For It Is Man's Number: troy james

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Saturday, 4 April 2026

Shudder Saturday: Deathstalker (2025)

Despite the enduring love for the series, there are few people you could find who would tell you that the original Deathstalker is a great movie. It's even surpassed by the first sequel it had. So to say that this reworking of the property is better than the first film is quite easy. Yet it has something that still holds it back slightly, just a feeling that . . . well, I can't quite put my finger on one specific fault, but hope to mention a number of factors in this review.

Daniel Bernhardt plays the titular hero this time around, and he certainly looks the part. He's soon joined by a small creature named Doodad (voiced by Patton Oswalt) and a young female thief named Brisbayne (Christina Orjalo). Their fates are all tied together by a magical amulet that is desired by Nekromemnon (Nicholas Rice), and he expects his right hand man, Jotak (Paul Lazenby), to retrieve it from our hardy little band of heroes.

Written and directed by Steven Kostanski, who has been responsible for one of my all-time favourite genre movies of the 2020s (Psycho Goreman), there's a lot here that should be expected, if you're familiar with his work. Plenty of impressive practical effects, a decent amount of blood and guts thrown around, and clear affection for the source material.

The cast all work well in their roles too, which is a big help. Bernhardt has both the muscles and the attitude, Oswalt's voice is a perfect fit for his character, and Orjalo, Lazenby, Nina Bergman, Conor Sweeney, and John Clifford Talbot all feel well-suited to the onscreen environment. Rice is hidden under a lot more make up and prosthetics, as are both Jon Ambrose and Troy James, but the physicality is spot on.

Nobody could accuse the Deathstalker movies of striving for any kind of realism, and they were made with low budgets and limited resources, but this particular Deathstalker movie feels just as limited in one or two other ways. I'm surprised to say that part of that is due to how it lacks a specific charm, perhaps due to the knowledge that everyone involved is very much clued in on the kind of film they want to make. Original films of this ilk were made by people trying to present a fantastical world and a mad menagerie of monsters with whatever they had to hand. This is made by people trying to present a slightly more polished version of an older movie, and part of the charm of the older movies often stems from seeing the tape holding the cardboard together at the very edge of the frame, metaphorically speaking. I also can't help thinking that there's a bit of gentle mockery mixed in with the affection here, a feeling of Kostanski saying "you know this is silly, we know this is silly, but let's enjoy it nonetheless". It's not an overriding sensation, but I could feel it just underpinning almost every scene, and that was enough to stop me from loving this as much as I had hoped to. The Deathstalker movies were not without humour, but it was a very basic and genre-specific kind of humour (aka very '80s humour). This film doesn't have that, and it's the absence of THAT humour, the way that Kostanski tries to allow everything to be played quite straight, that paradoxically makes me sense some of the other humour layered throughout.

Maybe I am being too sensitive, maybe I am responding to something that wasn't intended the way I am viewing it, but I cannot help thinking that many other Kostanski films have been made with the feeling that they're loving homages that couldn't possibly rival the impact of the original films that inspired them, despite how those original films are viewed with disdain by those who just don't understand the way to the heart of a horror fan who grew up through the halcyon days of VHS madness. Deathstalker somehow makes a major mis-step by being better than the 1983 original, which makes even the slightest wink or smirk feel like it's "punching down" at a beloved film series.

Still, when it comes to the film-making basics, there's no denying that what is onscreen here is done well. I'd love to hear from others, whether to help me better word my opinion or just tell me that I am talking nonsense, but, in the meantime, I still have to rate this as an enjoyable bit of sword 'n' sorcery entertainment. It's just not great, and left a slightly sour taste in my mouth as the end credits rolled.

7/10

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Wednesday, 22 September 2021

Prime Time: Black Box (2020)

There’s the germ of a good idea in Black Box, but the biggest problem it has is that you could easily imagine it being handled so much better in an episode of Black Mirror, and at half the runtime.

Directed by Emmanuel Osei-Kuffour (who also co-wrote the screenplay with Stephen Herman), I will state clearly now that nothing here made me eager to seek out other films from him. This film is pedestrian, at best, and shows how to mishandle a concept so badly that it wrings every drop of potential interest out of it before serving it up to audiences. It’s like a plate full of chicken and veg that has had all flavour boiled out of it.

Mamoudou Athie plays Nolan, a pained man trying to carry on with his life after an accident that affected his memory and led to the death of his wife. He is supported by his young daughter, Ava (Amanda Christine), with the two of them digging deep into reserves of strength to keep muddling forward. One doctor (played by Phylicia Rashad) has a new procedure that may help Nolan tap into all of his memories. But it soon becomes clear that it is bringing out a very different side of him.

If a director and writer work with a team of talented people to create a film that is their finished work of art then Black Box is a canvas lazily covered in magnolia matt paint. It is that dull, despite having the potential to go in a number of different directions. Don’t get me wrong, there are a few decent moments here and there, and one or two intriguing ideas, but the film seems determined to leave them just hanging there, like laundry on a washing line that has been forgotten about for days.

Athie does well enough with what he’s given, and Rashad is a fairly standard “obsessive scientist” type, but they are seriously hampered by the ways in which the script has to make them deliberately dumb to keep the plot moving along. Christine comes out of this best, her character being smart, strong, and sweet, a real highlight in a film with too few of them.

It’s all competently constructed, and technically fine, and the third act really drags you into a situation that quickly becomes more intense and uncomfortable. But this is a thriller that fails to thrill, fails to make you think enough about the elements being moved around in the plot, and simply fails to properly do anything that it should have easily managed.

3/10

Saturday, 5 December 2020

Shudder Saturday: Anything For Jackson (2020)

Sometimes when I think about my movie reviews in terms of all of the different specifics I want to discuss, sometimes I have a general feeling that I want to convey, and sometimes I spend a lot of time simply figuring out where I land with my final rating, and retro-actively working out why I came to that result. Anything For Jackson is a film that I rate 9/10, because the more I thought about it, the less I could find to criticise.

Audrey (Sheila McCarthy) and Henry Walsh (Julian Richings) are a pair of grandparents who are still mourning the loss of their grandson, Jackson. They've also been investigating rituals that may allow him to come back, which is how they end up with the pregnant Shannon (Konstantina Mantelos) held captive in their home. They want to use her unborn child as a vessel for the spirit of their grandson, bringing him back from the world of the dead, but they don't realise that creating such a vessel ends up bringing forth more than just the invited spirit. Lots of souls see their chance to get back into our world.

Director Justin G. Dyck has a filmography that doesn't really make you think he would be a natural when it comes to delivering effective horror. It's full of TV movies, mostly Christmas TV movies (which everyone knows are my favourite kind of TV movies). Sadly, the last thing I reviewed from him was, I believe, 48 Christmas Wishes (a film that has him as a co-director). Writer Keith Cooper has a similar filmography, and the two have worked together often over the past few years. It just goes to remind you not to judge anyone by their last movie, even though we continue to judge people based simply on their last movie.

Showing a real knack for creating startling imagery and genuinely unnerving moments, without feeling like people who have taken all their notes from the movies that make up "the Waniverse", Dyck and Cooper deliver something impressively intense and nerve-shredding. Although it's not laced with humour, there is something inherently darkly comedic about this plan being hatched, and executed, by a couple of kindly-looking elderly people, and that's enough to save things from being unrelentingly bleak throughout.

McCarthy and Richings are absolutely wonderful in their roles, sweet and sad, and yet staying firm in their resolve to see through their nefarious plan, even when things start to unravel and take some unexpected turns. Mantelos has to look trapped and scared, and she does so. Josh Cruddas has a unique presence, playing the character who knows more about the ancient ritual being conducted than either of the parties who actually started the ball rolling, and Lanette Ware is a detective looking for the missing Shannon. A few other people have some impressive moments, including Yannick Bisson (a handyman who offers to keep clearing snow from the driveway), Marianne Sawchuck (a "flossing ghost"), and Troy James (absolutely terrifying as a spirit credited as "Suffocating Ghost").

Set within a reality that feels grounded, and with believable character motivation, Anything For Jackson is a wild ride, a ghost train that becomes more and more intense as viewers are dragged through a brilliant third act, and I can think of very little wrong with it. It's almost perfect, hence the high rating I settled on before I started detailing my thoughts.

9/10