Thriller

Last Night in Soho

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  • Title: Last Night in Soho
  • IMDb: link

Writer/director Edgar Wright‘s nostalgic love letter to the 1960s is glamorous spectacle. The story involves would-be designer Ellie (Thomasin McKenzie) who, shortly after starting university in London, begins dreaming life alongside a would-be singer named Sandie (Anya Taylor-Joy). The dreams start vibrant and hopeful, influencing Ellie’s actions during the day, but soon turn dark and violent before they spill into Ellie’s life even further.

Despite its lavish beauty, Last Night in Soho is a mess. If not for the great soundtrack, I’d say it would work better with the sound off as the story often gets in the way of the terrific visuals. Sadly, Ellie isn’t all that interesting as a character, nor are her struggles fitting in at college worth screen time. It’s only in the 60s when Sandie’s life takes over does the film come to life. And when the two stories crash together the film becomes a jumbled mess.

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Corridor of Mirrors

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  • Title: Corridor of Mirrors
  • IMDb: link

The film debut of both director Terrence Young (From Russia with Love, Thunderball) and actor Christopher Lee (albeit in a minor role), 1948’s Corridor of Mirrors is an atmospheric thriller involving an eccentric bachelor (Eric Portman) who falls in love with a young woman (Edana Romney) who eerily resembles a Renaissance painting he keeps in his home. Their relationship mostly involves Mangin (Portman) dressing Mifanwy (Romney) in a variety of dresses and jewelry that fit her perfectly. As she struggles against his control, and the warnings of an older woman (Barbara Mullen) in the house suggesting dangerous ulterior motives in Mangin’s actions, their relationship ends disastrously, and, years later, tragically.

Although it may feel a bit dated in places, the tone and tension of the story hold up well as does Young’s direction and the cinematography of André Thomas. Re-released on Blu-ray and DVD as part of the Cohen Film Collection, Corridor of Mirrors is worth visiting for fans of the era or the genre. …

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The Voyeurs

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  • Title: The Voyeurs
  • IMDb: link

The Voyeurs

The Voyeurs is an thrill-less tale of a naïve couple too cute for their own good (Sydney Sweeney and Justice Smith) who become obsessed watching their neighbor’s (Ben Hardy) sexual antics from their apartment window. Dragged down by a sluggish pace, questionable acting, and an increasingly absurd storyline, the movie from writer/director Michael Mohan is barely salacious let alone the erotic thriller it aspires to be. The Voyeurs is flaccid for most of its two-hour run-time.

After meeting their neighbor’s wife (Natasha Liu Bordizzo), who they’ve watched the photographer cheat on with a revolving door of models he’s brought into the apartment, Pippa (Sweeney) becomes overly invested in what’s occurring across the street leading to a series of bad decisions, and insane twists (each less believable than the last), before the movie mercifully comes to an end.

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The Protégé

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  • Title: The Protégé
  • IMDb: link

The Protégé movie reviewFor having a single writer and no directorial or production upheaval, The Protégé is one hell of a schizophrenic film. I don’t know if director Martin Campbell and screenwriter Richard Wenk had conflicting takes on what the film should be or if The Protégé is simply an example of the final result being far less than the sum of its parts. The action-thriller stars Maggie Q as a bookshop owner/assassin saved as a child from violence in Vietnam by a professional killer (Samuel L. Jackson) who raised and trained her to be his, wait for it, protégé.

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Big Doll House

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  • Title: Big Doll House
  • IMDb: link

Big Doll House movie reviewThrowback Tuesday takes us back to 1971’s Big Doll House. Produced by B-movie legend Roger Corman, the film kicked-off a jungle subset of the women-in-prison genre starring Judith Brown, Roberta Collins, Pam Grier, Brooke Mills, Pat Woodell, and Gina Stuart as inmates in a prison of an unnamed tropical country run by an evil warden (Christiane Schmidtmer) and overseen by the Nazi-like torturer Lucien (Kathryn Loder). Collins, Grier, and Brown would all return for the similarly themed Women in Cages released the same year.

Pushing the boundaries of what was allowed in the loosened ratings of the time, the independent film follows the basic format of the exploitation genre putting the women in various compromising positions guaranteed to get their clothes off such as strip searches, group shower scenes, catfights (one even in mud), lesbian and bondage scenes, and torture. We also get a revolution and escape plot, which would become part of the sub-genre, culminating in the group’s attempt to escape the prison during the movie’s climax. Although not the main character, the film is notable for launching Grier’s career in this genre and blaxploitation films.

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