In 1970s Detroit, John Miller falls for a local gangster’s girl. In retaliation, the gangster enacts a frame job to send the innocent man to prison. Life ruined, Miller plots a revenge campaign against the man who took his girl away.
Motor City is directed by Potsy Ponciroli director of Old Henry (2021) and Greedy People (2024).
Motor City is an interesting one when it comes to its style, the whole idea here is it’s a very 70s pulp style revenge thriller but with very little dialogue. While it might not be anything mind blowing, it does take what normally would be an average action thriller and turns into something decently interesting and a fun time.
Alan Ritchson gives a great performance here, due to having barely any dialogue, Ritchson in most scenes has to use his body language to tell the story and he does that quite well. He’s in his element and his familiarity with the action thriller genre absolutely comes into play here, I have not seen that much of Ritchson’s work but this was genuinely a great showing from him. Ben Fosters plays the slimy antagonist Reynolds who is quite effective, Shailene Woodley is pretty solid here as well although definitely lacking in the character department.
The film heavily relies on its visual language and needle drops to tell the story and while the latter can be a bit to on the nose, I do think combined together they both do a great job of telling the story. Especially when you combine this with cinematographer John Matysiak’s camerawork, there is one scene in particular that is not only well choreographed but it’s shot incredibly well.
The atmosphere of the film is thrilling, brutal and has this very 70s feel that you can’t help but be transported into, the music does such a great job of complimenting everything around it especially the atmosphere and the brutality of the film. While the story is admittedly pretty predictable, everything else really brings the viewer along for the ride and completely makes up for it.
Overall Motor City might not be anything exactly new plot wise, but it’s still a fun time that is elevated by the film’s technical aspects and the performances!
Din Djarin and Grogu work for the New Republic to track down scattered Imperial warlords, taking on a mission to rescue Rotta the Hutt.
The Mandalorian and Grogu is directed by Jon Favreau director of Elf (2003), Iron Man (2008), Iron Man 2 (2010), Chef (2014), The Jungle Book (2016), The Lion King (2019) and a few others. The film serves as a continuation of the Disney+ television series The Mandalorian (2019-2023).
What happens when you take a television series and desperately try to adapt it into a film? You get something like The Mandalorian and Grogu a movie that is quite bafflingly bad. Which is a huge shame because the show (for the most part) is pretty great, the first season is quite excellent, the second season definitely has its flaws (the endless amount of cameos got really ridiculous) but for the most part retains what made the first season so great. Then you have the third season where it’s nothing but a bunch of side missions squished together in a limited amount of episodes.
Originally a fourth season was going to be made but Lucasfilm decided to prioritize a film which is what we now have. That clearly shows here because between the whole “and then this happened” storytelling, the nonexistent character writing and the incredibly small scale that does not benefit the movie at all. The whole experience devolves into a gigantic mess that nobody figured to clean up.
The acting here is really nothing special at all, Pedro Pascal as usual does a solid job as Din Djarin/The Mandalorian, Steve Blum voices Zeb (a character from Star Wars Rebels) what is kind of neat is he is reprising his role, for the limited amount of screen time he gets he does a decent job. Martin Scorsese makes a brief appearance (weird how this is the third movie released this year where this happened) he is one of the movie’s better parts but once again only appears briefly. Finally there is Jeremy Allen White as Rotta the Hutt, the son of Jabba the Hutt. Which I will say he does not give a bad performance it’s just a very cursed and jarring one that you wouldn’t be blamed if you thought it was terrible.
The only other positive I can really give this movie is the score from Ludwig Göransson, this might be his weakest work, however it’s still decently effective and is the only thing here that even attempts to try and bring back the glorious scale we are all used to in Star Wars films.
The main problem here that kills this movie on arrival is the storytelling, the style of storytelling here is the exact same that was done with the third season which as I said earlier was the whole “and then this happened” style. You could maybe make an argument that should get a pass for a television series (even though I would disagree because again limited amount of episodes) but for a theatrical released movie? Absolutely not, due to this it’s dreadfully paced and truly does feel like they had next to no idea what they wanted to do here so they just threw a bunch of ideas at the wall to see what sticks.
The action scenes are bland and don’t give the movie this large in scale feel like the rest of the Star Wars movies, I’m not saying small scale is bad (far from it) but when it’s painfully obvious that this is something that should have been put on streaming as some sort of special that’s when you cross a line. The action scenes just have very little power to them and not the fun or thrilling excitement, Attack Of The Clones (2002) for all its faults at least had strong action scenes that brought the viewer into the experience. None of the action scenes in The Mandalorian and Grogu even attempt to engage with the viewer, it all feels soulless and has this very “rushed out the door” type of feel.
I really don’t know what else to really say here, The Mandalorian and Grogu should not have been a theatrical release, if this were just a special they put on Disney+ then that would have probably been fine. It still would have been bad, but at the very least it would be understandable of why it’s presented the way it is. This is hands down the worst Star Wars movie to date, at least the previously mentioned Attack Of The Clones (2002) had good action scenes and The Rise Of Skywalker (2019) had decent enough acting. This is just a complete and total mess that never recovers.
The Mandalorian and Grogu is available on all VOD platforms.
The fan favorite champions — now joined by Johnny Cage himself — are pitted against one another in the ultimate battle to defeat the dark rule of Shao Kahn that threatens the very existence of the Earthrealm and its defenders.
Mortal Kombat II is directed by Simon McQuoid director of Mortal Kombat (2021). The film serves as a sequel to Mortal Kombat (2021) and is the fourth installment in the Mortal Kombat film series.
Mortal Kombat (2021) is one of those movies where I really liked it at the time it was released, but slowly it got worse and worse for me. I can definitely still say that I enjoy it, but there were definitely glaring issues that could easily be fixed. Luckily Mortal Kombat II gives some answers to those issues, while it is not perfect and definitely has room for improvement. I do think Mortal Kombat II sets out to capture a lot of the spirit of the video game franchise and does quite a great job at doing so, which leads to a pretty fun time that any fan will be satisfied with.
For starters a main criticism with the previous movie was the very odd choice to make the focus on Cole Young, a character who was made entirely from the movie. Well this movie fixes that by not having him as the focus (he’s still in the movie but now as a side character), the focus now is Johnny Cage played by Karl Urban who really knocks it out of the park. The moment Urban appears on screen you can just feel how much he captures Johnny Cage as a character, his reactions to the ridiculous nonsense that is going on actually got a few laughs out of me. Plus I think making Cage the focus was a very clever move, he’s basically an audience surrogate which means we basically go on this journey with him. It adds a little bit more of a connection between the viewer and the film, I know that might sound a bit silly to say about a Mortal Kombat movie but it strangely works.
The rest of the characters are quite great here as well, Kitana, Sonya Blade, Kano, Liu Kang, Jax, Jade, Shang Tsung, Lord Raiden and many others appear. Josh Lawson who was arguably the best part of the previous film returns as Kano and is just as effective and hilarious. Adeline Rudolph as Kitana and Tati Gabrielle as Jade are newcomers who do a great job in their respective roles. I do like the film also focusing on Kitana as well even if the character writing is not absolutely perfect, there is at least understanding of what makes these characters such as Kitana interesting to the viewer. The cast overall does a really solid job here and easily made this such an entertaining ride.
The nonstop action scenes are also quite fantastic, this time around the film is very self aware as it does make little references to modern action films and the things that fans expect mainly the whole John Wick type of action (stabbing so many people brutally with a pencil.) Which the film actually delivers on these references and manages to make them funny. The film is luckily not so self aware to the point where it becomes obnoxious and where it refuses to have fun with itself, it’s just the right amount to really draw in the viewer due to the thought of “where is it going with this?”
As far as story goes, this is very standard Mortal Kombat and that’s no where near a bad thing. If anything the film benefits from this, the film knows exactly what it wants to be and does not pretend it’s something else. It’s a film that wants to entertain the viewer throughout the experience and it mostly succeeds in the end due to just how fast paced it really is along with the cast and atmosphere.
Overall Mortal Kombat II is a much needed improvement from the previous film, there was definitely a lot more determination to really capture the spirit of the video game franchise and the end result is quite a fun time!
Mortal Kombat II is available on all VOD platforms.
Kara Zor-El, aka Supergirl, joins forces with an unlikely companion on an interstellar journey of vengeance and justice when an unexpected adversary strikes too close to home.
Supergirl is directed by Craig Gillespie director of Lars and the Real Girl (2007), Fright Night (2011), I, Tonya (2017), Cruella (2021), Dumb Money (2022) and a few others. The film serves as the second film in the DC Universe.
Supergirl is a perfectly fine superhero movie and that’s really all there is to it and that’s not a bad thing at all. For the most part Supergirl gets the job done of what it’s sent out to do, it is incredibly flawed but I do think there is just enough here to push it over the finish line.
Milly Alcock is what is mainly carrying this movie, she gives such an excellent performance as Kara and gives some edge to the character which really works. She also captures Kara as a character incredibly well, which does make the movie all the more frustrating when it goes for very safe territory. Her interactions with the rest of the cast are entertaining and unlike a lot of the movie, she never holds back which brings plenty of great moments. The flashbacks that explore Kara’s past are some of the strongest moments especially when you mix it in with Alcock’s acting.
Jason Momoa as Lobo provides the movie with some extra firepower, Momoa brings chaos and a whole lot of fun to the table. Which is a breath of fresh air seeing how some of the action scenes can quickly become a bit of the same thing, the one-liners are even quite decent (which is interesting because the dialogue in this movie isn’t great, usually the one-liners are the negative while the dialogue is the positive in movies like these…that’s different!) Momoa captures Lobo as a character quite well, even though he pops up every now and then. You can still feel his presence and when he does show up it’s admittedly always exciting.
The main issue holding Supergirl back is the writing, while there are some very strong moments such as the previously mentioned flashback scenes that when combined with the movie’s score (the score had a lot of issues during the post-production stages with switching through many composers, but all things considered it turned out pretty alright. I cannot say the same for the needle drops though.) Plus Alcock and Momoa are able to somewhat elevate the material, however the writing falters when it comes to its own ideas. The trafficking part in particular left a lot more to be desired, I get what the movie was trying to go for here and yes it’s a very heavy topic, however the execution is very lackluster and almost feels like an afterthought in a lot of ways.
It really does not help when you have an incredibly forgettable villain, Krem of the Yellow Hills is a very one note villain who feels less like a leader and more like a Dragon Ball Z movie henchmen or a typical villain henchmen that is ranked more highly than others. Matthias Schoenaerts tries his best with what he is given but it’s ultimately not enough to make the character compelling.
Finally there is Craig Gillespie’s direction, which while he is an excellent director who has shown he can deliver. It shows here that Gillespie was the wrong person for the job, the script from Ana Nogueira and the direction from Craig Gillespie are showing two very different things and they are just not agreeing with each other at all. Nogueira’s script has the trafficking subject matter and the mixed dialogue, Gillespie’s direction seems to want to focus on this very traditional action movie (with not very good special effects), the two just do not mesh well at all unfortunately which leads into a bit of a mess.
Despite my issues with Supergirl, I do think it’s a fun enough movie that barely crosses the finish line. It really should be stressed on how much Milly Alcock and Jason Momoa really save this movie, because without them the movie would not be anywhere near as fun.
Supergirl releases July 28th on all VOD platforms.
Detective Enola Holmes heads to Malta, where her aspirations merge in her most complex and dangerous case yet.
Enola Holmes 3 is directed by Philip Barantini director of Villain (2020), Boiling Point (2021) and Accused (2023). The film serves as a sequel to Enola Holmes 2 (2022).
I’m not going to write an extensively long piece about the Enola Holmes series and my experience with it, because honestly the first two movies were cute movies that had their charm and that is really about as deep as it goes. Enola Holmes 3 shows that this series has overstayed its welcome and it might be time to move onto something else.
Millie Bobby Brown does a fine enough job here, but the spark she had in the first two movies is very noticeably absent. The performance just does not land as it did previously, Henry Cavill takes a backseat for a large portion of the movie and much like Brown, his performance has gotten noticeably worse as well. Which this is a bit of a shame because I did find Brown and Cavill decently charming in the previous two movies.
To say I was shocked that Barantini directed this would be an understatement, coming off of last year’s highly successful and acclaimed series Adolescence to this is quite baffling. The direction here is incredibly poor and has no idea what it wants to say or focus on, when you mix this in with the script from Jack Thorne you lead to some very underwhelming results.
The theme this movie attempts to tackle is British colonial history which for a movie series that prides itself on talk about important subjects, the movie does a quite poor job of exploring the subject. It makes surface level observations such as “look guys this was really bad” which is quite honestly embarrassing, it truly does feel like studio executives patting themselves on the back for being performative. It can very well be argued that the previous two movies are just as guilty of this (and I would agree with you), but at the very least they were competent movies that had good things about them. With this movie you do not get that at all and the studio executives feel is a lot more blatant here.
Overall Enola Holmes 3 is quite easily the worst of the series and it’s really not even close. It adds nothing new to the series and only brings the series backwards.
Enola Holmes 3 is available on Netflix.
3/10 D-
A handwritten manuscript of Dante Alighieri’s poem “The Divine Comedy” makes its way from a priest to a mob boss in New York City, where it is taken by Nick Tosches after he’s asked to verify its authenticity.
In The Hand Of Dante is directed by Julian Schnabel director of Basquiat (1996), Before Night Falls (2000), The Diving Bell and the Butterfly (2007), Miral (2010) and At Eternity’s Gate (2018).
In The Hand Of Dante is a prime example of movie that the only question going through your mind is “how on earth did this happen?” I’m going to keep this short simply because this is one of those terrible movies where it’s not even bad in an interesting way. It is a pretentious mess that thinks so highly of itself yet its saying very little with incredibly poor acting.
Martin Scorsese is the best part about this movie and not even him being dressed up as a Gandalf and Dumbledore hybrid could save this mess (he only has a couple of scenes as well, keep in mind this movie is 2 hours and 33 minutes long.) Scorsese seems to be the only one who is able to give a somewhat decent performance, it’s not terrible and it is almost certainly not something that belongs in the looney bin like some of these other performances.
If you want to hear one of the worst Italian accents ever put to film like no further than Gal Gadot. It’s truly baffling how not a single person on set questioned this, she has no chemistry with Oscar Isaac and the movie trying to build her character does not work at the slightest. Jason Momoa and Gerard Butler feel like cartoon characters trying to copy the behaviors of humans (some of these scenes go on for so long it becomes awkward.) Oscar Isaac does not necessarily give a bad performance it’s just one that is so forgettable and feels like a whole lot of nothing.
Lastly the movie trying to capture the whole Classic Hollywood noir of the 1940s and 1950s is embarrassing. The atmosphere that made those films so great is just not present at all here nor is the thrills. There are some admittedly beautiful locations but that’s where it really ends, the movie’s mystery is confused and does not offer any sort of strong connection with the characters or its themes. It’s a complete and total mess that can only be described as a science fair project that was done the day before it was due.
Overall, In The Hand Of Dante is a disaster of a movie that is truly baffling to watch. This is one of the most bafflingly bad movies I’ve seen in quite some time.
In The Hand Of Dante is available on Netflix.
1/10 F
Jackie, President and CEO of Air Cruz, runs a tight ship in her business, including a rigid anti-fraternization policy for all her employees, which is severely tested when a sexy new lawyer begins working for her.
Office Romance is directed by Ol Parker (or Oliver Parker) director of Imagine Me & You (2005), Now Is Good (2012), Mamma Mia! Here We Go Again (2018) and Ticket to Paradise (2022).
Office Romance does not have a whole lot going on here with the exception of the birthing scene that seemingly comes out of nowhere. It’s clearly only here for shock value and that’s really about as deep as it goes. Everything else about this movie is incredibly bare bones romantic comedy cliches.
Jennifer Lopez, Brett Goldstein and Betty Gilpin give fine enough performances, but none of them are quite enough to save the movie from being a chore to sit through. They each get one or two moments to shine, but really that’s where it ends.
The movie heavily relies on its cast to do all of the heavy lifting and carry the movie to the finish line, but completely forgets that you need a good script to help give the cast something to work with and that is just not present here at all.
When a woman crashes at an empty Italian villa, posing as the owner’s fiancée, she discovers an unexpected romance that could transform her life.
You, Me & Tuscany is directed by Kat Coiro director of Life Happens (2011), And While We Were Here (2012), A Case Of You (2013) and Marry Me (2022).
You, Me & Tuscany does not have a whole lot going on here, with that being said it is a decently fun romantic comedy that has its charm.
The movie mainly works due to Halle Bailey, she’s charming and does a fantastic job at bringing the viewer into the film. The character moments have just the right amount of appearances to help build Anna as a character, the rest of the characters are easy to love as well. It’s a very fluffy movie that knows exactly what its audience wants and gives it to them proudly.
The movie can be a bit too familiar for its own good, if you have seen any romantic comedy within the last 5-10 years you can probably make a pretty strong guess as to what is going to happen. You have the setup, the miscommunication and the third act declaration of love. It’s all there and despite being predictable the movie has just the right amount of fun, solid acting and atmosphere to push this one to the finish line.
Not much else to say here, if you are a fan of romcoms this one will do the job.
You, Me & Tuscany is available on all VOD platforms.
6/10 C+
An unexploded WWII bomb is discovered on a busy construction site in the centre of London. Chaos ensues as the military and police begin a mass evacuation against a ticking clock.
Fuze is directed by David Mackenzie director of Hell Or High Water (2016), Outlaw King (2018), Relay (2024) and a lot of others. Fuze suffers from the exact same problem as Mackenzie’s last film Relay did and it’s that the third act throws a wrench into the movie and not in an interesting or good way. The twist could be seen coming a mile away but it still does break the movie.
On the plus side you do get decent performances from Aaron Taylor-Johnson, Theo James, Gugu Mbatha-Raw and even Sam Worthington. They all really try the best with the script that’s given to them, there are some decently thrilling moments plus it has this atmosphere such as this whole “when is the bomb going to go off” type of one.
The main problem here really comes down to the movie’s script, the characters are incredibly paper thin in terms of both development and personality. Sure there are moments of somewhat interesting dialogue between the characters. But unfortunately those are very far and few in between, the story is very typical heist movie affairs which would be fine enough if the third act was not a complete and total mess with a very unsatisfying conclusion.
There really isn’t much else to be said here, Fuze luckily never leans into “bad” territory but this is certainly one that I really can’t give a recommendation.
A woman seeking isolation in the Australian wilderness becomes the target of a ritualistic killer, forcing her into a brutal fight for survival.
Apex is directed by Baltasar Kormákur director of 2 Guns (2013), Everest (2015), Adrift (2018), Beast (2022) and many others.
Apex is your very typical cat and mouse thriller, the material is elevated a tiny bit due to the talent of Taron Egerton and Charlize Theron being involved. But outside of that, this is a quite forgettable thriller that doesn’t quite stick the landing.
Charlize Theron gives a solid performance here, it’s not going to go down as one of her greatest but she still has her natural charm here that works effectively. Taron Egerton plays an unhinged maniac and it works perfectly, Egerton is able to take the movie’s more over the top moments and turn them into something genuinely creepy. Plus he captures the atmosphere the movie requires so that’s always a bonus.
What the movie struggles here with the most is just not having a whole lot of meat on the bone. The exploration of grief is very hollow and really is nothing more than a jumping pad to get Sasha (played by Charlize Theron) into the woods, when you take away the movie’s surprisingly decent production value it is just another Netflix thriller that really doesn’t go anywhere that interesting.
Overall Apex is not terrible, you could easily do a whole lot worse and if you are looking for a late night watch or something quick to put on the movie gets the job done. However if you are looking for something with a lot more substance, you are going to be disappointed with this one. Hadn’t been for Theron and Egerton, Apex would have sank far sooner.
During a grueling Army Ranger training exercise, recruits encounter a deadly, otherworldly machine, turning their mission into a fight for survival against an alien threat.
War Machine is directed by Patrick Hughes director of Red Hill (2010), The Expendables 3 (2014), The Hitman’s Bodyguard (2017), Hitman’s Wife’s Bodyguard (2021) and The Man from Toronto (2022).
War Machine is a very odd duck of a movie and not in an interesting way, the movie tries to take elements from so many other action and sci-fi films such as Predator (1987), The Terminator (1984), Aliens (1986) and Independence Day (1996) all of which it fails to recapture. Also fun fact, this is the second movie to be released by Netflix called War Machine. The two films obviously have nothing to do with another as War Machine (2017) is a satirical film that’s based on real events (although fictionalized), this one however is just a very forgettable action movie.
Unfortunately this movie has its problems from the very beginning…it’s characters. A lot of the characters here are nothing but cannon fodder who get almost no time to get moments to shine. Alan Ritchson is admittedly not bad here and plays his role well enough, but without any sort of great character moments the movie struggles with making any of these characters at least memorable.
The stuntwork here is at the very least decent and somewhat makes up for the dodgy CG work, there’s a few moments that have this decent scale to them where it does feel like you are in this movie’s world. But then there are others where the CG takes you out of the experience simply due to how bad they look.
The biggest problem with War Machine is the lack of originality and director Patrick Hughes not having a distinct directorial voice. As I mentioned earlier, War Machine takes from a lot of different movies within the genre but rather than making the elements its own. It feels like the movie is lifting rather than being inspired, it becomes very apparent during the movie’s action scenes. Which leads into Hughes not having a distinct voice, I did not go into War Machine expecting anything fantastic given Hughes’s previous work, however I do think it is still incredibly lazy to not even attempt to try and find a way to make these elements your own.
Even if you took away the genre cliches, you are still left with incredibly corny dialogue and very strained attempts at emotional depth that by then the viewer has already caught on about how poorly written these characters really are.
Overall War Machine is incredibly forgettable, you could absolutely do a lot worse. If you want to just put something on in the background this gets the job done, but if you are looking for an actual great sci-fi action film you are better off looking elsewhere
Five ballerinas find themselves in a fight for their lives when they seek shelter at a mysterious roadside inn that’s run by a former ballet prodigy.
Pretty Lethal is directed by Vickey Jewson director of Lady Godiva (2008), Born Of War (2014) and Close (2019).
Pretty Lethal is basically if you took the John Wick franchise and put in five ballerinas, the movie has its flaws the major one being the character writing. However the final result is admittedly quite fun due to the action, kills, fight choreography and the chemistry between the cast.
While the performances here aren’t going to hit the ball out of the park, they are far from bad. Maddie Ziegler, Iris Apatow, Lana Condor, Millicent Simmonds and Avantika all work together quite nicely especially during the action scenes where they use some team up techniques. You can really feel the passion and fun through these scenes, as I said before the character writing has its issues. We really do not get a whole lot of information about the girls outside of Bones (played by Maddie Ziegler) and Princess (played by Lana Condor), even then it is very surface level at best. Despite that however the girls are able to make it work and deliver satisfying enough performances. Uma Thurman gives an incredibly campy performance that is entertaining enough to stand (although the dialogue really does not help in some cases.)
The fight choreography combined with the kills are the movie’s best parts, the kills are surprisingly brutal and match the thrilling atmosphere the movie is going for. The fight choreography is especially impressive when the previously mentioned team up techniques are shown off, it feels like the cast is in sync with one another which actually tells a lot more about their bond than the script ever does.
The main problem here as I said before is the character writing, it ranges from not being really present to surface level and that becomes apparent later on when the movie tries to bring in the emotional moments which sadly do not really work. They feel very tacked on and while the acting works decently enough, the corny dialogue that rears its head is not doing the movie any favors.
Overall Pretty Lethal is decently fun, it’s not a great movie and it’s completely understandable if someone checks out of this movie early on. However I would be lying if I said I did not have fun with it, the movie does just enough to satisfy the viewer if they are looking for great kills and excellent choreography.
Michael Mason is a recluse on a remote Scottish island who rescues a girl from the sea, unleashing a perilous sequence of events that culminate in an attack on his home, compelling him to face his turbulent history.
Shelter is directed by Ric Roman Waugh director of Snitch (2013), Angel Has Fallen (2019), Greenland (2020), Kandahar (2023), Greenland 2: Migration (2026) and a few others.
There is only so much you can say about these Jason Statham action thriller movies at this point, some of them such as The Beekeeper (2024) have a lot more going on than others. If you go into Shelter wanting more you are going to be disappointed, with that being said the movie is ultimately very forgettable.
Jason Statham does a decent job once again, there is a classic saying “if it ain’t broke, don’t fix it” and that absolutely applies to Statham and his performances. He’s good at what he does and he undeniably has the charisma to back it up, although I will say that finding out Michael Mason (played by Statham) was a former government assassin could be seen coming from a mile way especially if you have seen other Statham films. Bodhi Rae Breathnach as Jessie is great here as well, there’s times where it almost feels way too good of a performance for this movie, luckily the movie does take advantage of this and ends up making Jessie somewhat of an interesting character.
The action is pretty standard, there isn’t anything truly exciting going on here. However when you combine it with some of the set pieces (the club scene in particular) you do get something pretty neat every now and then. The cinematography from cinematographer Martin Ahlgren is solid and he manages to capture the movie’s atmosphere and suspense that it’s going for, even said suspense does not always land.
Overall Shelter isn’t terrible, it’s ultimately just another Jason Statham movie that is forgettable but does have a handful of good elements about it.
Jerome Reviews... 