Genre : Action
Rating : Unrated
Few things are as enjoyable as a good anthology film. Dating back to the early 1930’s the film anthology has become one of the most enduring types of movie. Typically held together with a common theme or overarching story anthologies have become a great place to not only see your favorite directors’ step outside of their comfort zone but also discover up-and-coming directors with the latest being Blood, Sweat and Terrors.
Produced by horror staples such as Rue Morgue Magazine and Raven Banner, Blood, Sweat and Terrors doesn’t have a focus on the macabre. Instead the focus is on the action genre. Featuring a collection of directors from around the world each short focuses on a different action sub-genre. With such a diverse group of stories and no overarching story it’s hard to review Blood, Sweat and Terrors as a whole. So, here’s a look at each short and how each of them rates out of five.
Empire of Dirt
Director- Adam Mason
Writer- Paul Sloan
After some brief credits (and cheesy CG explosions) Blood, Sweat and Terrors opens up with Empire of Dirt. Perhaps the most “horror” of the shorts what starts off looking like a John Wick knock off becomes about a man slowly dealing with his own personal hell. All the while trying to discover who, or what, is torturing him. Feeling more like a pitch video for a television show or a comic book I think there’s potential in the idea. But as an action short, Empire of Dirt stumbles. Despite some cool practical effects, the computer effects can be spotty and fight choreography feeling rudimentary. There’s definitely something cool here I’m just not sure it works as an opening for Blood, Sweat and Terrors. 2.5/5
Director- Benjamin de Los Santos
Writer- Benjamin de Los Santos
I have to admit I was a bit wary of Awesome Runaway. Opening with a violent interrogation it leads into a mostly-single shot action scene that gets more fantastical as it goes on. Despite some uneven fight choreography Awesome Runaway pulls it all together with a twist ending I didn’t see coming. 3/5
Director- Alexander Carriere
Writer- Alexander Carriere
Opening on a post-apocalyptic world Jacob is on the war path after the death of his daughter but things aren’t what they seem. As far as a story plot Jacob’s Wrath is the first short to really have a complete narrative. With questions of what is real and what isn’t Jacob’s Wrath was the first short that really impressed me. 4/5
Director- Shelagh Rowan-Legg
Writer- Shelagh Rowan-Legg
Just because you are fighting an oppressive government doesn’t mean that everything else stops. Two women are about to strike when her monthly visitor shows up. Like Empire of Dirt, I dig this idea. It is a clever twist on the badass women trope. Unfortunately, everything else falls part. With little actual action and poor special effects, Flow is the movie’s low point. 0.5/5
Director- Beau Fowler
Writer- Beau Fowler
Taken to an abandoned lot by a hitman only known as The Postman, ne’er do well Swifty (director Beau Fowler) is more than meets the eye. Although the story is rudimentary the action is spectacular. With fight choreography by Sonny Louis (who played the Postman) the martial arts action is fast and furious and a clever script Express Delivery is a good comeback after Flow. 3.5/5
Director- Will Gilbey
Writer- Will Gilbey
After the action heavy Express Delivery things slow down with Turncoat. Breaking into a criminal’s home two crooked cops illegally search the premise for a big score. The highlight of Turncoat is the writing. Will Gilbey (A Lonely Place to Die) does a great job ratcheting up the tension as the minutes tick by. The problem with Turncoat, at least in this collection, is that it is light on action. More of a thriller than action it feels like an odd fit in Blood, Sweat and Terrors. 2.5/5
Director- Adam Horton, Joe Horton
Writer- Adam Horton, Joe Horton, Simon Uttley
After a viral outbreak the dead return from the grave. It isn’t the end though. Television star and survivalist Hunter Smith has used this opportunity for profit with his show Get Some. The idea of a zombie comedy isn’t particularly original nor is using zombies in a reality tv setting. Despite this Get Some sticks out thanks to a combination of a fun script and great casting. If it weren’t for its frustratingly open ending it would be the best short in the collection. 4/5
Director- Olaf Svenson
Writer- Olaf Svenson
In this tale of revenge, the young Olga goes after the men who killed her father. Finding them in a mob-owned diner she vows vengeance by any means necessary. Similar to movies such as Haywire this female-driven revenge thriller puts its focus on crisp hand-to-hand combat. Featuring a variety of styles, we see everything from knife play to martial arts and even a little bit of lucha libre. Although the story feels a bit overly familiar, I would love to see this expanded into a full movie. 4.5/5
Director- Daniel Bernhardt
Writer- Daniel Bernhardt
With alimony due and his life hitting the skids private investigator John ‘Fetch’ Fetcher gets the case of a lifetime. Starring David Leitch (director of Deadpool 2, Atomic Blonde) Fetch feels like the most ambitious short of the bunch. Taking on a more sardonic tone Fetch does a magnificent job telling its story without taking itself too seriously. And while the movie can lean a little too heavily into the comedy elements, stellar fight choreography has us leaving Blood, Sweat and Terrors on a high note. 4/5
Admittedly Blood, Sweat and Terrors is a bit of a tough sell. With each short being so different from the next one, the project lacks any sense of cohesion. So instead of telling a good story or working thematically we get a collection of short stories that can be hit or miss. With that said it rarely bores thanks to a great combination of talent both in front and behind the camera. And while it may never be considered a classic Blood, Sweat and Terrors is perfect as a jolt of energy for any action connoisseur.
Links : IMDB
Blood, Sweat and Terrors is now available on VOD, Bluray and DVD.
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The Hitman’s Wife’s Bodyguard | Review
The Hitman’s Wife’s Bodyguard is everything you’d want from a big summer blockbuster action-comedy. There’s plenty of gunfights and car chases and Samuel L. Jackson’s dropping f-bombs like there’s no tomorrow. Whilst the plot is a bit ridiculous, and it moves at such a fast pace that you’ve probably got whiplash by the end of it The Hitman’s Wife’s Bodyguard is a really entertaining and fun film. It’s the sort of thing you can watch and switch your brain off for a few hours and just enjoy.
When The Hitman’s Bodyguard was first released in 2017, I don’t think there was anyone desperately calling out saying they needed a sequel but in all honestly, the follow-up is better than the first film. Everything‘s bigger this time around- including the title which is now a real mouthful! The stakes have heightened, the action scenes are bigger, and the cast has increased too with Antonio Banderas and Morgan Freeman joining Salma Hayek, Samuel L. Jackson and Ryan Reynolds this time around.
Ryan Reynolds’ Michael Bryce has been stripped of his bodyguarding licence and has been roped into helping hitman Darius Kincaid (Sam Jackson) by his wife Sonia (Salma Hayek) and all of a sudden, they’re the only ones that can stop the whole of Europe from being destroyed. If you’re going to see this film, the chances are that you’re not going to see it for the plot and that’s completely understandable. Antonio Banderas plays a man called Aristotle Papadopoulos and if you can’t guess from the name alone, he’s the utterly ridiculous, over-the-top evil mastermind. But much like everything else in this film which is incredibly OTT, we don’t necessarily care much about his plan and the stakes don’t really feel very real, but it all still unfolds in a really entertaining way.
The film is quite generic, with Ryan Reynolds playing his usual wise-cracking self and Samuel L. Jackson probably swearing more times than there are minutes in the film but the reason why it all works and you can forgive its misgivings is because it’s funny and it’s entertaining. Granted there were no stand-out jokes or lines that will still have you laughing in the car on the way home, and overall the film is generic and somewhat forgettable, but being sat there in the cinema in the moment, you can’t help but have an absolute blast of a time.
The fim’s pretty relentless in its pacing as it picks you up right at the start and doesn’t let go until the very end. It moves so quickly from one action scene to another as we journey around Italy waiting to see in which city the next destructive shootout will take place in. It’s quite shocking that the film’s only 100 minutes long because by the end, it certainly feels like a lot more has happened because of how quickly the film moves.
The Hitman’s Wife’s Bodyguard won’t win any Oscars- unless they introduce a new one for most swearing- and it doesn’t break new ground for action comedies but it’s great fun. It’s full of laughs, swearing, explosions and just about everything you’d want from a summer blockbuster. It’s better than the first film and I really hope we see these characters again soon because it’s a really solid formular for a great time.
The Hitman’s Wife’s Bodyguard is in cinemas now.
Infinite | A Michael Bay Imitation Film
Infinite Desperately Wants to Impress With its Style, But Has No Substance.
Paramount wanted to get ahead in the streaming game with Paramount+ but made the novice mistake of selling most of their titles, due to the COVID-19 pandemic, to other streaming services such as Amazon Prime Video and Netflix instead of…I don’t know…growing their own. With barely any content left and keeping their big tentpole releases such as A Quiet Place: Part II and Top Gun: Maverick in cinemas, Paramount is finally saying “Ahhhhhh! I get it!” after every other major streaming service, especially Disney+ and HBO Max, used the pandemic as a pretext to grow their subscriber base. However, having sold most of its upcoming films to other streaming services, the studio only seems to have duds in the hopes of growing its subscriber base. Enter Antoine Fuqua’s latest film, Infinite, which strangely never feels like something the director of such visceral action pictures like Training Day, Bait, Tears of the Sun, Shooter, Brooklyn’s Finest, and The Equalizer, but Fuqua desperately wanting to emulate Michael Bay’s signature style.
There’s only one problem, however: even if you want to do Bayhem, and you intend to replicate it as accurately as you can, there’s a sole filmmaker that can do it right—and that’s Bay himself. But it doesn’t matter for Fuqua; he starts his overtly aestheticized action amazingly quickly, with an upbeat car chase staged to the rhythms of Campfire’s Legends Never Die, with Heinrich Treadway (Dylan O’Brien) being pursued by Bathurst (Rupert Friend), who looks for a thingamajig aptly named “The Egg” (because it’s shaped like an egg, of course!), which has the power of destroying…the entire world (how original!). Treadway dies without giving away The Egg’s location. Suddenly, a man named Evan McCauley (Mark Wahlberg) wakes up from his Treadway nightmare. We progressively learn that McCauley has schizophrenia who constantly remembers things from past lives he seemed to have never experienced before. He is what the “Believers” call “Infinites,” whose souls constantly get reincarnated inside a different body. He is quickly apprehended by Bathurst (now played by Chiwetel Ejiofor) after using a hand-crafted sword in a drug deal gone bad. His “life” changes drastically once Evan learns that he possesses Treadway’s soul and must reawaken his memory to quickly find The Egg before Bathurst does and destroys the entire world.
Let’s be honest: movies that center on thingamajigs (or MacGuffins as academics would call them) are amazingly tiresome and can only go so far before it veers off in predictable territory. Thankfully, Fuqua’s emulation of Bayhem makes many of its central action setpieces move at a somewhat entertaining pace. The car chase at the beginning involving Dylan O’Brien’s Treadway is filled with Bay’s rapid editing and an over-reliance on a moving camera that always, and I mean, always acts like a paintbrush to produce a copious, almost gratuitous amount of flashy style. And by flashy style, I mean excessive use of slow-motion, flares, and explosions or low-angles during 1-on-1 fight sequences. The explosions in this film are particularly reminiscent of Bay’s pictures, though not as big in scale, but produce the same cathartic effect. One scene in which Evan and Nora (Sophie Cookson) try to run away from Bathurst’s robotic henchmen inside a buggy has a precise explosion that, in its staging of using slow-motion at a pinpoint moment, feels as if it’s been directed by Bay. I mean, heck, if the end credits said “Directed by Michael Bay” instead of Antoine Fuqua, I’d believe it.
By doing this, Fuqua prevents the film from being a total dud than it is, since the script is filled with so many ineptitudes on:
- The world of the Infinites. The difference between the “believers” and “nihilists” is barely explained in two throwaway lines that almost feel unimportant. I can only explain the nihilists, who want all life to cease existing so they can stop reincarnating themselves, which adds a weird ineptitude on:
- Bathurst’s motivations. He wants to stop reincarnating himself and has developed a bullet that prevents believers from doing so. Ok, so if you’ve developed a bullet that grants your sole motivation…why not shoot yourself with it instead of bringing the entire world down with you? I’m sorry, but we never know the why behind Bathurst’s plan to destroy the world, aside from the overly used “humans are stupid, so I guess I need to bring them down with me” line, after torturing Toby Jones’ character by shoving…*checks notes*…honey down his mouth…interesting.
These two main problems falter its extremely stylized action for a sci-fi picture that’s as smart as Mark Wahlberg’s previous tenure in that genre…with Michael Bay in Transformers: Age of Extinction and The Last Knight. Hell, here’s another thing: if you would’ve told me that this is set in the world of Transformers that Wahlberg reprised his role as Cade Yeager through a new alter-ego, who now has the memories of somebody else (through unbeknownst reasons), then guess what? I would’ve believed it too. Wahlberg’s performance is no different than his exploration of the Transformers universe: half-charm, half-cluelessness, which equates to accepting every preposterous explanation on “Infinites” as “fact” and tagging along with people he’s never seen before and pretend everything’ll be fine, even if he is now tasked to save the entire world, in the same sense he had to do it (twice!) with the Autobots.
His character progression starts by being the only character that asks questions to the Infinites, who will then explain the film’s facile and underdeveloped plot in hackneyed detail, until he becomes the hero we deserve, but didn’t know we needed, as he uses a sword à la Morpheus from The Matrix Reloaded to bring down an entire plane and fight with Bathurst in the air, without any parachute, in the craziest, most bewildering action scene I’ve seen that defies all sense of logic and paints their characters as God-like mythic figures since The Fast and the Furious franchise said “no more logic” when Dom Toretto destroyed a parking lot with his feet.
Speaking of Bathurst, Chiwetel Ejiofor, a usual powerhouse, is completely miscast here and delivers his worst performance to date with an indescribable accent that makes everything about his antagonistic presence feel terribly cartoonish and over-the-top. He’ll refine his antagonist chops, most likely in Doctor Strange in the Multiverse of Madness. I truly hope he’ll return to a more natural state of acting as he did as Mordo in Scott Derrickson’s 2016 film (or even when he compellingly portrayed Scar in the 2019 remake of The Lion King), instead of doing whatever the hell he’s doing here. I can barely explain, or comprehend, if you will, what Ejiofor even attempted to do in Infinite to render his antagonist menacing…but it clearly didn’t work and made every scene he’s in feel unintentionally hilarious. Look at the scene in which he tortures Toby Jones with honey and how he tries to make his awfully written lines serious and menacing and yet does the exact opposite. It’s quite a feat to see, but it needs to be forgotten sooner rather than later.
This is probably why Paramount dropped Infinite on a streaming service no one is subscribed to, so it can be easily forgotten and buried inside an ever-growing algorithm that “curates” films on content rather than quality. While Infinite contains a hefty number of fun action sequences that imitate Michael Bay’s unmatched style, it, unfortunately, does not overshadow its terribly facile and underdeveloped plot and caricatural lead performances from Mark Wahlberg and Chiwetel Ejiofor. If you’re a fan of Antoine Fuqua, you won’t watch this and go through his previous films instead, which would be for the better. Let’s hope his remake of The Guilty, set to release later this year on Netflix, will be better than Infinite (spoiler: it likely will).
Infinite is now available to stream on Paramount+.
Netflix | Masters of the Universe: Revelation – Official Trailer
Animated reboot of the classic Masters of the Universe franchise focusing on unresolved stories of the iconic characters, picking up where they left off decades ago.
Animation, Action, Adventure
Mark Hamill, Chris Wood, Diedrich Bader, Kevin Conroy, Liam Cunningham, Susan Eisenberg, Sarah Michelle Gellar, Lena Headey, Griffin Newman, Kevin Michael Richardson, Alicia Silverstone, Harley Quinn Smith
Animated reboot of the classic Masters of the Universe franchise focusing on unresolved stories of the iconic characters, picking up where they left off decades ago.
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