Fireside Films)

By: Shawn McKee

It’s been almost 35 years since Mortal Kombat debuted in arcades, bowling alleys, and gas stations everywhere. Yes, arcade machines were once common in gas stations, where a Slurpee and a handful of quarters were all you needed.

Riding the massive success of Capcom’s Street Fighter II in the early ‘90s, Midway’s Mortal Kombat quickly stood out as a serious contender to be reckoned with. Its combined digitized graphics, distinctive martial arts influences, and a dark, mystical aesthetic with unprecedented levels of violence, launched a global phenomenon that continues to resonate today.

As fighting games, Street Fighter II and Mortal Kombat had their unique differences that set them apart. In Street Fighter II, the defeated opponent was taunted by the victor in a cut screen before the next fight. No such fighters were spared in Mortal Kombat, where matches often ended in bloody “Fatalities” (for those skilled or lucky enough to pull them off).

Mortal Kombat featured decapitations, heart-ripping, and other gruesome deaths that may seem primitive by today’s standards, but nothing compared to the initial shock of witnessing Sub-Zero rip off an opponent’s head with the spinal cord still dangling. Of course, such bold and graphic gameplay was not without controversy, ultimately contributing to the creation of the Entertainment Software Rating Board (ESRB) rating system that remains in use today.

Midway Games quickly capitalized on the success of Mortal Kombat with the release of Mortal Kombat II in 1993. Not only did the sequel improve upon its predecessor, but it is widely regarded as one of the best entries in the franchise and one of the greatest fighting games ever made. The series continues to this day across nearly every major home console, producing more entries than one could count.

The franchise’s popularity led to the early PG-13 film adaptations Mortal Kombat (1995) and Mortal Kombat: Annihilation (1997). In 2021, both longtime fans and newcomers were introduced to a more faithful—and far bloodier—reboot with Mortal Kombat. The recent release of Mortal Kombat II further continues the legacy of one of video game history’s most iconic and brutal franchises.

Much like the game that inspired it, Mortal Kombat II improves upon its predecessor with expertly choreographed fight scenes, sharp humor, and satisfyingly over-the-top violence. The film succeeds as both thrilling escapist entertainment and a worthy continuation of the franchise.

The story begins in the Outworld and introduces Princess Kitana (one the two mysterious masked female fighters from the original game, played here by Adeline Rudolph) as a young girl. Her father’s kingdom is conquered by the nefarious Emperor Shao Kahn (Martyn Ford), who ushers in an era of darkness. Several years later, a tenth tournament takes place to decide the fate of Outworld.

The thunder god Raiden (Tadanobu Asano) assembles a roster of familiar Earthrealm fighters that include Sonya Blade (Jessica McNamee), Jax (Mechcad Brooks), Liu Kang (Ludi Lin), and washed-up martial arts movie star Johnny Cage Karl Urban). Shao Kahn’s roster includes Shang Tsung (Chin Han), Sub-Zero/Noob Saibot (Joe Taslim), Kitana, Kung Lao (Max Huang), Kano (Josh Lawson), Queen Sindel (Ana Thu Nguyen), and others. Loyalties, however, aren’t what they seem, with sides being played throughout. Baraka (CJ Bloomfield) even makes an appearance as a neutral party of sorts enlisted to aid the Earhrealm fighters.

Arguably the film’s standout fight scene is the clash between Liu Kang and Kung Lao, who fights under Shao Kahn’s control. The emotional weight and visceral intensity of two former allies forced into combat make the sequence worth the price of admission alone. In a subtle but effective nod to the games, the film frequently opens its fights with a wide shot that mirrors the iconic “Fight” stance, with opponents positioned on opposite sides of the screen.

The two unlikely protagonists, Kitana and Johnny Cage, portrayed by Adeline Rudolph and the always reliable Karl Urban, are perfectly cast in their respective roles. Urban shines in the role and perfectly encapsulates an actor past his prime who reluctantly joins the tournament against his better judgment.

I’m pleased to say that just about everything in the film works. The action moves along at a brisk pace with versatile backdrops and eye-popping visuals throughout. The reliance on CGI is evident and often necessary, but it never becomes so excessive that it feels cheap or inauthentic.

For a live-action video game adaptation, the film succeeds in honoring its source material while bringing an unexpected sense of realism to the experience. Most importantly, viewers don’t need to be longtime fans of the games to enjoy the movie, depending on their tolerance for unapologetically over-the-top violence.

The film’s success can be credited to director Simon McQuoid and his talented cast and crew, who deliver an effective tribute to one of the most recognizable and innovative fighting game franchises alongside Street Fighter.

Mortal Kombat II delivers plenty of spectacle, though some of the larger set pieces, particularly the multiple climactic battles near the end, border on excess. Baraka is a welcome addition but suffers from an unintentionally goofy character design (obvious in early promotional stills). Kano also returns with constant wisecracks that wear thin over time.

Despite its flaws, the film never pretends to be anything more than an action-packed visual thrill ride. It succeeds based on its genuine investment in its characters and clear respect for the franchise on which it is based. After seeing it, I commented to my wife that it felt good to see an old-fashioned R-rated movie again.

It had no agenda, it wasn’t watered down, and it only sought to entertain. Test your might and check it out. It’s a nearly flawless victory.

Rating: 4/5 Stars

Album Review: The Last Dinner Party – From the Pyre (Island Records)

By: Shawn McKee

After years of touring and gaining popularity through word of mouth, British indie rock band The Last Dinner Party made an indelible impact on the scene.

Their 2024 debut album, Prelude to Ecstasy, proved to be an art rock triumph, further solidifying their status as one of the most original and innovative bands of the post-COVID era. Almost two years later, their second album, From the Pyre, sporadically delivers on the full potential of a band at the height of its powers.

How does one follow such a strong debut? Rock bands like The Strokes, The Killers, and Pearl Jam (to name a few) all had to prove their first success was no fluke, while constantly living in the shadow of their debut.

I offered much praise to Prelude to Ecstasy, considering it a nearly perfect album of unique and powerful songs. It embodied everything I enjoy about modern British rock (e.g., complex, multilayered arrangements, musical depth, grand production, etc.) So, how does the latest album measure up?

I tried my best to temper expectations and listen with an open mind. Hearing a new album for the first time is always a special experience, regardless. Sometimes the music just clicks, other times it doesn’t. From the Pyre didn’t initially resonate, but like many similar works of quality, it took some time to grow on me. It is not a redux of the first album nor a completely different direction. It’s a continuation of their musical journey.

The band described the album as “character-driven,” and its multiple themes weave an existential tapestry under the banner of earthy warriors. The album cover features a collage of band members posing with various set pieces artfully arranged up a grassy hill.

A top the hill, the band ceremonially dances around a pyre near a red neon sign flashing the album’s title. It’s a cover replete with historical references, random iconography, pagan and Christian allegory, vintage fashion, and the baroque style the band is known for.

It also effectively represents the overall tone of bleakness, hope, sacrifice, and survival delivered throughout the album’s forty-two minutes. Totaling ten songs, not a single track wears out its welcome; however, it’s far from perfect.

The music, at best, is fresh, riveting, and cathartic. At worst, it’s meandering, scattered, and even bland in some areas. They also experiment with a range of harmonies (not always to great effect).

The Last Dinner Party is comprised of lead vocalist Abigal Morris, lead guitarist Emily Roberts, rhythm guitarist Lizzie Mayland, bassist Georgia Davis, and keyboardist Aurora Nishevci. Despite dominant percussion throughout most songs, the band has no permanent drummer.

As talented musicians, each band member brings a unique edge to their instrument. They also uniformly provide backing vocals, often culminating in a harmony reminiscent of Texas indie-rock band Eisley.

The album initially delivers a solid four-song lineup that includes “Agnus Dei,”“Count the Ways,” “Second Best,” and “This is the Killer Speaking.” The songs are memorable, catchy, oddly uplifting, and more impactful with each listen. “Second Best” is a dynamic rock number that exemplifies the band’s best qualities. “This is the Killer Speaking” is another standout, representing subtle darkness amidst an upbeat backdrop.

The next song, “Rifle,” has moments of greatness amidst an operatic chorus of dread. The album then slows down with three vocally driven songs with minor percussion and quiet piano. My attention waned during “Woman is a Tree,” “I Hold Your Anger,” and “Sail Away,” but there is undeniably something to be found in each track.

The momentum returns with the standout rock ballad “The Scythe,” before closing on a confident note with “Inferno.” Equally ambitious as their debut, From the Pyre has a lot to unfold amidst references to Joan of Arc, the Middle Ages, love, death, war, and the apocalypse, among other themes.

While it doesn’t carry the same weight as their first album, the band should be commended for their willingness to explore new directions. Bands like The Last Dinner Party remind us that both culture and art are very much alive and well, despite evidence to the contrary.

Rating: 3/5 Stars

Film Review: The Long Walk (Lionsgate)

By: Shawn McKee

In an alternate, dystopian world, young men participate in an annual walking marathon until only one contestant remains. The contest is a lottery of sorts, where survival of the fittest is all that matters.

Contestants or “walkers” are given a lengthy rulebook beforehand. The rules are simple. They must maintain a certain pace and cannot stop for any reason. They’re allocated a maximum of three warnings per hour.

Exceeding a final warning, they’re shot dead by accompanying soldiers. The last walker to survive is (supposedly) granted anything they want. So begins The Long Walk.

This intriguing premise was facilitated by the early works of Stephen King, based on a 1979 novel he wrote under the pen name Richard Bachman. King, of course, is the master of the setup. It seems only fitting that his latest screen adaptation would draw upon a novel he wrote in college as a likely allegory for the Vietnam War.

The Long Walk also shares thematic elements with another King/Bachman work, The Running Man, in which condemned contestants face off against American Gladiator–style killers while their deaths are broadcast as entertainment.

But where The Running Man turns carnage into ratings, The Long Walk frames its brutality as a tool to foster national unity and pride in a totalitarian society. Nearly 50 years later, King’s freshman novel has finally made its way to the big screen, and it’s clear that upon seeing the film, it was well worth the wait.

The Long Walk is an intense and at times harrowing ride, portraying a desolate America still reeling from the aftermath of a distant civil war. Poverty is rampant, while dissidents are swiftly eliminated—or “squaded”—by government mercenaries. The future appears bleak, yet even in such a world, entertainment remains essential to pacify the masses and rally support for the state.

Both the novel and the movie are unflinching in their portrayal of weaponized entertainment. The Long Walk presents a contest where victory depends on sheer strength and endurance, with the sole survivor awarded “anything they desire,” including boundless wealth.

Ultimately, it highlights the thin line between willing participants, spectators, and the grim reality of using human lives as expendable under the guise of duty and honor—echoing the gladiatorial contests of ancient Rome.

The many strengths of this film adaptation include excellent performances, expansive cinematography, haunting music, precise direction, and a genuine commitment to the source material.

Its opening moments deliver shocking immediacy and carnage—much like the stark beginning of No Country for Old Men (2007). Despite its bleak tone, the film weaves in moments of humor, heart, and intrigue, with its greatest strengths lying in the depth of its character development.

Early on, we’re introduced to the contestants on the first day of the walk. The film largely centers on Raymond “Ray” Garraty (Cooper Hoffman), who entered the contest despite his mother’s desperate pleas.

Hoffman, son of the late-great Phillip Seymour Hoffman, delivers a tremendous performance, carrying much of the film’s emotional weight. We see events unfold through his eyes, much like the novel, and he’s instantly relatable and sympathetic in the lead role.

Garraty forms a bond with fellow contestant Peter McVries (David Jonsson), and their relationship becomes the dramatic core of the film. Jonsson delivers an equally excellent performance as a genuinely good-natured person who repeatedly tries to keep morale high despite the circumstances.

The cast provides uniformly strong performances, and even brief glimpses into each character’s story create a sense of tragic loss when they’re eliminated. The film also smartly reduces the number of contestants from 100 in the book to 50, allowing for a more intimate and focused narrative.

Some contestants, like the ruthless and cunning Barkovitch (Charlie Plummer), are only in it for themselves. Others, like the sardonic Stebbins (Garrett Wareing), offer very little about themselves or their motives. Most are just normal kids, foolishly entering a contest with no discernible end.

The powerful and sadistic leader of the contest, known only as “The Major” (Mark Hamill) applauds the boy’s “patriotic” efforts with multiple bellowing speeches. Hamill has done great things (Tobe Hooper’s segment “Eye” in the 1993 horror anthology Body Bags, anyone?), but he seems a bit off in the role and never really ventures beyond caricature.

Nonetheless, the film achieves remarkable technical artistry throughout. Nearly every scene unfolds in motion, with performances and choreography seamlessly integrated into the act of walking.

Expansive tracking shots capture decaying towns and the mounting exhaustion etched across the contestants’ faces as days drag on. Time and distance are marked by mileposts, each one underscoring the relentless progression toward inevitable doom.

The Long Walk is a solid dystopian thriller that effectively captures all the right elements. I’d rank it in the top ten King adaptations overall.

Francis Lawrence, director of The Hunger Games series (not surprisingly), has ultimately crafted a horror classic a long time in the making.

Rating: 4/5 Stars

Series Review: Alien: Earth (FX/Hulu)

By: Shawn McKee

In the beginning, Ridley Scott’s Alien (1979) redefined the horror/sci-fi sub-genre. The script by Dan O’Bannon and Ronald Shusett borrowed elements from nearly every space alien film before it, while modernizing the genre with visceral, atmospheric horror.

The legendary Xenomorph design by Swiss artist H.R. Giger has become one of the most recognizable movie monsters of all time. Of course, Alien also introduced face-huggers and chest-bursters, creating an interesting dilemma for a deadly species reliant on host bodies to reproduce.

Alien gave us one of science fiction’s greatest characters, Lt. Ellen Ripley (Sigourney Weaver), who only wishes to eradicate the Xenomorphs from existence. Ripley represents humanity in an inhumane world, where an omnipresent, faceless company (Weyland-Yutani Corp) wants the alien species at all costs.

In 1986, writer/director James Cameron delivered one of the greatest sequels ever made with Aliens. The film’s strong focus on action distinguished it from its predecessor, broadening the story’s scope with thrilling and memorable scenes throughout.

Though visually impressive, Alien 3 (1992) began the steady downward trend that continued with Alien Resurrection (1997), Alien: Covenant (2017), and the ridiculous Alien vs. Predator films.

I’m no fan of Prometheus (2012), and I moderately enjoyed the much praised but forgettable Alien: Romulus (2024). Ultimately, my interest in the series barely extends beyond Alien 3. So, color me skeptical when Disney and FX announced a TV series set two years before the events of Ripley’s first encounter, called Alien: Earth.

How does the show measure up? Seven episodes in, I can confidently declare its ranking as one of the best TV events in years.

The concept of Xenomorphs on planet Earth dates to the production of Alien 3. The idea was floated until they ultimately ended up with Ripley crash-landing on a prison planet. All the preceding films were unable to expand on this idea until now.

Alien: Earth is an eight-part series featuring a large cast and a complex, multilayered plot. Its grand scope and high production values result in the cinematic quality of HBO’s Game of Thrones or other big-budget shows. The special effects (from Wētā Workshop), set design, performances, and music are all top-notch. What the show accomplishes most effectively is capturing the primal horror of the original Alien while blending it with the thrilling action of the sequel.

This is thanks in part to series creator Noah Hawley, who clearly understands the style, motifs, and terror of the Alien universe while enriching the source material. Hawley also created the equally impressive FX series Fargo, based on the Coen brothers’ classic film. Alien: Earth has a lot to say, and its dizzying plotlines may overwhelm some viewers. But for those attuned to it, the experience is as gripping as anything in recent memory.

The story is set in 2120, where five companies control the world and lead commercial exhibitions throughout the Solar System. Mankind’s endless search for immortality has led to the creation of Cyborgs (cybernetically enhanced humans), Synthetics (AI beings), and relatively new Hybrids (Synthetics with human consciousness). Hybrids are the secret creation of the Prodigy Corporation, where they essentially implant the mind of a human (in this case, terminally ill children) into an artificial being.

Prodigy also happens to be a competitor of the Weyland-Yutani Corp, which sponsored a 65-year space expedition to obtain otherworldly specimens (most likely for biological warfare). As the USCSS Maginot nears the end of its mission, collecting several extraterrestrial specimens, disaster strikes, and the vessel crash-lands on Earth, directly into Prodigy territory. Prodigy lay claim to the ship and all its cargo, leading to further conflict with Weyland-Yutani.

We’re given glimpses into the disastrous Maginot mission, its slaughtered crew, and a fully-grown Xenomorph wreaking havoc. The show wastes no time in delivering the carnage, but it also slows the pace to introduce multiple characters with differing motivations.

Cast standouts include Wendy (Sydney Chandler), the first hybrid, and Kumi Morrow (Babou Ceesay), the cyborg chief security officer and sole survivor of the Maginot.

There’s also Kirsh (Timothy Olyphant), Prodigy’s synthetic chief scientist, Boy Cavalier (Samuel Blenkin), the childlike Prodigy CEO tech trillionaire, and indentured medic Hermit (Alex Lawther), who also happens to be Wendy’s human brother (before she became a hybrid). Overall, top-rate acting is palpable across the entire cast.

The first four episodes center around the aftermath of the Maginot crash, resulting in a loose Xenomorph amidst caverns of biological horrors throughout the ship. The hybrids are enlisted to contain the cargo as Murrow is singularly focused on delivering the same cargo to its rightful owners.

Episode five, titled “In Space, No One…” is a stand-alone flashback to the events that led to the ill-fated Maginot’s crash. In writing and directing the episode, Hawley said it was to be his own Alien movie, which it aptly feels like. With one episode now left, we can only imagine where things will go.

Naturally, Alien: Earth has received widespread critical attention, earning praise as well as criticism of its writing, characters, and heavy focus on AI.

At its best moments, it’s thrilling and intense. At its weakest, it’s a bit talky. There’s real magic at work here. After what Disney and 20th Century Fox did to the Predator franchise, turning the deadly killer into inept fodder for unlikely plot-armored characters, I’m pleasantly surprised and relieved Alien: Earth hasn’t suffered the same fate.

The show pays tribute to the original and its legacy of fans without spoon-feeding them. It stands out as a testament of science fiction horror, where we Alien fans feel right at home.

Rating: 4/5 Stars

Nine Inch Nails at Benchmark International Arena in Tampa, FL on 9/10/25 Words and Photos By Shawn McKee

Throughout his nearly 40-year career, Trent Reznor has produced an enormous catalog of music. After 15 albums (including EPs) and numerous tours since 1988, Nine Inch Nails launched their ongoing “Peel It Back Tour” across Europe, the U.S., and Canada. I was fortunate to catch them at the Benchmark International Arena (formerly the Amalie Arena) in Tampa, FL.

The arena show spotlighted a lengthy list of iconic songs from nearly every album, a real treat for fans. This was my second Nine Inch Nails concert after catching them in Orlando for their “Twenty Thirteen Tour” in, you guessed it, 2013. It was an impressive show that the recent tour has only improved upon. I can’t recall a moment when I wasn’t captivated throughout their 2.5-hour performance (which felt like an hour at most).

The “Peel It Back Tour” includes Trent Reznor and frequent collaborator Atticus Ross, with a lineup featuring Robin Finck (guitar), Alessandro Cortini (bass), and Josh Freese (drums). The arena was structured with two performance spaces, a main stage for the band, and a smaller “B-stage” in the middle of the packed floor.

Opening DJ act Boys Noize kept things lively for the most part, playing over an hour’s worth of electronic music as the stadium crowd expanded, eagerly awaiting the main event. We waited as the lights dimmed and a single spotlight illuminated the B-stage, revealing Reznor before a grand piano. An eclectic set list began with the subdued “Right Where it Belongs” and then charged into a memorable evening of sound and fury.

After the opener, the band took center stage, switching gears with pulse-pounding “Wish” from their ’92 Broken EP, “March of the Pigs,” (an obvious crowd please-er), and epic rock ballad, “Reptile.”

Reznor frequently switched between the two stages to deliver some of the band’s well-known rock songs on the main stage and quieter, piano-based melodies on the small stage. It was effective in not only highlighting the versatility of the music but also keeping things fresh and engaging.

Nine Inch Nails seated at the piano in Tampa, FL on 9-10-25 (Photo by Shawn McKee).

The main stage radiated an electric light show of moody colors, visuals of rain, moving silhouettes, and video projection against the translucent curtain, which was frequently lowered throughout. Certain songs seemed to bathe the stage in deep reds or shadowy greens as the band pounded through one fan favorite after another.

The show captured the full force of their extensive work, resonating with a generation of fans now grown from their high school days. The set list unfolded in a mostly chronological order, featuring recent tracks like “Find My Way,” “Copy of A,” and “Vessel” before surging into a rapid-fire run of fan favorites, including “Piggy,” “Closer,” “Come Back Haunted,” “Mr. Self Destruct,” and “The Perfect Drug.”

They also performed the electro-synth rock “As Alive as You Need Me to Be” from the upcoming Tron: Ares soundtrack—their first film score to include the band’s moniker and not credited solely to Trent Reznor and Atticus Ross.

The artistry was at its peak during a finale that felt like a time capsule of electrifying closing numbers. Strobes and flares lit the stage through the searing intensity of “Burn” from the Natural Born Killers soundtrack.

The propulsive “The Hand That Feeds” throbbed with machine-like riffs before giving way to the inevitable “Head Like a Hole.” And then the band closed with a hauntingly beautiful rendition of “Hurt,” delivered in all its dark, melancholy glory.

I’ve long outgrown the morose teenage angst so emblematic of the ’90s (thankfully), but the music has never left me. Seeing Nine Inch Nails again was a memorable experience—a powerful tribute to their storied legacy and to the generations of fans, both young and old, who still carry it with them.

There may be more albums and tours ahead, but for now I’m satisfied with the enduring gift of rock and roll in all its forms.

Film Review: 28 Years Later (Sony Pictures Releasing)

By: Shawn McKee

In the movie business, timing is everything. 28 Days Later (2002) delivered escapist entertainment not too far removed from the tension, anxieties, and darkness of a post-9/11 world.

The gritty, realistic, and highly influential post-apocalyptic horror film resonated with audiences to great success.It reinvigorated both the dormant horror genre and zombie sub-genre, paving the way for The Walking Dead series and countless zombie films since. Of course, the Rage Virus “infected” were not zombies, but the George A. Romero influences were clear.

28 Days Later was the result of director Danny Boyle and writer Alex Garland, two brilliantly creative minds at the top of their game. Boyle, the Oscar-winning director of Slumdog Millionaire (2008), honed his distinct visual style through a diverse body of work that includes Trainspotting (1996), The Beach (2000), Sunshine (2007), and 127 Hours (2010).

Alex Garland went on to write and direct 2014’s Ex Machina, easily one of the best science fiction films in recent times. 28 Days Later also launched Cillian Murphy into the mainstream long before his best Actor Oscar win for Christopher Nolan’s Oppenheimer (2023).

The film brought together all the right elements and delivered an intense, unnerving experience that was ultimately powerful and emotionally resonant, thanks to its compelling story and characters. More importantly, it felt fresh and original.

Shot on digital video, the grainy aesthetic added to its realism. Its visual flair was accompanied by a foreboding and atmospheric instrumental rock soundtrack expertly synchronized to each scene with the kinetic energy of a music video. As part of its target audience roughly twenty-three years ago, I can attest to the effect the movie had.

Boyle and Garland have since re-teamed to deliver 28 Years Later (2025), the first of three films continuing the franchise. Hearing the news, I was genuinely excited—more than I had been for any theatrical release in quite some time.

How does the latest installment measure up?For starters, it’s a definite improvement over the sequel, 28 Weeks Later (2007). The film delivers its share of striking moments—intense chase sequences, impressive cinematography, superb special effects, and bursts of heart-pounding horror.

Like the original, it pulls no punches. Yet, I couldn’t shake the feeling that something was off. At best, it’s a mixed bag.

The story centers around a survivor community living on a quarantined island 28 years after the initial outbreak.The Rage Virus has supposedly been eradicated throughout most of continental Europe save for the British Isles.

12-year-old Spike (Alfie Williams) lives with his scavenger father Jamie (Aaron Taylor-Johnson) and bed-ridden mother Isla (Jodie Comer), who struggles with an unknown disease. Jamie routinely travels beyond the fortified walls of their coastal community to forage for food and supplies. Infected roam the hillside and surrounding forest, deterred by the rising tide that leads to the camp.

Jamie brings his son to the mainland, exposing him to the dangers that exist. Both father and son carry bows and arrows (their community has no technology or modern weaponry). Jamie presses his son to take a shot at some of the infected, thus teaching him how to survive. Spike is hesitant at first but soon makes his first kill.

While it’s interesting to see things from the perspective of a child born into this world, things gradually falter to a sense of underwhelming disappointment.

The film introduces infected variants, including bloated worm-eating crawlers and a mutated breed of stronger, more intelligent infected. There are even pregnant infected who can give birth to perfectly healthy babies for some reason.

As his mother’s condition worsens, Spike takes her beyond the camp in search of a reclusive and mysterious doctor who resides somewhere on the island. Mother and son have several close calls along the way and even encounter a group of shipwrecked soldiers who, despite being heavily armed, are no match for the infected.

They eventually encounter Dr. Ian Kelson (Ralph Fiennes), whose painted body and rambling demeanor suggest he’s gone mad. He carries tranquilizer darts, has access to modern medicine, and lives among towering temples of human skulls. It’s one of the most impressive set pieces of the movie, enough to be featured on the poster. Naturally, Fiennes gives an excellent performance, and his brief presence is a highlight.

Spike’s journey unfolds through a series of close calls, as his resistance to the surrounding dangers steadily intensifies. The movie then abruptly ends with little to no resolution. I witnessed baffled groans from the audience, some angrily bolting for the doors.

Only later did I discover that 28 Years Later was shot back-to-back with another installment, The Bone Temple, to be released next year. It makes sense, but after all this time, I expected more world-building and an artful, emotional journey through unknown horrors.

Despite the talent involved and opportunities to take the story in any direction, the movie played out more like an extended Walking Dead spin off than anything else. Strange editing, confusing pacing, forced sentimentality, and a shockingly bad soundtrack all contribute to a step down from the original.

28 Years Later is not a total failure, but it is a strangely lackluster way to introduce a new trilogy. Opinions are divided, however, with rave reviews and many calling it a masterpiece. I hope the future movies will be better, that is, if I’m willing to take another chance.

Rating: 2.5/5 Stars

Film Review: The Day the Earth Blew Up: A Looney Tunes Movie (Warner Bros. Animation)

By: Shawn McKee

Nearly 40 years after Who Framed Roger Rabbit (1988) ushered in the golden age of animation revival, Warner Bros. has released its first fully animated Looney Tunes feature film.

The long road toward this milestone is one of constant studio re-branding and mixed results. Space Jam (1996) originated from the highly popular ’90s Nike commercials, featuring Michael Jordan and Bugs Bunny. Space Jam: A New Legacy (2021) continued the trend much later, for some reason with LeBron James in the lead.

Among these live-action animated crossovers, Looney Tunes: Back in Action (2003) (directed by the great Joe Dante) was ultimately disappointing. All were not without charm or technical merits, but the latest incarnation returns to the basics. The Day the Earth Blew Up: A Looney Tunes Movie successfully captures the original Looney Tunes spirit, delivering pure escapist entertainment to audiences of all ages.

The new science fiction comedy stars Porky Pig and Daffy Duck as lifelong friends born on the same farm. Petunia Pig (Porky’s love interest) is a welcomed addition of a Looney Tunes character rarely seen since the 1940s. The rest of the cast consists of humans and a gleeful, villainous alien billed as “The Invader” fantastically voiced by Peter MacNicol.

Kids will surely enjoy the onslaught of jokes, zany humor, and vivid animation. Adults and animation buffs alike are bound to find something worthwhile. Of course, one’s enjoyment may rely on how well the film represents the Looney Tunes brand. It doesn’t always hit the mark, but it does evoke the iconic pairing of Porky and Daffy from some of the greatest cartoons ever made.

The 1950s shorts Robin Hood Daffy, Rocket Squad, and the Duck Dodgers series, to name a few, were nothing short of brilliant thanks in part to legendary animators Tex Avery, Bob Clampett, Friz Freleng, Chuck Jones, and Robert McKimson. The Day the Earth Blew Up pays tribute to their legacy with a traditionally 2D animated film released outside the saturated realm of CGI.

In 2023, Warner Bros. inexplicably shelved their live-action animated Coyote vs. Acme film, leaving an uncertain fate for future Looney Tunes projects. The Day the Earth Blew Up was originally supposed to be released streaming on HBO Max before being given a theatrical release. The made-for-streaming feel is undeniable, but the film rightfully deserves its place on the big screen.

The film’s golden-era aesthetics, impressive art design, and quality animation are a visual triumph. Despite some unevenness, it remains a fitting tribute to an increasingly lost art form. Emmy Award-winning voice actor Eric Bauza, known for voicing numerous Looney Tunes characters over the years, lends his talents to both Porky and Daffy. While he does fine, he steps into the unique legacy left by the inimitable Mel Blanc.

The premise follows Porky and Daffy as two perpetual screw-ups about to lose their home. In need of quick cash, they get jobs at the local gum factory. They soon discover an ominous intergalactic conspiracy involving tainted gum that leads to mind control of the population. Naturally, all hell breaks loose, and the world’s fate is in their hands.

The character portrayals are not without their flaws, particularly Daffy. While Porky plays the familiar good-natured straight-man role, Daffy comes off as a bit one-note. Any trace of his occasionally sharp-witted and cunning personality is mainly gone. In its place, his unrestrained, boisterous chaos dominates the film’s 90-minute duration.

Despite its modernized approach and occasional stumbles, the movie offers plenty to appreciate. Its bold vision, deep affection for the source material, and skillful blend of humor and heart showcase the power of artist-driven storytelling.

The Day the Earth Blew Up is an absurd and wild ride that hopefully encourages the making of more Looney Tunes features to come.

Rating: 3.5/5 Stars

Film Review: Nosferatu (Focus Features/Universal Pictures)

By: Shawn McKee

A demonic, shadowy figure spreads doom, despair, and death upon a 19th-century German town. The story of Nosferatu originates from Bram Stoker’s 1897 novel Dracula, which set the stage for all vampire lore and mythology to follow. Along with Mary Shelley’s 1818 novel Frankenstein, two of the horror genre’s greatest monsters were created.

The 1922 silent film Nosferatu was my gateway into German Expressionist films of the 1920s, which included The Cabinet of Dr. Caligari (1920), The Golem (1920), and Faust (1926), among others. The golden age of German cinema culminated with Fritz Lang’s epic sci-fi masterpiece Metropolis (1927) and his equally brilliant mystery thriller M (1931), starring Peter Lorre.

This period of innovation and landmark filmmaking ended upon the collapse of the Weimar Republic and the rise of the Nazi Party, which subsequently turned the film industry into a propaganda machine for their twisted goals.

As an unofficial film adaptation of Bram Stoker’s famous novel, Nosferatu was accused of copyright infringement by the Stoker estate. German courts ruled all copies to be destroyed, but several prints survived. It remains one of the most influential horror films of all time.

2024’s Nosferatu embarks as a tribute to the original silent film and Expressionist filmmaking. The familiar story of Dracula is told through a landscape of dreamlike visuals, fantastic settings, foreboding doom, and grotesque imagery. Unfortunately, it fails to realize its potential as a memorable Gothic horror film.

Director Robert Eggers delivers grandness to this obvious passion project. There’s no doubt he’s a talented filmmaker. His eye for authenticity in set design, costumes, and dialogue is admirable and immersive. I liked The Witch (2015) but never saw The Northman (2022). And I’m not a fan of The Lighthouse (2019).

Ultimately, I was taken with Nosferatu’s style, atmosphere, and darkness, but something didn’t quite add up. Its deliberate pacing and attention to detail should have left little room for confusion, whereas Eggers does exactly that.

His attempts to bring something new gloss over pivotal details and turn Nosferatu into a tale of possession, obsession, and psychic connections. Aside from muddled character motivations, the plot unfolds conventionally in the fictional 19th-century town of Wisborg, Germany.

Thomas Hutter (Nicholas Hoult), newlywed husband to Ellen (Lily-Rose Depp), is summoned to a remote castle in Transylvania by his employer Herr Knock (Simon McBurney) to finalize a real estate transaction with the mysterious Count Orlok (Bill Skarsgård). Herr Knock (aka Reinfeld) is actually a devoted servant to the Count, aiding him in his menacing quest.

After an arduous journey, Hutter finds himself captive in Orlok’s castle unable to warn his wife of impending doom. The Count purchases property in Wisborg after seeing a small portrait of Ellen on her husband’s locket. He then travels by ship with coffins of cursed earth and unleashes a plague of disease-ridden rats upon the unsuspecting town.

Hutter escapes, returns home, and finds his wife in the throes of demonic possession. A sympathetic doctor, Dr. Wihelm Sievers (Ralph Ineson), can’t determine what’s wrong with her. They then enlist the aid of disgraced Professor Albin Eberhart Von Franz (Willem Dafoe) to save Ellen and stop Count Orlok before it’s too late.

Hutter and Von Franz are, of course, based on Jonathan Harker and Dr. Abraham Van Helsing from Stoker’s novel, and the film reuses most of the names from its 1922 predecessor which changed them to avoid similarities to Stoker’s novel. Dafoe also naturally stands out, bringing some much-needed warmth and humor.

Perhaps the greatest treat is the depiction of Count Orlok famously played by Max Shreck in the original. Skarsgård’s portrayal may be polarizing, but it completely worked for me. His deep, menacing voice, thick accent, labored breathing, and guttural growls were jarring and fascinating to behold.

Largely shot within shadows, Orlok looks the part of a repulsive and immortal recluse from the Carpathian Mountains, replete with decayed skin, long, claw-like hands, and a thick mustache. Keeping his appearance a secret from the trailers and movie posters was also a genius stroke in advertising, as his brooding, mysterious presence carries the film.

This is no romanticized vampire tale either. As an ominous prophet of doom, Orlok embodies pure evil and leaves behind a wasteland of apocalyptical horror in his wake. Scenes of a desolate, disease-ridden Wisborg are chilling and harken back to the profound bleakness brilliantly captured in Werner Herzog’s 1979 remake, Nosferatu the Vampyre. There are also lots of rats, so consider yourself warned.

Nosferatu’s tragic tale of sacrifice lives on in an effectively dark and sinister reimagining. Though it’s not a movie without flaws. Those expecting a conventional big-budget horror experience might be disappointed. Random jump scares employed throughout worked on the audience but mostly annoyed me.

The results make one long for the visual splendor, excitement, and coherence of Francis Ford Coppola’s Bram Stoker’s Dracula (1992), which remains a modern-day classic, in my opinion.

Conversely, the movie’s trappings could also be its strong points. If Eggers had simply remade Nosferatu, emulated Coppola’s vision, or modernized the story to make it more accessible, it would be something else. It wouldn’t be art in all its confounding glory.

Rating: 3/5 Stars

Film Review: Reagan (MJM Entertainment)

By: Shawn McKee

Growing up in the ’80s, Ronald Reagan was a big part of my childhood. I recall his Oval Office addresses on TV or addresses to the nation with First Lady Nancy Reagan by his side.

Granted, I had little understanding of what was happening in the world, and the non-stop coverage of the Iran-Contra affair of the mid-’80s bored me to tears (as all news did). But I remember his black hair and measured, kindly-speaking voice. They called him “the great communicator” for a reason.

Reagan won two landslide Presidential elections, ushering in a new era of conservative governance. He was as emblematic of the time as the Sony Walkman, Alf, Mr. T, and neon apparel.

In the 1980s, we were in the final throes of the Cold War. This ideological battle between the U.S. and the Soviet Union lasted for decades almost immediately after WWII. Russia established an Iron Curtain dividing Europe into two separate areas. The Berlin Wall, dividing East and West Germany, was a part of this tyranny. Fear of nuclear war was a very real concern.

Throughout the Cold War, the U.S. faced immeasurable odds hindering Russian influence and the spread of Soviet-style communism worldwide. Reagan came along with a singular vision. His strategy was simple, “we win, they lose.”

Nearly twenty years after his passing in 2004, the new biopic Reagan (2024) examines the life and times of the nation’s 40th President and his lasting impact. The film covers a lot of ground, from Reagan’s earliest days to his acting career, his tenure as president of the Screen Actors Guild (SAG), Governor of California, and rise to President of the United States.

Based on Paul Kengor’s 2006 book The Crusader: Ronald Reagan and the Fall of Communism, the historical drama delivers a surprisingly complex portrayal of Reagan’s motivations, failures, and triumphs. It acts as neither a hit piece nor a glorification. As a sentimental biopic, it hits all the right notes and confidently breezes past its two-hour running time with style and grace.

Perhaps the most interesting (and impressive) aspect of the film is Dennis Quaid’s excellent performance. He transcends caricature, defying skeptics like me to fully embody Reagan—down to his mannerisms and speech patterns. I don’t care what mainstream critics say, it’s great acting and fascinating to watch.

Penelope Ann Miller also holds her own as the devoted Nancy Reagan who seemingly came into Reagan’s life at the right time and helped propel him to greatness. Mena Suvari portrays Reagan’s first wife Jane Wyman. Kevin Dillon plays Jack L. Warner, co-founder president of Warner Bros.

Other recognizable faces include C. Thomas Howell as Secretary of Defense Casper Weinberger, Xander Berkley as Secretary of State George Shultz, and Robert Davi as Soviet General Secretary Leonid Brezhnev.

Jon Voight portrays fictional former KGB Soviet analyst Viktor Petrovich (a composite of KGB agents tasked with keeping tabs on Reagan for decades). In a clever plot framing device, Petrovich narrates the story of Reagan’s life to a Russian underling in the present Moscow.

The young Russian agent seeking his counsel is baffled as to why the U.S.S.R fell. In detailing Reagan’s rise to politics amidst a declining acting career, Petrovich explains that the “cowboy from America” was always a threat to the Soviet Union because he truly believed in defeating them. He was a man driven toward antipathy to communism at an early age. And as Petrovich explains, Reagan’s views emboldened over time.

Following the failure of his first marriage and tenuous tenure as SAG president, Reagan (a former Democrat) met Nancy and entered Republican politics in the early 1960s. He ran and lost against Gerald Ford in the 1976 Republican primary, only to run and win against Jimmy Carter in 1980. The rest was history.

The film moves chronologically throughout these key moments in Reagan’s life at a hurried pace that teeters on summary. Much of the second half is devoted to Reagan’s time as President and the showdown with the Soviets.

We get glimpses of his assassination attempt in 1981, Iran-Contra, the AIDS crisis, “Reaganomics,” Regan’s proposed Strategic Defense Initiative (SDI), tense meetings with Soviet officials, and an unlikely respectful relationship between Reagan and Soviet leader Mikhail Gorbachev.

The rousing climax delivers the defining moment of Reagan’s legacy, his 1987 Berlin Wall Speech in West Berlin. “Mr. Gorbachev, tear down this wall” is a moment in history and in the film that should make anyone proud to be an American.

However, the story is nuanced enough to acknowledge the contributions of U.K. Prime Minister Margaret Thatcher, Pope John Paul II, and Gorbachev himself in bringing down the Soviet Union.

Reagan is not the end-all to the man’s legacy. The film accomplishes what it sets out to do—tell the story of one of the most consequential figures of the 20th century. It’s not without its flaws and pacing issues, as the tendency to overlook or summarize historical events seems choppy.

It also lacks the technical prowess and brilliance of something like Oliver Stone’s JFK (1991) or Nixon (1995). However, with Stone at the helm, it would have been an entirely different picture.

In addition to great performances, Reagan is filled with humor and heart. It undoubtedly presents a positive portrayal of our 40th President and, as a result, has plenty of detractors. Just look at what the mainstream critics are saying. Only someone like Ronald Reagan could be so revered and abhorred even today.

Most importantly, the movie validates Reagan’s lifetime fighting communism and bringing down the Soviet Union. We did win, and they lost, and the world was a better place because of it.

Rating: 3/5 Stars

Ladytron and Danz CM at The Orpheum in Tampa, FL on 8/28/24 Words and Photos By Shawn McKee

I had never been to The Orpheum in Tampa before, and I don’t usually drive far for concerts on weekdays, but this time, there was good reason. UK-based electronic/rock band Ladytron was in town as part of their North American tour with synthpop prodigy Danz CM (formerly Computer Magic) opening.

Both artists could be described as electronically driven, multi-layered, new-wave indie rock. Or something like that. I was excited to catch Ladytron but even more thrilled to finally see Danz CM, having been a fan since around 2015, following the release of her album Davos.

The late afternoon drive from Orlando to Tampa was no picnic, especially during rush hour. I picked up my wife from work, hoping to make it by 7:00 pm when the doors opened. Despite the stress of getting there, the concert remained a chance to decompress and enjoy two great bands—a simple prospect and experience worth remembering.

The Orpheum resides in a college town near the University of Tampa. We arrived just past seven to find a steadily growing crowd inside. There were people of all ages, many with tattoos and piercings, dressed in black or donning concert shirts. Some had already gathered at the front of the darkened stage. Beyond the open floor were several glossy wooden tables with stools stretched to the back alongside the bustling bar.

Band merchandise was set up near the entrance. There was also an outside area with a bar, food truck, and plenty of space to walk around. I ordered a drink and strolled about not quite ready to stand in the merchandise line. Before too long, we designated our spot within the crowd at a moderate distance from the stage. The show was about to begin.

Danz CM is a self-taught musician and founder of Synth History (a collective) and her label, Channel 9 Records. In addition to her music, she composes soundtracks and recently partnered with the Criterion Channel to deliver a series on the history of synth-based movie soundtracks. She’s industrious, to say the least, and an inspiration to any artistically driven person with their passions still intact.

Sometime after 8:00 pm, Danz entered the stage as her banner projected onto the screen behind her. Under the dark glow of orange and blue lighting, she flawlessly delivered a brief set that strongly represented her prolific talent. She performed as a one-person band, operating keyboards and MIDI consoles while singing.

The thrill of seeing a NY-based artist I had long admired so close to home deeply resonated. The pulsating beats enveloped my senses. Catchy hooks layered with her fantastic vocals unleashed an infectious groove. Danz often switched between two different microphones for effect, while moving from one end of the stage to the other.

I was excited to hear “Idea of You,” “Low,” “Don’t Stop,” “Breaking Point,” and “I Don’t Need a Hero,” from her latest album The Absurdity of Human Existence (read my review here). Within a set largely relegated to that album, she also performed her magnum opus “Fuzz” from Davos.

Early on, she introduced some family members in attendance. Her mother lived in Tampa, and the tour provided the opportunity to visit. I was later able to meet Danz and get my record signed, making the trip even more worth it.

Rewind It’s Shawn McKee with Danz CM at The Orpheum in Tampa, FL on 8/28/24 (Photo by Jhen McKee).

I also spoke briefly with her mother near the vendor displays. “Thanks so much for bringing Danz to Tampa,” I said, with whatever ridiculous fandom that followed. She was equally gracious and as a mother, immensely proud.

Ladytron played to a packed room with a dazzling rear projection of vibrant colors that matched their equally sprawling sound. The band delivered loud, hypnotic thumping nearly deafening in execution. With most band members shrouded in the shadows, lead vocalist Helen Marine emerged under the spotlights and belted evocative lyrics in her typically ethereal fashion.

Her distinctive vocals were accompanied by heavy guitars, blasting beats, heart-stopping bass, and an effervescent, multilayered synth that formed a trance-like wave of sound. Guitarist Daniel Hunt ranged between playing clean, bluesy, and grunge-like chords with deft precision. Keyboardist and co-lead vocalist Mira Aroyo delivered beautiful harmonies, powerful beats, and layered synths.

Their combined electronic spectacle unleashed a heightened, up-tempo energy for some songs and a slower, methodical groove for others. They opened with the rock anthem “Ghost” followed by the infectious “City of Angels” from their latest album Time’s Arrow (2023).

Ladytron remains a unique blend of indie rocker Mazzy Star and goth band Switchblade Symphony but with a sound all their own.

Throughout their performance, they covered a lot of ground chronicling their 25-year career. Their set included songs from 604 (2001), Light & Magic (2002), Witching Hour (2005), Velocifero (2008), Gravity the Seducer (2011), and their self-titled 2019 album. The song “International Dateline” (a personal favorite) was one of the show’s many highlights.

It’s hard to believe these synth-pop pioneers have been around so long. But as life goes on, the music we love always grows with us. It’s a special thing to see live regardless of time or distance.