Prime Time: Worldbreaker (2025)

I thought I knew what I was getting into when I decided to press play on Worldbreaker. It looked like a low-budget and dubious sci-fi action movie. It had a main credit for Milla Jovovich. Yes, I've been here before, and I made my choice. Sadly, things were much worse than I expected.

I would explain the slight plot, but I fear that it would send us all plunging into a comatose state. There are nasty wee things attacking humans, and they can infect others with their scratches and bites. It's mainly men who end up transformed though, with women largely more resistant to whatever causes the dehumanisation. Willa (Billie Boullet) is a young woman being protected and trained by her father (Luke Evans), the two of them trying to survive on a small island, all while Willa's mother (Jovovich) is kept busy offscreen trying to lead the fight back.

I don't know what's happened to director Brad Anderson to take him so far from the heights of his earlier works, but I doubt anyone could do much to improve the screenplay from Joshua Rollins. This is lazy and careless stuff, with nobody able to do anything worthwhile with the central idea (armies of women leading a charge against an enemy that is much more harmful to the male population). The two biggest names in the cast are wasted in different ways, there's never any proper tension, and any action and/or bloodshed is hampered by an obvious lack of budget.

Boullet is the lead, and she tries her best with weak material. The performance from Evans highlights just how bad things are, with most of his dialogue so inane and risible that it feels as if it would work better in a spoof of this kind of thing. As for Jovovich, she was clearly available for one or two days, and the film is unable to stretch out the footage in a way that makes her feel like the formidable presence she is clearly supposed to be. Mila Harris plays the other main character, Rosie, but, like everyone else, she's also not really given enough to do.

Worldbreaker is a short film idea that needed much more work to flesh things out fully. Neither Rollins nor Anderson seem to have considered that, and neither of them do even half of the work required to turn things into a worthwhile feature. There's not one element here, from the score to the cinematography and editing, that manages to overcome the inherent flaws of the material, and would discourage anyone else from making time for this. Bad movies don't have to be unenjoyable. Low-budget movies don't have to be bad. This feels like a film made by people who didn't care enough to try and make the most of what was available to them, and they certainly didn't manage to make anything good or enjoyable.

2/10

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Netflix And Chill: The Call (2013)

Despite what you may think, director Brad Anderson actually has quite a large and varied filmography. It's easy to think of him as just the man who gave us the excellent psychological horrors of both Session 9 and The Machinist (a film I find genuinely uncomfortable to watch because of how emaciated Christian Bale became for his performance), but he has been providing a lot of interesting entertainment for film fans over the past few decades. The Call is another one, and it's another very good one too.

Halle Berry is Jordan Turner, a 911 operator, and she makes a fatal mistake at the start of this movie that makes her want to take a step back from the role. She moves to an instructor position instead, but ends up taking over a call when a colleague is flummoxed by an intense call from a young kidnap victim (Casey, played by Abigail Breslin). Jordan does all she can to keep Casey safe, and to help her leave clues for the police to trace her, but the odds seem to be stacked against them getting the happy ending that they want. The kidnapper (played by Michael Eklund) seems to have planned everything perfectly, and he'll stop at nothing to achieve his ultimate aim, even if that means killing anyone who gets in his way.

Clocking in at just over 90 minutes (which includes the end credits), The Call is a slick and tense thriller, with some twists and turns that you can easily accept as it's all playing out, even if you then start to question things as soon as it's all over. The script, by Richard D'Ovidio, does very well in sketching out the few main players and leading you from one nail-biting scene to the next, and Anderson compensates for what could have been something dull to present (two people on either end of a phone call, albeit an important phone call) by keeping the camera and editing very . . . energetic, but without turning it into a headache-inducing shakey-cam-fest.

Berry does some of her best work in the main role, and she has just the right kind of attitude and tone to be very convincing as a 911 operator (I know, actors act, but Berry is much more suitable to the role than I thought she might be). Breslin has to be distraught for most of her time on screen, and she handles her role very well. Eklund is a good mix of pretend composure and complete psychopathy, and there are decent little turns from Morris Chestnut (as a cop), Michael Imperioli (as someone who notices something funny while the kidnapper is stopped at some traffic lights), and everyone else filling out the supporting cast.

It doesn't really do anything new, yet it also doesn't feel like something you've seen a hundred times before (despite the fact that you probably have), so that may be the biggest plus point for The Call. It's certainly reason to congratulate everyone who worked together to create such a well-crafted work of sustained suspense.

8/10

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Netflix And Chill: Session 9 (2001)

I'm not going to draw this out, Session 9 remains one of my favourite horror movies released in the past two decades, and one of my favourite horror movies of all time. Making the most of one main location, the Danvers State Mental Hospital, it is an impressive psychological horror that just keeps diving darker and darker, all the way to one of the most disturbing endings of all time.

Gordon Fleming (Peter Mullan) is the boss of a crew who have been hired to remove asbestos from an abandoned hospital. He needed the gig badly, and so made sure to match any other one while promising to get the job finished in a week. This puts extra pressure on him and his crew, but there's a massive bonus in it for them if all goes well. Phil (David Caruso) is his second-in-command, basically, there's Mike (Stephen Gevedon) and Hank (Josh Lucas), the latter individual now in a relationship with Phil's ex, and Jeff (Brendan Sexton III), Gordon's nephew. Tensions build as the work is carried out, and you get to hear spooky tapes being played by Mike, who spends some of his break times listening to the psychiatric sessions he discovered in one of the many abandoned rooms. Gordon also has domestic problems on his mind, but maybe all will be well if they can get the job done in one week.

The more I think about it, the less I can think to criticise about Session 9. Director Brad Anderson (and I'd argue that this film, despite not making a massive impact when first released, helped him step up a level, in terms of exposure, after it was embraced by genre fans) puts everything together with an expert touch, working from a great script co-written by himself and Gevedon. It may be making use of a location, but a) it doesn't feel like that is all it has going for it, and b) it's a damn fine location for a horror movie.

Mullan is as great as he always is in the lead role, and he can convey a real mix of emotions underlining all of the building horror as everything becomes clearer during the final moments. Caruso has rarely been better, doing a great job as a blue-collar worker trying to earn a good payday while helping a friend through a tough time. Lucas puts in another turn that allows him to be a bit of a douchebag, and Brendan Sexton III walks a fine line between annoying youngster and vulnerable kid, particularly as his severe nyctophobia plays into the plot. I'm not too familiar with Gevedon, but he does just fine, although his strength seems to lie in the writing side of things.

Despite the moments that feel like standard horror tropes (when people start to go missing, when everyone splits up to search for someone, etc), this is, like the central location itself, an atmospheric and dark building that creaks and groans while sitting on some very solid foundations. All of the exposition, and it is a film that threads a LOT of exposition throughout, feels natural as it is conveyed between different characters, the geography of the site is clear enough to follow everything, and the character development is never warped for the sake of the scares.

Do yourself a favour and watch this one ASAP. You won't regret it. If you do, well, I can't help it if you have bad taste.

10/10

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