Secret Ops agent Marcus is sent to Detroit to take out an arms dealer and the head of the hedge fund that is financing him. His CIA backup has other plans and turns on him and it's a fight to survive in a hospital.
A team of highly trained operatives find themselves trapped inside an isolated military compound after its AI is suddenly shut down. The crew begins to experience strange and horrific ... See full summary »
At a writers' retreat on an isolated island, novelist Zandra joins a group of strangers confronting their darkest secrets. But when a member of the party mysteriously disappears, they realize there's something else on the island.
Alix Wilton Regan,
Only one lusted glance brings Aliya to the events throwing her into the criminal ocean. But in the wirliging of passions and turmoil when she finds herself at the verge of fatality it's ... See full summary »
Young Emily Walton, who has suffered from psychosomatic blindness ever since the car accident that took her mother's life, must summon every instinct at her disposal to protect herself and her loved ones from a mysterious intruder.
A young, recently-released and unpredictable ex-con with bad luck, and a sexy, listless girl-next-door with a troubled family, become trapped in a downward spiral of crime and obsessive ... See full summary »
A mysterious gunman, Aman, is the son of a nun who breaks her covenant with God to ensure his survival. This act brings a curse upon Aman - all those that die by his gun will return. Soon, he is hunted by a gang of his undead former victims, led by the vicious Kansa. Aman enlists Fabulos, a new young warrior, to fight by his side.Written by
The lead character was originally named Kaos. See more »
In the end of the movie when Aman is removing the gun belt that was given to him by Fabulos to give it back to him. Aman's own gun belt is not on him even if it can be seen just minutes earlier on his waist under one that was given to him. See more »
You never forget the man who kills you for the first time. The first time is always special.
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Life is short and we do not have much time for gladdening the hearts of those who are traveling the dark way with us. Oh, be swift to love! Make haste to be kind! Journal intime. Henri-Frédéric Amiel (1821 - 1881) See more »
Wesley Snipe's career returns from the dead and feasts on spaghetti using Leone and Joderowsky's silver spoon
Synopsis: In an arid wasteland created by too many lacklustre Hollywood mash-ups, critics think they've put the final stake in Wesley Snipe's career, but surprisingly it returns from the dead and feasts on spaghetti using Leone and Joderowsky's silver spoon.
Verdict: Ambitious, imaginative and visually impressive film that warrants obvious comparison (Leone), but seems more indebted to El Topo's art direction and non-linear, Gothic, psychedelic spaghetti westerns like Matalo! and Django Kill, if You Live, Shoot! Personally, I enjoy this sort of thing, but I can see why many do not; it is brazenly uncommercial and unconventional (a brave choice at this point in Snipe's career decline), and that's part of its appeal.
Several reviews have complained about the incoherent (or completely lacking) plot, but being a fan of spaghetti westerns, I've become accustomed to going along with the film's visuals - like following a good jazz number. I found the plot to be simplistic and classic western: man seeks revenge, flashbacks ensue, he gets revenge and - here's the twist - the people he kills come back from the grave ... so man seeks young apprentice to help him kill them once again.
To some degree, I agree with the negative reviews. I did find it a frustrating and uneven watch. I couldn't help but think that a much better film was possible. Several scenes are cut in a manner that implies not enough footage was shot (made all the more infuriating by the fact that most of the film is extremely well photographed, making excellent use of the Namibian locations). There's also some reliance on rather cheap looking CGI - although the removal of heads and spinal columns was quite impressive. The voice-over narration - always problematic - sounds like a bad advert for men's cologne. The narration is made even worse by two narrators, possibly a necessity stemming from Snipe's three-year prison sentence in 2010 for failure to file income tax returns (Gallowwalkers was shot just before Snipes went to prison).
The music, so important to any spaghetti western, is also disappointing, veering from more appropriate classical to some sort of alt-rock. Lastly, the climatic journey into the "spirit world" looks like it was shot in an underground parking lot. After that, an incongruous animated credit sequence rolls by, suggesting Gallowwalkers wants to position itself with the postmodern, ironic works of Rodriguez and Tarantino. Clearly, it should have remained true to its spaghetti western DNA.
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