• THE INNOCENT
• Starring: Rakel Lenora Flottum, Sam Ashraf
• Directed by: Eskil Vogt
• Rating: unrated
• Running Time: 1 hr 57 mins
• IFC Films

• TOP GUN: MAVERICK
• Starring:  Tom Cruise, Miles Teller and Val Kilmer
• Directed by:  Joseph Kosinski
• Rated:  PG 13
• Running time:  2 hrs 11 mins
• Paramount

In April of 1986 I was in the movie theatre business.  I had begged the home office – and convinced them – to give me “Top Gun” as one of my summer pictures.  I displayed the posters and ran the trailers, listening to the audience’s excitement when the preview ended.  I was set.  Then, during the first week of May, our company Vice President visited me in my office.  To get the full picture in your head, I’ll preface his comments by letting you know that he sounded an awful bit like Fozzie Bear.  “Michael,” he said, “I’ve just come from seeing what will be the biggest film of the summer.”  “Top Gun,” I asked.  “No, “Cobra.”  You’ll play it for months!”  “So I’m playing “Cobra” AND “Top Gun?” – my theatre was a twin – “Top Gun”??  That won’t play through June.  Believe me, my friend, you want “Cobra.””  So I played “Cobra,” which fizzled out after 2 weeks.  The other theatre in the area got “Top Gun.”  It played through August!

As his jet rockets through the sky, Captain Pete “Maverick” Mitchell (Cruise)begins a difficult maneuver and, as he often does in these situations, quietly whispers “talk to me Goose.”   It’s something he’s done for the past three-plus decades and it’s always seemed to work.  Will it work this time?

Packed with wall -to-wall action, “Top Gun: Maverick” finds, well, Maverick, back as an instructor at the Fighter Pilot Training School, where he is asked to get 16 of the best pilots ready for a mission.  He balks at first at the assignment, stating his preference to be a part of the mission itself, but is told in no uncertain terms by his commander (Jon Hamm) that he’s just there to train and evaluate.  However, things get a little more difficult when he learns that one of the students, call sign Rooster (Teller), is the son of Maverick’s late friend Goose, a young man who blames Maverick for many things, including, of course, the death of his father.  Can you say tension?

It has been 36-years since “Top Gun” hit theatres, and I’ll have to admit that I was a little wary when I heard they were making a sequel.  Anticipation grew as COVID delayed the film’s release – originally scheduled for May 2019 – for almost two years.  Let me just say, it was well worth the wait.  Combining several familiar themes from the first film, with an amazing amount of aerial action, “Top Gun: Maverick” delivers the goods.  Cruise is his usual cocky self, and that self-assurance is multiplied several times by the assortment of hot shot pilots he is given to mentor.  Teller, who bears an uncanny resemblance to the young Goose, plays a young man who should be confident of his skills but isn’t, causing him to hesitate at times he shouldn’t.  Jennifer Connelly is Maverick’s love interest this time around, playing – if my memory serves me – the daughter of a former Admiral – a daughter that Maverick may or may not have taken advantage of.  Jon Hamm and Ed Harris are well cast as the authority figures that just don’t seem to understand Maverick’s ways and it’s a genuine treat to see Val Kilmer back on the big screen.    Director Kosinski keeps the film moving at a rapid pace, while the aerial action is downright dizzying.

The film is lovingly dedicated to the late Tony Scott, who directed “Top Gun.”  I’d like to think that he would give a thumbs up and a salute to “Top Gun: Maverick.”

Directed by: Loren Bouchard, Bernard Derriman
Starring: H. Jon Benjamin, Dan Mintz, Eugene Mirman, Larry Murphy, John Roberts, Kristen Schaal
Distributed by: 20th Century Studios
Release date: May 27, 2022
Running time: 102 minutes

Our Score: 3.5 out of 5 stars

It’s crazy to this that “Bob’s Burgers” has been on the air is 2011. 11 years this show has been on Fox spanning 12 seasons and over 230 episodes. If you haven’t watched this show, I highly recommend it. It is one of those shows that you will watch and not want to miss a single line of dialogue because literally each word is gold! “The Bob’s Burgers Movie” works as a long episode of the show and delivers some great laughs. I got to admit, I was nervous if the show would hold up as a feature length film but the jokes don’t get tired and the musical acts in the film carry along everything together.

Official Premise: A ruptured water main creates an enormous sinkhole right in front of Bob’s Burgers, blocking the entrance indefinitely and ruining the Belchers’ plans for a successful summer. While Bob and Linda struggle to keep the business afloat, the kids try to solve a mystery that could save their family’s restaurant. As the dangers mount, these underdogs help each other find hope as they try to get back behind the counter.

If you are wondering how can I see “The Bob’s Burgers Movie” if I have never seen “Bob’s Burgers” the TV show, well you definitely can that’s for sure. My wife came along to the screening, who has many seen a few clips of the show and had an excellent time throughout laughing and enjoying this movie. Also all the original cast is back for the movie, which is great because they all crack me up. If you are looking for something alternative to see this summer, this film is a great option since it is fairly family friendly and packs some fun songs and non-stop jokes.

Director: Joseph Kosinski
Cast: Tom Cruise, Miles Teller, Jennifer Connelly, Jon Hamm, Glen Powell, Lewis Pullman, Charles Parnell, Bashir Salahuddin, Monica Barbaro, Jay Ellis, Danny Ramirez, Greg Tarzan Davis with Ed Harris
Paramount Pictures
Release Date: May 27, 2022
Running time: 131 minutes

Our Score: 4 out of 5 stars

“Top Gun” is one of the essentially movies to watch of the 80’s. I have seen it MANY times and even on 3D Blu-ray, which is an incredible way to view it. So here we are 36 years later and we have “Top Gun: Maverick”. You got to be a little nervous revisiting such an important film as this but this sequel stands up on its on and even surpasses the first film in some areas. “Top Gun: Maverick” also packs a punch of nostalgia and is surprising funny…I mean like belly laughing funny. This was a pleasant surprise as well. The most shocking factor of this sequel is the fact that Tom Cruise hasn’t aged in the last 36 years and delivers one of his best performances. I see this film having a very healthy run at the box office. A must see for sure this summer season!

Before we get too deep into the movie, I need to provide y’all with three important reasons to experience this film in IMAX!!! The first reason is an easy one…with IMAX you get to experience 26% more picture that in standard theaters. A lot of films these days are shooting with these specific IMAX cameras and it’s no joke you get to see more of the movie, so it’s a no brainer. Second, is that you literally fear the roar with IMAX sound. The sound easily rumbled the entire theater. The last one I didn’t know till after I saw the film, which is that there was six IMAX cameras located in each of the cockpits. This was why the aerial shots were so stunning and heart-pounding for sure.

Official Premise: After more than thirty years of service as one of the Navy’s top aviators, Pete “Maverick” Mitchell (Tom Cruise) is where he belongs, pushing the envelope as a courageous test pilot and dodging the advancement in rank that would ground him. When he finds himself training a detachment of TOPGUN graduates for a specialized mission the likes of which no living pilot has ever seen, Maverick encounters Lt. Bradley Bradshaw (Miles Teller), call sign: “Rooster,” the son of Maverick’s late friend and Radar Intercept Officer Lt. Nick Bradshaw, aka “Goose”. Facing an uncertain future and confronting the ghosts of his past, Maverick is drawn into a confrontation with his own deepest fears, culminating in a mission that demands the ultimate sacrifice from those who will be chosen to fly it.

I have to give Jennifer Connelly props for nearly taking my breath away…she looks stunning in this movie (and she is another one that doesn’t age). Her and Cruise have great chemistry and I loved their love storyline that they had together. It was cool getting to see Val Kilmer show up again as Ice Man. The aerial scenes were absolutely stunning, like I mentioned above about the sound, the seats were literally shaking in the theater. I don’t know how Tom Cruise continues to out due himself with these films but the guy is a legend and literally wins you over even if your not a fan. Looking forward to a second viewing of this film because I feel like there is so much happening that you could benefit from multiple viewings.

• DR. STRANGE IN THE MULTIVERSE OF MADNESS
• Starring: Benedict Cumberbatch, Elizabeth Olson
• Directed by: Sam Raimi
• Ratied: PG-13
• Running Time: 2 hrs 6 mins
• Walt Disney Studios

Starring: Maika Monroe, Karl Glusman and Burn Gorman
Directed by: Chloe Okuno
Rated: R
Running Time: 91 minutes
Shudder

During “Watcher,” I was reminded of a scene from the first season of “Master of None.” It shows the carefree nature of a man walking home from a night of drinking, as he giggles and dances sloppily on his way home. The flipside, which we see, is a woman, walking home, after that same night of drinking with the man, petrified because she can hear footsteps behind her. Instead of a joyous walk home, she speed walks without revealing to her potential captor that she knows she’s being followed. “Watcher” doesn’t take place in one night nor is the fear immediate, it creeps in over an hour and a half as we watch Julia (Monroe) sense and fight back against someone who may or may not be watching her from afar.

Julia, an American, starts out of her element. She’s in Romania’s capital, supporting her boyfriend who’s so busy at work, he hardly has time to see her, much less show up for dinner on time. Julia spends her days walking about town, having trouble communicating since she doesn’t speak Romanian, and wondering what is happening across the street. At night, she stares out her window and sees the lives of others, whether they’re at the dinner table, in front of a TV, or staring right back at her. She knows he’s there, even when she can’t see him. Her boyfriend shrugs it off, becoming more concerned about her mental health and damn near everyone around her seems content on brushing things off even as a serial killer stalks the streets as evident by his murders being details on the news.

The “Watcher” is a slow-burn, as it lets Julia and the audience settle into Eastern Europe, without ever making us feel fully comfortable with some affective jump scares and lingering shots that have us holding our breath. The influences are clear for this film as director/writer Okuno utilizes elements from films, like “Rear Window,” but I’m a little disappointed she never twisted any of those elements in an attempt to modernize or fool the audience. While “Watcher” is a great thriller homage that taps deeply into paranoia, it never quite does anything unique that makes it stand out as an instant classic, even though it’s shot and feels like it should be one.

Starring: Timothy Paul McCarthy, Jessica Vano and Ry Barrett
Directed by: Michael Pereira
Rated: NR
Running Time: 93 minutes

In the opening moments of “The Chamber of Terror” we meet Nash Caruthers (McCarthy), a deep-voiced renegade. He’s sealing up a member of the Ackerman crime family alive in a coffin, making short grandiose statements about his personal revenge. The audience knows nothing about any of this and yet the movie continues to chug along. We flash forward a month later where Caruthers finds himself in the Ackerman family’s underground torture dungeon where revenge meets revenge, as well as the paranormal.

Any more info would ruin “The Chamber of Terror” even though I’ll admit the first 10 minutes of the film had me wondering if I had made a mistake hitting the play button, but thankfully this is all a part of writer/director Pereira’s plan. I would implore you not to turn it off even though that opening feels like a film school student who watched “Boondock Saints” way too much. Thank God I don’t rely on my gut instincts that much or else I would have missed out on the best low budget gorefest I’ve seen in years. And by low-budget, I mean that they probably spent the majority of their budget on every exploding head, blood geyser and chunky internal organs littered across this film.

As the movie progresses, the plot gets sillier and more intricate, with characters gradually breaking the fourth wall as if they realize they’re in some kind of film worthy of an 80s Saturday night on a UHF channel. Caruthers delivers most of the silliness, fighting back against his captors in bizarre ways and delivering phony lines that even Bruce Campbell would struggle saying with a straight face. It’s a difficult film to describe because its only inherent purpose is to introduce outlandish characters and watch them interact in a blood-soaked sandbox.

“WolfCop,” another Panic Fest film that has made the rounds for its comedic approach to insane ideas, is referenced early on in the film. If you’ve seen “WolfCop,” then you know what kind of film you’re in for and if not, don’t take your love of horror too seriously, or even “Chamber of Terror” for that matter. While “The Chamber of Terror” sounds like a bad haunted house attraction in a shopping mall, the film itself is a confidently directed horror comedy that gets more ridiculous and bloody as the film goes on. By the end, you hope that Caruthers winds up in another misadventure.

Starring: Alexander Skarsgard, Anna Taylor-Joy
Directed by: Robert Eggers
Rated: R
Running Time: 2 hrs 17 mins
Focus Features

Starring: Kurt Carley, Robert Craighead and Bryce Durfee
Directed by: Pierce Berolzheimer
Rated: NR
Running Time: 80 minutes

Sometimes it’s difficult to type or relay articulate thoughts with intentionally silly movies. CRABS! is the kind of film that I could easily just type, “Turn your brain off, pop an edible or get some beers, and enjoy the schlocky magic.” However, I can’t because you’re expecting an actual critique. All I can say in my opening paragraph is if my simplistic line above about the movie isn’t something that is in your own wheelhouse of pop-culture entertainment, just go-ahead and know you won’t like this movie.

For the rest of us though…CRABS! is a melting pot of Ed Wood and Japanese Kaiju monsters, with sprinklings of Gremlins, Tremors and CGI that might break Asylum films budget. CRABS! let’s you know immediately what kind of film you’re in for as the opening sequences are as follows: a crab makes cutesie noises as a nuclear power plant explodes, a young couple is having sex vigorously on the beach in broad daylight, a crab (potentially the one that got a front row seat to radioactivity) comes up to the couple only to kill the horny lovers. Once again, if your funny bone isn’t tickled before the title credits, then you won’t like the rest of the film.

CRABS! has an eclectic cast, featuring a boy in a wheelchair looking to create robotic legs, his girlfriend and her thirsty mom who teaches at the high school in town (she acts equally flirty and airheaded with the men and students in town), a foreign exchange student who is given the most ludicrous dialogue to say with his ridiculous accent, and a Sheriff’s Department that’s only made up of two men; both who really enjoy smoking pot. The plot, which there actually is one, is nonsense and almost unnecessary. Even a hint of scrutiny would make the plot crumble like a house of cards in a windstorm. Yet again, it’s definitely the kind of film that fits the phrase, “leave your brain at the door.”

However, even though the film wears its influences on its sleeve like a soldier being pinned with badges of honor, CRABS! really doesn’t offer anything new or different to a genre that’s ever changing and evolving. While it is an enjoyable trip, it’s not a film that’ll stick with you for years or even be begging for a rewatch; I’m not even sure if an unnecessary sequel is in the future for this film. “CRABS!” is intentionally terrible, and as long you understand that you might have a lot of fun with it.

Starring: Luisa Taraz, Frederick von Luttichau and Anna Platen
Directed by: Kevin Kopacka
Rated: R
Running Time: 73 minutes
Dark Sky Films

What happens when a couple inherits a big haunting castle? Margot (Taraz) and Deiter (Luttichau) have a lot of work to do, and while neither seen worried about the creaking and dark corners lurking around the castle, both are terrified by something in the cellar, so much so Deiter doesn’t even want to go down there again. Sounds like a great horror film set-up, right? “Dawn Breaks Behind the Eyes” isn’t a horror movie though, and honestly, I’m not sure what genre it fits in other than made-up ones mouthed by people on an acid trip.

Talking anymore about the plot behind this film would give a lot away, even though it appears I said next to nothing about the script or motives of the characters. I don’t want to spoil a film, regardless of how niche it is. I will say the twists and turns the movie takes are surprisingly interesting and inventive for a film that appears to be a general homage to European horror films of the 70s. While the film isn’t a tribute, the aesthetic it’s going for allows for it to evolve and flow naturally throughout its peculiar tale. I would say I’ve seen films that have done what it does better while I’ve also seen films, like “mother!,” fail spectacularly at what “Dawn Breaks Behind the Eyes” is going for.

A little while ago I reviewed “Strawberry Manson,” a film that I would almost consider to be a cousin of “Dawn Breaks Behind the Eyes.” There is this indie vibe that radiates throughout the film, despite the fact some scenes are so impressive they could be in any modern-day blockbuster. The relation between the two films appears to be one of ambiguity. Both films have a distinct message, but it’s so layered under popping visuals and a thick atmosphere. Layering it on the original message allows the story to branch off into different notions and ideas. Both films are a head trip, providing some sustenance throughout their brief runtimes while ultimately leaving a curious viewer hungry for more. The only problem is, I’m not sure I could watch either movie ever again.

There’s plenty of fine or even great movies I’ve only watched once. I thought “Walk the Line” was an impressive biography about one of country music’s greatest acts, but I have no interest in rewatching it. So, while rewatchability isn’t a defining factor of whether something is good or not, it does beg the question why something so curious and unique doesn’t elicit an emotion that makes me yearn for a second or third helping. I equate this to the “Infomercials” that Adult Swim airs. The line between “surprisingly rewatchable” and “once is enough” is so thin in these surreal ideas, the scale could tip either way because of the slightest thing. For me, the movie is mystical, but also kind of straightforward in that you either get it or you don’t so you won’t have to worry about watching it again to see what you missed. In that regard, “Dawn Breaks Behind the Eyes,” is worthy of a gander, especially since you’ll know right away if you’re in tune with it’s funky vibes or turned off by its puzzling madness.

Starring: Robbie Banfitch, Angela Bosolis and Scott Shamell
Directed by: Robbie Banfitch
Rated: NR
Running Time: 100 minutes

According to the San Francisco Gate, 1-2 people die every year In the Mojave Desert, specifically because it’s home to Death Valley. The iconic national park is known for its unforgivable heat, a record of 134 degrees in 1913, and being the driest and having the lowest elevation on the North American continent. It seems like every fact involving Death Valley, or even the Mojave Desert, is dreadful in its own unique way. But a new reason to avoid these three million acres will be found on three video camera memory cards.

The first memory card in “The Outwaters” shows us four people who aren’t necessarily brave enough to venture into Death Valley for fun, but more or less, have a legitimate reason. Robbie (Banfitch) is directing a music video for musician Michelle (Michelle May). In tow are his brother and a make-up artist, with the men in one tent and the women in another. They aren’t ignoring any warning signs or ominous news reports before they head off into the hottest place in the world. In fact, nothing would lead them to believe they are in danger, until night falls on their first night in the desert.

In the dead of night, a booming, rattling noise is heard. Not once, not twice, but repeatedly. It awakens everyone, but no one can see the cause. Is it a nearby vehicle? Is it the distant sound of thunder from a storm? Is it otherworldly? After some tense moments, they ease their nerves by settling on the idea that it’s distant thunder, but the idea seems false. We see it on their faces as they go back into their tents. Soon though, that’s not the only disturbing thing to happen and when the proverbial shit hits the fan, it’s sudden and frightening.

“The Outwaters” spends a decent amount of time setting everything up like pieces on a chess board. While I assume most people will be checking their phones during this, the set-up is crafty in that it feels realistic, natural and ultimately foreboding. It’s like a warm sip of cocoa before being shoved into an ice-cold lake. The second half of the film can only be described as bloody, trippy and ultimately nightmarish.

What made “The Blair Witch Project” a jumping off point for those in horror in 1999, is seen once again in “The Outwaters.” Banfitch (who writes, directs, stars, edits and probably did damn near everything else) pulls out all the stops to lull us into safety before throwing us in the hellish fires of his final act, which are equally unexplainable and hard to watch. The simplicity of the shots is never grotesque, but the ideas they convey take our minds to some morbid places about what is potentially happening to Robbie and the others.

As I’ve noted before and very recently, the found footage genre is a difficult one, with very few finding a unique and different way to tell the story, but “The Outwaters” almost feels like a rebirth, making you forget about the clichés of the genre as well as some other nagging questions that arise when you watch a found footage film. For instance, why does Robbie keep filming? In the darkness of the desert, it’s the only light he has to see with and if he turns it off, what demons/monsters/aliens are waiting to pounce? We feel for him as he cries and moans with every new moment he captures on his digital handheld. Eventually it feels like “The Outwaters” transcends the found-footage genre as it becomes viler and more repulsive. This is definitely the closest we’ll ever get to someone’s nightmare coming to life on-screen.

Starring: Ethan Haslam, Johannes Grenzfurthner and Jason Scott Sadofsky
Directed by: Johannes Grenzfurthner
Rated: NR
Running Time: 90 minutes

What would be a good horror for Zoomers, the generation born in the very late 90s and early 2000s? Certain movies are able to tap into something in each generation, whether it be nuclear fears from generations who lived basically from the 50s to 80s or utilizing the internet to drum up interest like the “Blair Witch Project” did for my generation. I think “Masking Threshold” may be the kind of film that Zoomers will take notice of because it’s not your typical spook house genre film, instead focusing on the inherent narcissism that social media and self-filming can create.

The nameless protagonist, physically played by writer and director Grenzfurthner and voiced by Haslam, tells viewers that he’s an IT engineer who is going to buckle down at home and begin experimenting with sounds because he has suffered from severe tinnitus for three years. His tinnitus comes in waves, sometimes with the sounds boring into his skull like a jackhammer. He’s done his research, citing different studies and sources that have investigated the reasons behind tinnitus. Unfortunately for him, all those studies and sources have no answer and that’s why he’s looking to find his own answers.

He creates a makeshift lab in his basement, where he runs simple experiments, making notes, logging information and testing if the tinnitus is affected by any specific things. The tests, at the beginning, are ultimately harmless, but this is a film playing at a horror movie festival and you know something is going to go wrong. Is his tinnitus mad science? Is he simply being haunted? UFOs? What is it? Our lead, who explains a lot of his life in the first half of the film, is a geeky gay man whose narcissistic viewpoints have actually protected him from the torment he’s endured in life. So not only is he a minority, but is probably a minority within his own group of friends because of his perception that he’s smarter than everyone else in the room. To be fair though, he is smart. A lot of this background information and inward look at his self-obsessed nature comes in the form of video diaries that he’s uploading to Youtube, as well as his reactions to comments on social media about his experiments.

“Masking Threshold” is a first-person journey into madness. Grenzfurthner’s direction has this macabre confidence as it leads you to a paranoid isolation in hell. The film casually prepares you for the horrors that will unfold with close-ups of our protagonist doing mundane, yet kind of gross things like cleaning his ear wax, chewing loudly or other things. Maybe that’s not gross for everyone, but I find those things to be visually and audibly like nails on a chalkboard. It’s just the first of many crazy things our protagonist will subject us to in his quest for audible sanity, ironically enough.

It’s hard not to think about the pandemic during a film like this because of the isolation and depression that is accompanied with the film’s lead. In a lot of ways, we’re shown the causes of what finally happens in the finale of the film, but we’re never really given a direct link to which cause. If anything, it’s like a snowball rolling down a mountain, gradually getting bigger and picking up steam. Our protagonist’s psyche is fragile from years of crippling tinnitus and viewers are taken down a path to reveal the final nails in his mind’s coffin.

“Masking Threshold” is clever in that we’re sympathetic towards the plight of our protagonist. We understand that he’s a part of marginalized communities and is dealing with a paralyzing condition. Those moves are intentional because that sympathy will be tested and eventually spit on. If there were ever a film warning people about the perils of bathing in their own conceited echo chambers, “Masking Threshold” hits the nail on the head with a worst-case scenario that can only be created when one travels down a demented wormhole that continually feeds a broken and obsessed mind. I guarantee you’ve never seen a film quite like this before.

• DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS
• Starring:  Benedict Cumberbatch, Elizabeth Olsen and Xochiti Gomez
• Directed by:  Sam Raimi
• Rated:  PG-13
• Running time:  2 hrs 6 mins
• Walt Disney Pictures

Let me preface this review by stating that, while I have seen a majority of the MCU films, I have not seen “Doctor Strange” or the “WandaVision” series.  I say this because “Doctor Strange in the Multiverse of Madness” is the first film I’ve watched from the MCU where I think having seen previous adventures would have been helpful in discerning the story.  That being said, I found “Doctor Strange in the Multiverse of Madness” both dark and intriguing.

Time has passed since Spider-man found his way into the Multiverse.  We are quickly drawn into a horrible scene involving our hero (an excellent Cumberbatch) trying to save a young girl (Gomez) from a pretty scary creature.  Try as he might, he cannot get the upper hand.  WHOA!  Thank goodness it was only a dream.  Right?

Full of everything that makes the MCU one of the best made, and received, film series in history, “Doctor Strange in the Multiverse of Madness” is a roller-coaster ride of action and emotion.  The girl in the dream, with the great character name of America Chavez, has been searching for her family, jumping from Multiverse to Multiverse without incident.  Everyone in these films has a superpower of some sort and America’s is being able to move through the Multiverse without incident.  There are 862 Multiverses, she tells Doctor Strange, all of them very similar.  And different.  When the Scarlet Witch (Olsen) pops by on a mission of her own, things get a little hectic for our heroes.

The one thing I dislike about reviewing a film like this is that, as much as you’d like to, it would be a betrayal to the reader to spoil key scenes or characters that arise.  That being said, if you’ve seen the television spots for this film, you know at least one new face shows up in the MCU.

The script is an excellent combination of action and humor, with Cumberbatch in great form as the pompous Doctor.  Olsen is equally strong in a role that shouldn’t play as sympathetic but, thanks to her performance, does.  And young Miss Gomez holds her own on screen against these two talented performers.

So great to see Sam Raimi, the director of the first Spider-man series with Tobey Maquire, back at the helm of a superhero film and he puts his trademark eye for pacing and character development on full display. 

All in all, even without a lot of background on the good Doctor, I found “Doctor Strange in the Multiverse of Madness” amazingly good. 

Starring: Dylan Sprayberry, Robert Bailey Jr. and Valentia de Angelis
Directed by: Scott Slone
Rated: NR
Running Time: 93 minutes

If I had to pick a genre that’s hard to create something new in, it would definitely be the found footage genre. From “Cannibal Holocaust” to “Paranormal Activity,” there’s a lot of genre busting films that manage to take the basics of the genre and elevate them to a new brand or style of horror. But this seems to be a genre that’s more miss than hit in my opinion. For every “V/H/S,” there’s at least a dozen bad ones like “The Amityville Haunting” or every “Paranormal Activity” film with a number after it. So that brings us to 2022. I’m not gonna lie, “Malibu Horror Story” isn’t necessarily a good title for a found footage horror film, but never judge a film by its title or genre.

We open with four paranormal investigators in a reclusive cave amongst the mountains north of Malibu, California. They’re in this desolate location to film their latest episode and investigate what happened to four teenagers back in 2012. For more backstory on the teens, the film shows the investigators showing off what work on the episode has already been completed. From that point, we dive from found footage of the investigators into their show which features newspaper clippings, interviews with law enforcement and of course the found footage left behind by the teenagers. To the general public, the found footage only revealed that the teenagers were dirtbags. The search for the teens pretty much ended when the found footage showed the teens doing drugs and partying more than it actually show what happened to them. So, you could say it’s technically a found footage film within a found footage film or within a fake paranormal investigator show all wrapped around a conventional claustrophobic film. Either way, without getting too deep in the thick of it or confusing you, “Malibu Horror Story” structures the story like a puzzle so that we can comfortably sit back and let the mayhem and story unfold as the pieces fall into place.

The set-up and premise are actually quite clever in that it never becomes too confusing and it manages to give us enough exposition to explain things while making us thirsty for more of the mythos behind the cave and the potential Native American curse that is about to show our paranormal investigators what happens when they meddle in something they shouldn’t, much like those dirtbag teenagers. The film has some effective scares once the monster/entity/ghost/thing makes its appearance. Of course, you have to wonder why the teens continued forth once things were clearly going awry, much in the same way the paranormal investigators find out they’re someplace they shouldn’t be.

When characters keep filming, I always wonder if that’s the urge filmmakers or voyeurs get in that situation because if I was in their shoes, I’d be using the camera as a blunt weapon to escape instead of making sure I frame the monster right. I’m not the first to make an observation like that, nor will I certainly be the last. While “Malibu Horror Story” breaks the mold of found footage storytelling, it can’t help but rely on tropes to get us from point ‘a’ to point ‘b’. “Malibu Horror Story” doesn’t reinvent the wheel, but it manages to add a few neat spokes to it.