EVERY GREAT WRITER HAS A BAD BEGINNING, TAYLOR SHERIDAN WAS NO EXEPTION

🎥🎞️Movie Review🎞️🎥 - WIND RIVER - Amazon Prime - [2017] - Written and Directed by Taylor Sheridan. Starring Jeremy Renner, Elizabeth Olson, Jon Bernthal, Graham Greene, and Kelsey Asbille. This movie was billed as an answer to the countless numbers of Indigenous Native American women that are reported missing every year in staggering numbers and mysterious circumstances. This was a planned dramatic feature film with a message to open up the investigations to the many missing women who are still missing to this day. If produced right, this movie seemed like it could make make waves in the history, and now urban legend, of why females are missing in the western regions of the United States.

With the recent successes of all of the current writings created by Taylor Sheridan, I decided to do an in-depth look into his career as a writer and filmmaker. First, I was surprised to learn that Sheridan was a film director and that he had an $11 Million film under his belt with a heavy star studded cast. Even though this film had a tremendously dramatic trailer, the film was anything but dramatic and I'm surprised that Sheridan was able to bounce back from the obvious failure of this film. I have to admit, that after watching all of the recent works written by Sheridan already released through streaming services, I was not completely impressed by this film. I truly expected a far better production and message from this film.

THE GOOD - I mentioned that there's a big lineup of infamous actors in this feature film; the talented Elizabeth Olson from the recent fame of "Wanda Vision," Jeremy Renner from the MCU's "Avengers," and the rugged Jon Bernthal from "The Punisher." There's a slight glimpse of the mountainous beauty and vast landscapes of Utah and Wyoming. The film won an award from the 2017 Cannes Film Festival, but I'm not sure why.

THE BAD - Where dramatic films are concerned, this film drags on and on with sketchy pacing and lackluster cinematography. Most of the actors seem to just be on set to earn a check and put no other energy in performing their roles which makes for a lack luster presentation in the final product of the film. The screenplay and editing of the film are almost horrific, giving an almost amateur pacing to the film and not giving a solid development of worry for the story to make its point. The explanation why the FBI sent an agent to help with the investigation of a body being found on Indian territory was very dry and Olson's part of the film feels a little far fetched. Sheridan tries to develop tension in the film, but his limited skill in directing scenes truly makes RIVER seem like a wasted effort in telling a significant story that needs explaining.

POST MORTEM - This film would have better served as a mini-series or maybe a full series production on a streaming service. Furthermore, the opening credits billed this film was a tiny, little look into the disappearance into local women in the Native American culture, but there was no tie to the actual long list of names that have been abruptly removed from the local communities. Sheridan was smart to leave the directing of his scripted creations to the professionals. His other series work wouldn't have been as successful as films and his writings are proving to work on longer running productions. WIND RIVER might have been the awakening that Sheridan needed to focus more on his writing.

⭐️⭐️💫[2.5 of 5 Stars]

WHY HOLLYWOOD ALLOWED J. J. ABRAMS TO SINGLE-HANDEDLY DESTROY FILMMAKING

In his early years, J. J. Abrams was a brash and creative project director who  brought solid teams together to bring hit shows to TV like Alias, Felicity, and Lost. From 1998 to 2006, world wide audiences were caught up on his shows, which built up a variety of dramatic, spell bounding, plot twisting, story-lines that kept the fans coming back to new seasons of his hit shows. I guess early on it was just something fresh to see, seeing some interesting character build ups, an entertaining variant of casting changes that bulked up the idea that these new shows were going to reveal something BIG in their final season.

Before Abrams began directing, he spent a few years working on movie sets with screenplay and assisting script writers to polish up each new script dropped on his desk. He had a quick wit with just adding those little things to make scripts read better, driving the screenplay to seem more natural to keep each passing scene flow by flawlessly, giving the each new film a realistic feel for the audiences. When he began to produce films and make creations for TV, he seemed ready to deliver the best ideas that could bring a whole new audience to the networks. And for a while, they did. Each new series he brought to the world, brought him a step closer to the ultimate goal of any series producer; the chance to work on big budget films.

When Abrams sold the idea of the film CLOVERFIELD to Paramount in 2008, claiming the film could be produced in twelve weeks, he was more than excited to get the ball rolling on the film and get a chance to go up against some of the other big films being released later that year. He found Matt Reeves to direct the film and commanded him to begin filming sequences to CLOVERFIELD even before the final script was even completed. Even though Reeves admitted that he had never worked in such a "top speed" environment, he did as he was told; producing scenes out of sequence that weren't even put to script, and then adding them to the film and adjusting the scripts afterwards to officially add them successfully to the entire plotline. And don't forget the flashy lighting in the film and the addition of lens flares that follow in all of the films created and produced by Abrams; I'm sure that you're way over tired of seeing them in his films by now.

But there was one BIG problem with the script and production to CLOVERFIELD, something that also plagued those network show's that brought him up to the spotlight of success in the film industry...the movie lacked a solid ending. As a matter of fact, ALL of Abrams film and network creations all had bad endings, many that pissed off fans who watched his network show's for years; trust me, I was one of them! I watched LOST endlessly and in the final season it was revealed that the entire show was just a dream and that all of the passengers and characters had all died in an opening plane crash from season one. The failure of bad endings would [and still do] plague many of the Abrams new movies. But did he try to fix this one bad issue with all of this past films, of course not. He explained to the big wigs in Hollywood that "fans will watch whatever is tossed at them."

So, when Hollywood decided to give Abrams the keys to the Star Trek franchise and launch it with a reboot. The new STAR TREK movie of 2009 also brought with it a slew of creative problems that would also be noted in every new and old movies led by the startling new producer and director. Fans began to learn quickly that Abrams had absolutely no grasp of technical know-how on how things actually work; i.e. he knows that a key turns the ignition to a car, he knows the gas pedal makes the car move, but has no concept of how a car engine works or how combustion leads to the production of carbon, except that when the car is low on gas it needs a fill up. If you're making a movie about car manufactures and designing a new engine for a car, the concept for knowing how a car motor actually works and how to repair it, are vital.

First of all, in the STAR TREK movie alone, the concept of military ranking, officer etiquette, and advancement eluded the storytelling. Even the ship's concept and designs, required for building realistic sets were tossed out of the window. Bit by bit, the STAR TREK movie was filled utterly with "bullshit" technology that fans began to see through the hype and eventually the movie itself proved that Abrams was way out of his league when it came to writing and creating SciFi movies. His reboot of STAR TREK II, entitled "Into Darkness," was also a complete BUST with Star Trek fans. What's a bigger shame is that newer, more popular actors were brought in to try and save the new film, but that idea fell under harsh reviews and a Rotten Tomatoes Rating that even today wouldn't save anyone's career in Hollywood.

So, how could Abrams escape the fracas of ruining a top notch SciFi franchise? Well, Hollywood decided to give him the reigns to the STAR WARS franchise, where the details on knowing "how things work" were never explained in the first six episodes of the franchise and how presenting military etiquette truly never meant a hill of beans. But the writing to the new scripts for this reboot presenting a complete misunderstanding of the force, how light sabers work, ship's designs, and slew of other odds and ends that Star Wars fans first ignored, but then eventually had to acknowledge that Abrams was again far out of his game. His miserable talent for creating series began to rub off on other Hollywood executives, keeping in mind that "fans will watch whatever is tossed at them" on the big screen. I feel that Abram's true failure with the Star Wars Franchise was his decision to release a trailer to the film that had absolutely nothing to do with the true scenes of the film.

And the philosophy built up and openly shared by Abrams has held him in the limelight now for over fifteen years. He is not the authority in SciFi productions, but his long list of films, his staple amplified on IMDB and his name sharing by the plethora of Hollywood elite will not let this jackass fade away. We are surely in for a long ride and in my lifetime we will see a plethora of Abrams wanna-be's who know that its not about how the ending to their films are delivered, but about the money that fans will bring in just to watch another reboot to another old idea that didn't need to be rebooted. Don't spend your money too soon just to see a reboot that [in the end] you won't like.

STALLONE MAKES HIS MARK IN STREAMING WITH "TULSA KING"

🎥🎞️Series Review🎞️🎥 - TULSA KING - Paramount+ - A series written by Taylor Sheridan. Starring Sylvester Stallone, Andrea Savage, and Dana Delany. This is another series created and written brilliantly by Sheridan, creator of YELLOWSTONE, 1883 and 1923, who has gone out of his way in the last three years to release some refreshing new shows on the Paramount network. TULSA KING [TK] is his new installment, and once again, he has a strong cast filled with veteran actors to build up a fantastic first season to the series.

Stallone plays a "General" in the New York Mafia who spent the last 25 years in prison for murder. Upon his release, his "family" of gangsters order him to leave the city of New York and head out west to Tulsa, Oklahoma to start new business ventures. He reluctantly leaves New York and his family for a new start, and upon the first day of arrival, he gets off to a great start spotting crime running free in the streets of Tulsa and making money from side hustles in the legalized marijuana trade. Keep in mind that Stallone does not play a physical monster in this series, instead he's in a role where his leading character is a thinker and planner, outsmarting all of the potential & established criminal competition and law enforcement agencies in the city. To make things even worse, he's pissed off members of his old mafia family back in New York and they want him dead.

THE GOOD - Stallone carries the series well. There are several story arcs in TK that help develop supporting characters and they are performed brilliantly by some talented new actors. Most of the scenes in the series are actually filmed in Tulsa, OK and a tons of scenes are filmed at outside locations, giving the series a broad look at the local territory. Sheridan even takes the time to add a little Native American zest to the series and develop a plotline where [of course] a gambling casino will be eventually involved. I know that none of this sounds brand new or overly interesting, but with the addition of Stallone still settling his feet with the idea of slowly developing characters with patience and precious time on his side, his acting prowess is starting to promote a better way of him delivering his performances.

THE BAD - There are times where the series makes Tulsa seem like a small town, with people who think backward from a time long gone. The addition of Delany was a little weak; her character hasn't developed well and she is mostly seen hanging around the horses at a stable. Giving Delany top billing for a small role seems a little like "big name dropping." She plays her mysterious role well, but he real energy of the show should be spent elsewhere. Action scenes are too sporadic and some of the motions of the story are filled with long speeches and drawn out dialog. Plus it doesn't help that Stallone still mumbles his line from time to time. The final episode of the season was a little too transparent and seemed a little rushed, but I am sure that Sheridan strongly felt that the rushed ending to the first season just meant that a second season was gong to be approved.

POST MORTEM - This is another fantastic edition to the powerful line of Taylor Sheridan writings that are building up an impressive universe of drama, murder, intrigue, and of course, action. The series has already been approved for a second season and I am sure that Stallone is more than happy about that.

⭐️⭐️⭐️⭐️ [4 of 5 Stars]

1923 WILL BECOME AN INSTANT "CULT CLASSIC" FOR SERIES TELEVISION

🎥🎞️Series Review🎥🎞️ - 1923 - Paramount Plus - Starring Harrison Ford and Helen Mirren. Created by Taylor Sheridan, writer and creator of YELLOWSTONE. This mini-series is a fantastic period piece production, taking place shortly after World War I and follows a prequel path [and background] to the Yellowstone Universe. The show takes place in Montana and at the cusp of Cowboy Justice beginning to lose it's flavor as a more civilized America begins to grow.

What you can expect from this mini-series is some true grit, some very valuable dramatic storylines, and of course, some nail biting action sequences that help develop the Dutton Empire which is cursed with outside sources always trying to take their land away. Being a mini-series, the directors have very little time to set forth character development, but it is done with a style all it's own and in my opinion delivers at least two characters [played brilliantly by Brandon Sklenar and Julia Schlaepfer] who dominate the mini-series with a torrent love affair that occurs in the then wild African landscapes that is perfect for the Dutton lore when dealing with passion and love. Mirren performs brilliantly with an Irish accent, that existed heavily during 1920's America when immigrants filled the land with their stubborn pride and need to share their homeland wisdom. She's come a long way once playing the role of "Morgan Le Fay" in 1981's EXCALIBER.

THE GOOD. This series has a superior cast; adding to that the talents of James Badge Dale, Jerome Flynn, and Timothy Dalton, all who are veteran actors and have been part of some previous huge productions. The cinematography is absolutely breathtaking and the detail to bringing back 1923, crossed with a western "cowboy" feel with a touch of the roaring twenties is just a sight to behold in itself...why?...because this is how it actually happened in history; no need to tear it down. At the time, the American culture was taking shape and many people were forced to change their ways to become more civilized. There's a taste of this new way of purging the "old ways" with a side plot concerning how Native American women were sent to schools in an attempt to force them to abandon their on culture and become "American." Sheridan apparently did his study and brought a new insight into U.S. History and the constant struggle to control and maintain what as earned to blood and sweat.

THE BAD. There are just too many plots and stories going on at the same time. Just when your getting the handle on one story, your thrust into another, then back and forth, and then you won't see what's happened with the story you truly want to follow until the next episode. And of course, this being Dutton lore, don't get used to seeing a character you like for far too long...some of them people you like might get killed off.

POST MORTEM. Taylor Sheridan has brought forth a new and fresh breed of scripts to the Hollywood Universe and his “Urban Legend Tall Tales of Yellowstone” are surely the best things being taken from script to screen in a unique, down to earth style, that many have been hoping to see for a long time. 1923 was way better produced, acted, and presented than the 1883 series launched two years ago. There's quality here, not only with big names, but the trust to present good storytelling with veteran actors who actually give a damn about how their performances can make a mini-series show BIG!

⭐️⭐️⭐️⭐️⭐️ [5 of 5 Stars]

TIM BURTON FINDS NEW WINGS DIRECTING "WEDNESDAY"

🎥🎞️Series Review🎞️🎥 - WEDNESDAY - Netflix - This is a fabulously produced 8 part series created and written by Charles Addams, Alfred Gough, Miles Millar, Kayla Alpert, April Blair, and Matt Lambert. The series stars Jenna Ortega, Riki Lindhome, Gwendoline Christie, and guest stars, Catherine Zeta-Jones, Luis Guzman and Christina Ricci. Tim Burton directed several of the episodes, actually opening the director duties in the first few episodes to put his staple on the lead character, played by Ortega. There is some blood and gore in this series, but not enough to spark concern.

This is a dark comedy concerning Wednesday Addams, who after almost killing several high school kids at another school, is transferred to a small town where a little dark mystery is entangled within a private school that was erected in the nearby woods, oh-so-many years ago. Wednesday is forced to adjust her dark, Gothic lifestyle with her new roommate, played brilliantly by Lindhome. The school is filled with a variety of "gifted" students - think of the Harry Potter variety - and the schools once separated inner-school clubs must begin to work together to solve who is killing both the locals and their own classmates, plus save the school from being shut down. This series has it all for the young audiences; romance, drama, comedy, and of course, Gothic tones of dread.

THE GOOD - The casting gives this series a ton of strength; I was particularly shocked to see Christie playing a proverbial rich and powerful principal and doing her job brilliantly with her English accent. The part of "The Thing" - the hand that runs loosely throughout the series as both a confidante and a spy, was wonderfully choreographed to life in a style all its own.  Zeta-Jones played her part brilliantly, the camera loving the closeups of her, but it felt like she didn't go past what was only desired of her performance. Ortega was the prime example of what to expect from today's youthful actor. It is said that she had to learn fencing, boxing and even learning how to play the cello to make her character breath into life. I expect to see more from her in other film and series project. But my heart reached out to Lindhome, who presented her characters emotions through some memorable facial expressions. The two young actors carried this series to the next level, making the show fun, dark, and very mysterious at every turn.

THE BAD - I'm not a huge Tim Burton fan, but with all of the details of costumes and set locations, I wasn't impressed with the CGI in the series. The creature effects seemed a little too animated with an exaggerated "cartoon-like" look and feel to them. Perhaps this was done to keep the younger teens and children involved in trying to solve the mystery with the cast of the series? Either way, the CGI seemed to hurt the production more than help it.

POST MORTEM - Burton should be very proud that this is the BEST series production he's been part of in a long time. I've truly never been impressed with the endings to many of his past films, but this series developed well and delivered an ending that demands some serious attention. There was some fine acting by the young-lings and the veteran actors in the film stepped back and filled in only when needed. I expected a second season, for sure, but I also expect that many of the upstart actors have just kicked the doors open to their new careers as leading actors! 

⭐️⭐️⭐️⭐️⭐️ [5 of 5 Stars]

THE QUANTUM STORM .357 E-MAGAZINE ISSUE 16, THE FIRST PUBLICATION FOR 2023, IS RELEASED!

QSE .357 ISSUE 16 FOR JAN 1, 2023

155 Pages

ON THE COVER - Megan Riser
MAKEUP BY - Terri Taylor
PHOTO BY D. R. Quintana

MAIN ARTICLES

Making The Challenge - Things a camera can do that a cell phone camera lens cannot.

This Years SCAM Alert - Head Shot Scams are starting up for Spring. Don't pay too much for taking a snap of your own image.

Special Look - Winter modeling is here. What you need to know about winter apparel, makeup, and lighting.

Stunt Work - Special stunts require certain protection while on set. An interview with some local Texas Stunt professionals.

Acting Courses - Who to see if you need acting classes and at what level.

Studio Movie Reviews - The studio has
pushed forward with detailed film reviews for
the last few months.

Indie Film News - At what point does your
film need or require a copyright?

 YOU MUST BE A SUBSCRIBER TO VIEW THE FULL CONTENTS THIS NEW 2023 ISSUE OF THE QUANTUM STORM .357 E-MAGAZINE AND FOLLOW THIS BLOG

 

Thank you for stopping by!

TOP GUN MAVERICK AMAZES WITH VISUAL EFFECTS FIRST

🎥🎞️Movie Review🎞️🎥 - TOP GUN - MAVERICK - Paramount+ - Directed by Joseph Kosinski and starring Tom Cruise, Miles Teller, and Glen Powell. This movie has some stunning visuals and the fighter plane scenes are realistic, breathtaking, and at times, a little beyond belief. The directors and writers to this film pulled some dramatic cinematography to show the realism behind being a fighter pilot and having to fight G-forces while pulling wild maneuvers in the air. It was said that many of the areal scenes were shot with the actors actually flying real planes and that Cruise demanded that everyone take part in flying a real plane to build their knowledge of fighter pilot communications pilot skills, and officer etiquette.

THE PLOT - The film takes place many years after the first film. Maverick is now a test pilot who endangers his job and is pushed right back to Top Gun to train pilots for a dangerous mission. He has to face his own ghosts, as his back seat best friends son, played by Teller, who just happens to be listed in the teams top list of pilots selected for the potentially one-way mission at hand. The training is dangerous, but there's always time for a little fun and some verbal hazing between the pilots about "who is the best." Of course, the mission doesn't go exactly as planned and Maverick has to fight his way back to safety.

THE GOOD - Cruise looks a little more refined and a lot more mature in the role as a Navy Fighter pilot and Captain. He's a little slower, a little more wiser, but he's filled with deep regret and has begun to doubt his abilities to lead; which are good qualities in building his character's new personae. Powell plays a brilliant role as Hangman, and they the writers should have really spent a little more time building up his cocky character. The writers bring back everything that you once knew from the first movie; the motorcycle, the partying, the quick one-liners between pilots. The general feel to the movie is that this is going to be a fun adventure and you'd better hang on for this ride.

THE BAD - What's missing in this movie is the real fun of being in the Navy. Everything in the screenplay is transparent, from the new girl Maverick falls for to the air-to-air dog fight. The writers should have spent more time on Teller's character [Rooster] and give him a better back story; save the fact that he's Goose's son. They could have really punched the fans in the gut if the original mother of the first film, played by Meg Ryan, stepped in and begged Maverick to pull her son from the mission. Ryan's character could have also closed the book on Maverick's last squeeze, stating that he will always be a "player" and he should have just settled down with "Charlie" of the first film. Instead, Teller's scenes as Rooster were limited and we had to rely on Cruises interpretation of Maverick's pain to help us understand what was going through his mind, when he wasn't wrapped up with the new love of his life.

POST MORTEM - This is a good action movie and there are some fun and funny moments in it. I'm not 100% sure if the writers had any real idea about how the Navy truly works, but for what they showed; a bunch of fighters in a hanger bay or parked out in a field, there's no real feel of danger about being on a fighter jet. The slow motion football game on the beach will never match the two on two volleyball game from the first film, but I guess eye-candy for females falls where ever it may these days.  But BRAVO to Cruise, this was another good, top action film to watch!

⭐️⭐️⭐️⭐️[4 of 5 Stars]

GHOSTBUSTERS: AFTERLIFE IS ONE OF THE BEST, FUN, MUCH NEEDED SEQUELS!

🎥🎞️Movie Review🎞️🎥 - GHOSTBUSTERS: AFTERLIFE - STARS - Directed by Jason Reitman and stars a young talented actress, McKenna Grace, Finn Wolfhard, Paul Rudd, and Callie Coon. This is one of the best sequel films that is fun and action packed for the entire family. There is some excellent cinematography and the film is edited with one of the best eyes in movie production, Nathan Orloff. The humor by the teen cast is extraordinary and well delivered at the right times in this zany and extremely well produced film. I could watch this film several times and not get tired of watching it or laughing throughout it's run.

The Good - I cannot overstate the importance of a good script and story arc to push to the viewers who are big fans of the first Ghostbuster film, released in 1984. The visual effects are both CGI and practical effects, which work seamlessly throughout the run of the film. Even though some of the sequences in the action scenes are a little "out of this world" impossible, the film delivers them in a fun away, giving the actors plenty of opportunity to develop their characters and present the best performance on film. The locations for each scene in this film was chosen for sharp effect and used to their fullest potential; something I haven't seen in films in a long time. There are many nostalgic film items from the first two films in the franchise to bring up some great memories and they are delivered perfectly throughout the story. Actor and director Harold Ramis [who played Scientist Doctor Egon Spengler] died in 2014 and is brought back through CGI, and for a brief moment, the entire original cast of the first Ghostbusters film are reunited in this new film. The teen cast is brilliant and the performances of the supporting cast are just as brilliant and believable. The teen characters may be too smart for their own good in the film, but they are brilliantly developed, and of course, are a culture soup of kids who "represent" the large spectrum of today's requirement in Hollywood filmmaking.

The Bad - There is a lot of "Stranger Things" trademarks that are used in the film. Some are too noticeable to be transparent, but it works in the film's large array of ghost hunting antics that fill the story of the film. Sometimes too much, is too much; and I feel that even though some of the original characters from the first film were presented in the film, they should have had a bigger part throughout the film, instead in the final act. There should have been some presentation about their whereabouts and how they were all still in contact. There are rumors that Bill Murry was a hold-out up to the very last minute of filming, but there has been no release of information concerning why.

Post Mortem - This is a fun, action packed film! I honestly recommend for every and any Ghostbuster fan to watch it and just watch it for the entertainment value. I can guarantee that everyone will laugh and enjoy the film from beginning to end. Everyone from the first film gets to make a full minute appearance somewhere during the run of this feature, but they don't overplay the performances of the young cast. 

⭐️⭐️⭐️⭐️[4 of 5 Stars]

"BLACK ADAM" IS WHERE "THE ROCK" NEEDS TO BE...BUT ISN'T

🎥🎞️Movie Review🎞️🎥 - BLACK ADAM - Amazon Prime - Directed by Jaume Collet-Serra, starring Dwayne "The Rock" Johnson, this movie is the spectacular visualization of the anti-hero, BLACK ADAM. There is a ton of CGI, but there is also a great performance from Johnson that I wasn't truly expecting. A lot of The Rock's little one-liners squeezed through the character of Black Adam that sewed into the script perfectly, when the time arose. This film had so much potential, that Johnson took a large part in funding the film as Executive Producer.

The Good - The film wasted no time getting into the middle of it all, but throwing the viewer into the middle of a throw-down with a bunch of guns and super abilities, which brought the initial pacing of the movie with some extreme [and gratifying] action sequences that are pretty standard for today's Hollywood super-hero movie. This is also a large array of new Muslim-Arabic actors that fill the screen, as this movie takes place in the middle east. Where most of their performances were pretty believable and filled with a lot of emotion and tension, one of the new actors, Bohdi Sabongui had a few issues delivering emotion, but his delivery as the side-kick, delivering a humorous and bungling dialog - pretty much the standard in today's Hollywood genre - was spot on. The big surprise was the addition of Pierce Brosnan and Aldis Hodge, who play the parts of Dr. Fate and Hawkman [respectfully], well for their part in the DC Universe. There's also a ton of good humor throughout the film, breaking the tension as required, but the story arc and historical back flashes were diligenty, artfully presented with direct and proper respect to the comicbook canon of Black Adam's backstory.

The Bad - As with most of today's Hollywood movie formats, this movie becomes so heavy with special effects CGI that the film beings to fall apart during the last third of the films run. Just when you think the movie is just about over, there's a turn in the plot and the villain is transformed into a super-villain with superior CGI abilities that just look too animated and computer generated to be believed. In my opinion, the abilities of the proven DC heroes of Dr. Fate and Hawkman seem to limited to take care of the real problem at hand; leaving the resurrected muscle of Black Adam to come to the rescue. A severe plot-hole ensues when at the end of the film, the team real leader, Amanda Waller [played by Viola Davis] back in the U.S., raises a hint that all she has to do is raise a hint and Superman [played by Henry Cavill] can appear at a moments notice; which he does at the end of the film to face a world-wide threat. So, that makes you wonder why Hawkman didn't just make a call to Waller for BIGGER assistance in dealing with the main villain in the film.

Post Mortem - With the exception of the final third of the film's heavy CGI presence, I think that the film was well thought out and presented with a strong screenplay and a sharp performance by Johnson. It's obvious that Hollywood is trying to push the envelope that there are other less known superheroes that are not of the "Caucasian persuasion" and are equally as powerful. Leaving some to speculate a possible faction of Middle East super beings who can stand up to the heroes of the Justice League and more. By now, the news has reached the surface that any chance for an extension to this film was prematurely cut off, after Johnson was recently fired by the "powers that be" from the franchise before any real chance to produce sequels was even attempted. I think that the Black Adam was a good start to relaunch Johnson's serious attempt to revamp his career as a serious action star; too bad that others "in the circle" didn't think so.

⭐️⭐️⭐️💫 [3.5 of 5 Stars]

TARANTINO'S "RESERVOIR DOGS" WAS NOTHING BUT HYPE…

🎥🎞️Movie Review🎞️🎥 - RESERVOIR DOGS - [R] - Released in 1992, this as Quentin Tarantino's debut film which stars Harvey Keitel, Tim Roth, Steve Busemi, Michael Madsen, and others. This [then] Independent Film ran for 99 minutes and had a budget of $1.2 to $3 Million; grossing $2.9 Million in the box office. The plot of the movie concerns a diamond heist gone bad. A few of the actors in this film [like Buscemi and Madsen] were complete nobodies when the film premiered, but are now some of the top named talent in Hollywood.

Now, I've been producing Indie movies and short films for a little over 20 years, reviewing and critiquing major films for a long time, and I have to admit that I never got off my ass to watch this film. I'm not sure why, but there was this hesitation I've always had with films [of any production value] that are often [in my opinion] over-hyped, and generally accepted as pop culture films. I have seen many Tarantino films before and I do have several favorites, but this film is the least liked of the films he's produced and directed. As a matter of fact, this is the worst film I've seen in a long, long time.

There are some big names in this film, which I am sure account for the big budget given to the production, and given the fact that the movie primarily takes place in a warehouse with very little left to offer, it's obvious that Tarantino had a solid connection with investors and brought this cash cow to life with the big names in the films title credits. Seriously, I've seen some bad indie films living in the Houston area for over the last 15 years, and the largest majority of Houston's indie film crap were far better produced  than this piece of shit film.

This just goes to prove that in the real Independent film business, it all depends on who you know and what type of hype you get to have people watch your film. Tarantino must have had a solid promotional team to push this shit sludge out to the public and make it seem like the best thing since scented toilet paper. There is nothing remarkable in this film; there's a ton of over acting, useless arguments, tons of profanity, and story arcs that lead nowhere. The camera work is stagnant and there's really that stands out except one character [played by Tim Roth] that bleeds from a stomach wound throughout the entire film, that show's any real substantiated element to the film that makes you wonder how that character could have lived that long.

There's a continuous argument between the main characters concerning a botched diamond heist, but you never see it. As a matter of fact, Tarantino plays a short cameo in the film and you never see how he gets killed, save the fact that one character says, "Oh, he was shot and killed too." Oh boy, and movies like this were the prime drive to hope that indie film directors CAN eventually break into the Hollywood circuit?

This movie was nothing but DOG SHIT! 

💫[.5 out of 5 Stars]

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