Saturday, March 17, 2018



Film Review by FIORE

Hollywood is determined to shove its Women Warrior Agenda down the throats of viewers.  All their endeavors should be as strong as the latest incarnation of TOMB RAIDER.  This movie is fun; a great action adventure from beginning to end.  I could easily watch this one again.

TOMB RAIDER needed a reboot in celluloid because it underwent a similar process in its video game origin.  The Lara Croft of old, noted by her ever shifting bustline, and almost superhero abilities, embodied by Angelina Jolie on film, are gone, replaced by a sleek, obsessive-compulsive adventurer, in the guise of Alicia Vikander.

This movie is fast-paced, thanks to the editing of Stuart Baird, one of Tinsel Town’s premiere cutters.  The fight scenes are expertly choreographed by Grant Powell, so I never had to sit through the javelin-thin Vikander throwing around 300 lb. men as if they were toddlers.  Paul Linden provides provincial SFX, without going overboard and everything is wrapped in a rousing score by Tom Holkenborg (aka Junkie XL).

For seven years, Lara Croft (Vikander) lived without her father, Richard, played by Dominic West.  He was lost, searching for an uncharted island housing the tomb of Japanese sorceress Himiko.  She teams with Lu Ren, played by INTO THE BADLANDS star Daniel Wu, son of the sea captain who transported her father on his ill-fated voyage.  They find the island, and a mercenary troupe, led by Mathias Vogel, played by Walton Goggins.  The troupe, working under the auspices of a secretive organization known as Trinity, wants the Himiko tomb as well, for far more nefarious reasons.   Also starring are Kristin Scott Thomas, Derek Jacobi and Alexandre Willaume.

A word of caution to gamers:  the storyline in the film is significantly different than the three new videogames.  Because of Hollywood’s desire to spread the failed mantra of secular Humanism, the writers, Geneva Robertston-Dworet and Alastair Siddons, removed all elements dealing with religion and spirituality.  Even though the religious overtones in the game are based on Japanese culture, they are still treated as inconsequential to the TOMB RAIDER adventure.  Filmmakers did the same thing with DOOM, when a doorway to hell and demons were replaced by space zombies.

In addition, Queen Himiko in the games is an evil sorceress.  She is Queen of Death, and is one nasty villain for Lara.  But, in the day of the Woman Warrior Agenda, she cannot be bad, because Hollywood doesn’t make villains out of victims its attempting to elevate.  This queen is noble and one little girls would admire.  Big difference; and not a good one.

For those who are not gamers, TOMB RAIDER is a fun-filled action adventure worth the price of a ticket.  For gamers, there is sure to be chagrin over the producers’ politically correct vicissitudes.

Thursday, March 15, 2018



Film Review by FIORE

Bad cinema lovers rejoice.  ATTACK OF THE SOUTHERN FRIED ZOMBIES is chock full of bad acting, horrible dialogue, cool make up effects, ridiculous plotlines, a lack of continuity and questionable production values – all combined in ninety minutes of celluloid chaos.  ATTACK OF THE SOUTHERN FRIED ZOMBIES isn’t as bad as SHARKNADO, which is prepping for its sixth sequel, but it’s pretty close.
Myriad elements have been blamed for the zombie apocalypse, from government experiments to bad burgers in Philly, but ATTACK OF THE SOUTHERN FRIED ZOMBIES blames the scientists attempting to grow better food through GMOs and herbicides.  The producers even thank those same scientists in the end credits.

Originally, the movie was called the KUDZU ZOMBIES, but the producers realized only a certain section of the country would know what a kudzu was, hence the name change.

Where do I start?  Continuity is non-existent.  The town’s mayor is killing zombies with a guitar.  He drops the instrument, picks up a gun and begins shooting them.  Next scene, though he is across town, he has the guitar back.  Go figure.

The producers didn’t receive the permits to close the streets down, so while the town is under siege by zombies, you can see normal everyday traffic going by in the background.  In several scenes, the commuters begin rubber-necking at the production, causing a minor traffic jam.  Epic. 

ATTACK OF THE SOUTHERN FRIED ZOMBIES takes place, and was shot in Charleston, Mississippi.  It stars Escalante Lundy, Chris Monroe, Moses Moseley, Michael Emery, Michael Joiner and Susan and Johnny McPhail.  The Director is Mark Newton, and Christian Hokenson polished the screenplay, though he may not want that known.

Zombie movies have run their course.  Unless you’re playing the genre for laughs, like SyFy’s Z-NATION or ASH VS THE EVIL DEAD, they are, generally, a waste of time.  ATTACK OF THE SOUTHERN FRIED ZOMBIES not only lampoon’s the zombie flicks, but also lampoons the lampoons.  If you love bad cinema and can’t wait for the next installment of SHARKNADO, ATTACK OF THE SOUTHERN FRIED ZOMBIES will keep you satisfied in the interim. 

Wednesday, March 14, 2018



Film Review by FIORE

Revisionist history, and a fear of insulting Muslims.  Those are the driving forces behind this latest telling of the Israeli Army’s raid on a hijacked airliner by Palestinian terrorists.  This film, directed by Jose Padilha, is so misguided and fanciful, it is difficult to sit through the movie, especially for those who lived during the time and experienced the ordeal.

Screenwriter Gregory Burke pens a script that debases Jewish people and the nation of Israel, while attempting to elicit empathy for the Palestinians.  According to this scenario, it was German rebels who orchestrated the high jacking of the Air France jetliner. The Palestinian terrorists were tag- a- long freedom fighters. 

In order to comply with Hollywood’s Woman Warrior Agenda, the main German mastermind is a woman, Brigitte Kulhmann, played by Rosamund Pike.  She has an idealistic whipping boy in Wilfried Bose, played by Daniel Bruhl.  I like Rosamund a lot, but her talents are wasted in this excrement on celluloid.  The only notable performance comes from Eddie Marsan, who plays Shimon Peres.

There is a very cleaver cinematic sequence in the film’s conclusion.  Lula Carvalho mixes an Israeli dance performance with the raid on the airport hangar. It incorporates the heavy drum beats for gunshots, thereby lessening the violence of the attack and keeping the snowflakes appeased.  The timing by Editor Danie Rezende makes the sequence work. 
Part of the dribble viewers are subjected to in this story is the Nazis’ responsibility for the problems in the Middle East.  I kid you not.  In this script, the Nazis were cruel to the Jews, so when the Jews recovered, they retaliated on the Palestinians.  Yeah, even the “progressive critics” I attended the screening with were having a hard time with that one.

The film opens with a statement claiming the details of Entebbe were changed, and new characters were added for ‘dramatization’.  It’s more like total fabrication.  There is an unnecessary and inappropriate slam against current Israeli Prime Minister Benjamin Netanyahu at the end of the movie.  It is so blatant and misplaced, one has the impression the entire movie 7 DAYS IN ENTEBBE may have been made just for this one statement.

RAID ON ENTEBBE, with Charles Bronson, is an old TV mini-series that tells this story with more style and panache.  The attack on Palestinian terrorists in Entebbe established the Israeli special forces as one of the premiere squads in the world and established a no-nonsense response to terrorists, which many countries adopted afterwards.  Rewatch the Bronson series; skip this movie.