meaningful songs that resonate with personal growth and the changes that come with age. Even Olaf, the goofy lovable snowman, sings about how he hopes he will be wiser when he grows older.

This new approach certainly appeals to the older audience members and it helps that most of the story really focuses on the character’s core motivations and developments. This maybe Elsa’s journey but there are so many other pivotal moments and lives involved here, it feels like everyone’s invested in this and the dangers and environments they encounters measure up accordingly with each bigger moment. The new environment expands the world of “Frozen” with new creatures, new mythology, and lore and it’s gorgeously rendered with spellbindingly beautiful computer effects and graphics. The world has never looked so wondrous before.

Kristen Bell and Indina Menzel truly go above and beyond their emotional capacities. Their bond and ties are truly tested here, pushing them to the limits and still managing epic songs that elevate Bell and Menzel’s talents to new heights. Sadly though, the music never becomes memorable or catchy enough that you’d want to say buy the soundtrack and listen to it over and over again like the first film. The songs are beautiful and expertly scored but just doesn’t make it replay value, with the exception, of course, being Kristoff’s song; a hilarious 80’s power ballad tune that is hilarious to watch and even better to listen to. Its high time Kristoff got a real song this time around.

However, “Frozen 2” suffers from a few flaws; ones that are actually quite identical to the ones afflicting “Ralph Breaks the Internet.” Namely, “Frozen 2” delivers slim to zero new characters. The ones they do introduce are so paper thin and barely on screen, they feel more like cameos than proper roles. Another problem is nothing that new is brought to the table. Much like how “Ralph 2” just explored new levels of the same relationship we knew about before, “Frozen 2” gives us a few new neat tidbits about Elsa and her parents but it’s largely the same old story with just a few lessons about growing up. Kristoff’s relationship with Ana is one of the best new expanded storylines they’ve had but even that was handled fumblingly at times.

Overall, “Frozen 2” is a gorgeous, well-matured film that doesn’t try to be another kid’s movie and be something deeper and richer with heart and depth. The lack of new characters is disappointing and the rehashing of similar relationship problems/cues is unfortunate, but all in all, this is a beautiful movie that does take a few risks and tries something more adult-oriented and it works on many levels even if not all the way through every time.

“Countdown” Movie Review: Is It Worth Your Money??

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Rating: 3/5 Stars

Movies, as well-intended or crafted as they can be, often rely on simple elements or gimmicks to rack in the audiences and those gimmicks come in all kinds of different styles: big-name actors, clever concepts, gore, special effects, brand recognition; etc. Horror movies have often relied on gimmicks to deliver a monster/ghost story or slasher flick that delivers something unique enough to make people want to see it. Having a movie about a killer phone app like “Countdown” sounds silly, absurd and pretty dumb just on face value alone. However, while this movie isn’t anything truly great it IS something new…it’s just that most people won’t believe it.

Quinn Harris (Elizabeth Lail) an aspiring nurse who meets a patient who informs her there is an app that supposedly tells you exactly how long you have left to live. Naturally, she doesn’t believe the app really work, Quinn’s patient dies and she learns the danger is real and her countdown time says she will die in 3 days. Now she must unravel the secret behind this deadly app, find out where it came from and most importantly, find out how to stop it before her time runs out and she meets her destined fate as another victim to this bizarre phone app.

This is one of the few instances where I come across a movie I know next to nothing about, and by that I mean I saw barely any trailers, clips or even advertisement whatsoever. I was taking a risk on a movie that sounded dead on arrival with such desperate attention-seeking story about a phone app that essentially kills you. However, the more I watched the movie the more I learned this wasn’t anything quite that hokey and that there was actual thought put into the movie’s story; such as establishing rules, mythology and how this app’s functions play out with the characters.

Unlike “The Ring” where everyone who watches a cursed videotape dies, “Countdown” doesn’t automatically give everyone who downloads it a short-lived life clock. Some people download it and say they will live another 40 years, others download it and it says they will die in 24 hours. There is a system and demonic lore to this concept, which is already light years more fleshed out than I expected this movie to ever be. The cast tries everything from exploring phone technicians and even demonic exorcists to free themselves of their rapidly approaching deaths and it provides ample and effective tension to go along with the bone-chilling scares that follow.

The demon figure itself is actually scary and even gave me a few frights here and there. Unfortunately, the cast doesn’t carry enough thought and background padding like the story received. Everyone in here plays dime-a-dozen roles, relying on tired old clichés about whiny siblings, inappropriate male figures and the same old backstory you’ve heard and seen done better a million times. “Countdown” works better as a mystery thriller than a thought-provoking perspective on fate, destiny and changing your future or even as a horror movie sometimes. You’re more interested in learning the ins and outs of this app’s origins and functions than you are the cast it’s terrorizing.

The cast is just too weak and generic. You don’t care who dies or who doesn’t because no one feels like a real person and no one is acting like they are a real person either. The buildup and payoff overall do serve a satisfying enough purpose even when the cast and the film’s flimsy attempt at humor fails at almost every chance it has. While the plot’s material leaves it wide open for sequels, I can’t for the life of me seeing the need to go see another one and feel all that could be said and done here was already over and done with.

Overall, “Countdown” has a bland cast with weakly written characters and average level acting. You don’t care or invest enough to be emotionally involved in their fates. The plot and the overall story behind the killer phone app is more interesting and thought out than expected and in the end, I feel that makes the movie decent enough to give a watch. It may sound dumb but “Countdown” has more brains behind it than I think most people give it credit for.

Meet All The Winners From The 2019 AACTA Awards

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The AACTA Awards (formerly the AFI Awards) have honoured screen excellence in Australia for over 60 years since the first AFI Awards were held in 1958. Held annually in Sydney in recognition and celebration of Australia’s highest achievements in film and television, the AACTA Awards present over 55 awards across two major ceremonies.

The winners have finally been announced in the 2019 AACTA Awards last Wednesday night and Total Control was the big winner in Drama, winning Drama Series, Lead Actress and Supporting Actress awards. Australian Survivor, Love it or List it Australia, Old People’s Home for 4-Year-Olds, Robbie Hood and Lego Masters were also winners along with The Letdown which won two awards for Best Comedy and Best Comedy Performance. Below are the rest of the winners in the 2019 AACTA Awards (the winners are in bold):

BEST LEAD ACTOR IN A TELEVISION DRAMA

Patrick Brammall GLITCH
Bryan Brown BLOOM
Ewen Leslie THE CRY
Sam Reid LAMBS OF GOD
Scott Ryan MR INBETWEEN

BEST LEAD ACTRESS IN A TELEVISION DRAMA

Jenna Coleman THE CRY
Essie Davis LAMBS OF GOD
Ann Dowd LAMBS OF GOD
Anna Torv SECRET CITY: UNDER THE EAGLE
Deborah Mailman TOTAL CONTROL

BEST GUEST OR SUPPORTING ACTRESS IN A TELEVISION DRAMA

Kate Box LES NORTON
Rachel Griffiths TOTAL CONTROL
Asher Keddie THE CRY
Brooke Satchwell MR INBETWEEN
Jacki Weaver BLOOM

BEST GUEST OR SUPPORTING ACTOR IN A TELEVISION DRAMA

Damon Herriman LAMBS OF GOD
Damon Herriman MR INBETWEEN
Ewen Leslie FIGHTING SEASON
John Stanton BLOOM
Richard Roxburgh THE HUNTING

BEST ENTERTAINMENT PROGRAM

AUSTRALIAN NINJA WARRIOR
AUSTRALIA’S GOT TALENT
HARD QUIZ
THE MASKED SINGER
LEGO® MASTERS AUSTRALIA

BEST DOCUMENTARY OR FACTUAL PROGRAM

AUSTRALIA IN COLOUR
EMPLOYABLE ME
EXPOSED: THE CASE OF KELI LANE
GATWICK – THE LAST CHANCE HOTEL
OLD PEOPLE’S HOME FOR 4-YEAR-OLDS

BEST TELEFEATURE OR MINISERIES

THE CRY
FIGHTING SEASON
THE HUNTING
ON THE ROPES
LAMBS OF GOD

BEST PERFORMANCE IN A TELEVISION COMEDY

Celia Pacquola ROSEHAVEN
Celia Pacquola UTOPIA
Rob Sitch UTOPIA
Miranda Tapsell GET KRACK!N
Alison Bell THE LETDOWN

BEST ONLINE DRAMA OR COMEDY

AUNTY DONNA
CONTENT
KOALA MAN
OVER AND OUT
ROBBIE HOOD

BEST FACTUAL ENTERTAINMENT PROGRAM

BODY HACK
GOGGLEBOX AUSTRALIA
GRUEN
WHO DO YOU THINK YOU ARE
YOU CAN’T ASK THAT

BEST DOCUMENTARY

THE EULOGY
THE FINAL QUARTER
IN MY BLOOD IT RUNS
MYSTIFY MICHAEL HUTCHENCE
THE AUSTRALIAN DREAM

LONGFORD LYELL AWARD

Sam Neill

BYRON KENNEDY AWARD

P.J. Voeten

BEST DRAMA SERIES

BLOOM
MR INBETWEEN
SECRET CITY: UNDER THE EAGLE
WENTWORTH
TOTAL CONTROL

BEST COMEDY PROGRAM

FRAYED
ROSEHAVEN
SAMMY J
UTOPIA
THE LETDOWN

BEST LIFESTYLE PROGRAM

DESTINATION FLAVOUR CHINA
GRAND DESIGNS AUSTRALIA
THE GREAT AUSTRALIAN BAKE OFF
SELLING HOUSES AUSTRALIA
LOVE IT OR LIST IT AUSTRALIA

BEST REALITY SERIES

THE BLOCK
MARRIED AT FIRST SIGHT
MASTERCHEF
MY KITCHEN RULES
AUSTRALIAN SURVIVOR: CHAMPIONS V CONTENDERS

BEST CHILDREN’S PROGRAM

DROP DEAD WEIRD
HARDBALL
THE INBESTIGATORS
THE UNLISTED A
BLUEY

BEST SPORTS ENTERTAINMENT PROGRAM

AFL 360
BOUNCE
ON THE COUCH
SUNDAY NIGHT WITH MATTY JOHNS
THE FRONT BAR

BEST SPORTS COVERAGE

2018/19 SEVEN’S SUMMER OF CRICKET – Seven Network
AFL 2019 – Foxtel – Fox Sports
THE AUSTRALIAN OPEN 2019 – Nine Network
STATE OF ORIGIN – Nine Network
TEST CRICKET LIVE ON FOX – Foxtel – Fox Sports

BEST DIRECTION IN A TELEVISION DRAMA OR COMEDY

THE LETDOWN (Episode 2 – The Dilemma) Sarah Scheller, Alison Bell – Giant Dwarf (ABC)
THE HUNTING (Episode 3 – #shittyboys) Ana Kokkinos – Closer Productions (SBS)
TOTAL CONTROL (Episode 3) Rachel Perkins – Blackfella Films (ABC)
LAMBS OF GOD (Episode 1 – The Devil Into Paradise) Jeffrey Walker – Lingo Pictures (Foxtel – Showcase)

BEST DIRECTION IN NONFICTION TELEVISION

AUSTRALIAN SURVIVOR: CHAMPIONS V CONTENDERS (Episode 1) Richard Franc – Endemol Shine Australia (Network Ten)
BODY HACK (Episode 1 – Gaza Frontlines) Jeff Siberry – Essential Media Group (Network Ten)
EMPLOYABLE ME (Episode 1– Eric, Kathleen & Paul) Cian O’Clery – Northern Pictures (ABC)
DESTINATION FLAVOUR CHINA (Episode 1 – Beijing) Olivia Hoopmann – SBS (SBS)

BEST SCREENPLAY IN TELEVISION

THE CRY (Episode 2) Jacquelin Perske – Synchronicity Films in association with December Media (ABC)
LAMBS OF GOD (Episode 1 – The Devil Into Paradise) Sarah Lambert – Lingo Pictures (Foxtel – Showcase)
UTOPIA (Episode 2 – Working With Children) Santo Cilauro, Tom Gleisner, Rob Sitch – Working Dog Productions (ABC)
THE HUNTING (Episode 3 – #shittyboys) Matthew Cormack, Niki Aken – Closer Productions (SBS)

BEST CINEMATOGRAPHY IN TELEVISION

THE CRY (Episode 2) Sam Chiplin – Synchronicity Films in association with December Media (ABC)
DESTINATION FLAVOUR CHINA (Episode 1 – Beijing) Gilbert Farkas – SBS (SBS)
SECRET CITY: UNDER THE EAGLE (Episode 1 – Run Little Rabbit) Mark Wareham – Matchbox Pictures (Foxtel – Showcase)
LAMBS OF GOD (Episode 1 – The Devil Into Paradise) Don McAlpine – Lingo Pictures (Foxtel – Showcase)

BEST EDITING IN TELEVISION

LAMBS OF GOD (Episode 1 – The Devil Into Paradise) Deborah Peart – Lingo Pictures (Foxtel – Showcase)
TOTAL CONTROL (Episode 3) Deborah Peart – Blackfella Films (ABC)
THE UNLISTED (Episode 1) Mat Evans – Aquarius Films in association with Buster Productions (ABCME)
THE CRY (Episode 2) Alastair Reid – Synchronicity Films in association with December Media (ABC)

BEST SOUND IN TELEVISION

BODY HACK (Episode 1 – Gaza Frontlines) Damian Jory – Essential Media Group (Network Ten)
FRAYED (Episode 1) Mark Cornish, Ralph Ortner – Merman Television, Guesswork Television (ABC)
TOTAL CONTROL (Episode 3) Nick Emond, Dane Cody, Luke Mynott, Wes Chew – Blackfella Films (ABC)
LAMBS OF GOD (Episode 1 – The Devil Into Paradise) Nick Emond, Stephen Smith, Paul Devescovi, Mia Stewart – Lingo Pictures 

BEST ORIGINAL SCORE IN TELEVISION

THE CRY (Episode 2) Lorne Balfe – Synchronicity Films in association with December Media (ABC)
FRAYED (Episode 1) Bryony Marks – Merman Television, Guesswork Television (ABC)
THE UNLISTED (Episode 1) Diego Baldenweg, Nora Baldenweg, Lionel Vincent Baldenweg – Aquarius Films in association with Buster Productions (ABCME)
LAMBS OF GOD (Episode 1 – The Devil Into Paradise) Bryony Marks – Lingo Pictures (Foxtel – Showcase)

BEST PRODUCTION DESIGN IN TELEVISION

FRAYED (Episode 1) Fiona Donovan – Merman Television, Guesswork Television (ABC)
THE LETDOWN (Episode 2 – The Dilemma) Roslyn Durnford – Giant Dwarf (ABC)
SECRET CITY: UNDER THE EAGLE (Episode 1 – Run Little Rabbit) Elizabeth Mary Moore – Matchbox Pictures (Foxtel – Showcase)
LAMBS OF GOD (Episode 1 – The Devil Into Paradise) Chris Kennedy – Lingo Pictures (Foxtel – Showcase)

BEST COSTUME DESIGN IN TELEVISION

FRAYED (Episode 1) Nina Edwards – Merman Television, Guesswork Television (ABC)
LES NORTON (Episode 1 – You Wouldn’t Be Dead For Quids) Jenny Miles – Roadshow Rough Diamond (ABC)
THE MASKED SINGER (Episode 1 – Face Off 1) Tim Chappel – Warner Bros (Network Ten)
LAMBS OF GOD (Episode 1 – The Devil Into Paradise) Xanthe Heubel – Lingo Pictures (Foxtel – Showcase)

Subscription Television

BEST FEMALE PRESENTER

Maggie Beer THE GREAT AUSTRALIAN BAKE OFF
Shaynna Blaze SELLING HOUSES AUSTRALIA
Claire Hooper THE GREAT AUSTRALIAN BAKE OFF
Margaret Pomeranz SCREEN
Yvonne Sampson – LEAGUE LIFE, FOX LEAGUE GAME DAY HOSTING

BEST MALE PRESENTER

Graeme Blundell SCREEN
Ron Iddles RON IDDLES: THE GOOD COP – CJZ
Matty Johns SUNDAY NIGHT WITH MATTY JOHNS, THE MATTY JOHNS PODCAST
Peter Maddison GRAND DESIGNS AUSTRALIA
Andrew Winter SELLING HOUSES AUSTRALIA & LOVE IT OR LIST IT AUSTRALIA

BEST FEMALE NEW TALENT

Usha Cornish BLOOM
Paulene Gibson WENTWORTH
Emma Lancaster LAMBS OF GOD
Yvonne Rae LAMBS OF GOD
Asha Boswarva LAMBS OF GOD

BEST MALE NEW TALENT

Frederick du Rietz SECRET CITY: UNDER THE EAGLE
Fletcher Kennedy SECRET CITY: UNDER THE EAGLE
Diesel La Torraca LAMBS OF GOD
Chris Alosio FIGHTING SEASON

Documentary

BEST CINEMATOGRAPHY IN A DOCUMENTARY

100 DAYS TO VICTORY (Episode 1 – The Spring Offensive) Torstein Dyrting – Electric Pictures (Foxtel – History)
FINKE: THERE AND BACK Dylan River, Shane Mulcahy, Peter Beeh – Brindle Films
IN MY BLOOD IT RUNS Maya Newell – Closer Productions
MAGICAL LAND OF OZ (Episode 1 – Oceans) Paul Bell, Dan Proud, Jon Shaw – Northern Pictures, Oxford Scientific Films (ABC)

BEST EDITING IN A DOCUMENTARY

THE CULT OF THE FAMILY (Episode 1 – Unseen, Unheard, Unknown) Bill Murphy – Big Stories (ABC)
EXPOSED: THE CASE OF KELI LANE (Episode 1 – Truth and Lies) Lile Judickas – ABC (ABC)
MYSTIFY MICHAEL HUTCHENCE Richard Lowenstein, Lynn-Maree Milburn, Tayler Martin – Ghost Pictures
THE FINAL QUARTER Sally Fryer – Shark Island Productions

BEST SOUND IN A DOCUMENTARY

DEFEND, CONSERVE, PROTECT Chris Goodes – Revolution Pictures
DON’T STOP THE MUSIC Nicholas Dunlop – Artemis Media (ABC)
MYSTIFY MICHAEL HUTCHENCE Robert Mackenzie, Mick Boraso, Simon Rosenberg, LynnMaree Milburn – Ghost Pictures
100 DAYS TO VICTORY (Episode 1 – The Spring Offensive) Ric Curtin, Xoe Baird, Laurie Chlanda – Electric Pictures (Foxtel – History)

BEST ORIGINAL SCORE IN A DOCUMENTARY

THE CULT OF THE FAMILY (Episode 1 – Unseen, Unheard, Unknown) Amanda Brown – Big Stories (ABC)
THE LEUNIG FRAGMENTS Luke Altmann – Film Camp
MARTHA: A PICTURE STORY Adit Gauchan, Vincent Goodyer – Projector Films
2040 Bryony Marks – GoodThing Productions

Casting

BEST CASTING PRESENTED BY CASTING NETWORKS

HOTEL MUMBAI Ann Fay, Leigh Pickford, Trishaan Sarkar – Hotel Mumbai Double Guess Productions
THE KING Des Hamilton, Francine Maisler – Plan B Entertainment, Porchlight Films, A Yoki Inc, Blue-Tongue Films
TOTAL CONTROL Anousha Zarkesh – Blackfella Films (ABC)
THE NIGHTINGALE Nikki Barrett – Causeway Films, Made Up Stories

Hair & Make-Up

BEST HAIR AND MAKEUP

THE KING Alessandro Bertolazzi – Plan B Entertainment, Porchlight Films, A Yoki Inc, BlueTongue Films
NEKROTRONIC Angela Conte, Paul Katte, Nick Nicolaou, Rosemary Saffioti – Hopscotch Features, Guerrilla Films
LAMBS OF GOD Zeljka Stanin, Paul Pattison, Cheryl Williams – Lingo Pictures (Foxtel – Showcase)