Rayne fights against the Nazis in Europe during World War II, encountering Ekart Brand, a Nazi leader whose target is to inject Adolf Hitler with Rayne's blood in an attempt to transform ... See full summary »
A stranger named Silas flees from a devastating storm and finds refuge with Tom and Gillian on their farm. While struggling with the Storm, Silas seems to be the only one who can help Tom ... See full summary »
During the Vietnam War [1959-1975] a special US combat unit is sent out to hunt and kill the Viet Cong soldiers in a man-to-man combat in the endless tunnels underneath the jungle of Vietnam. Suicide squads of a special kind.
In the ironically named city of Paradise, a recently laid-off loser teams up with his cult-leading uncle to steal a peculiar bounty of riches from their local amusement park; somehow, the recently arrived Taliban have a similar focus, but a far more sinister intent.
American journalists in Sudan are confronted with the dilemma of whether to return home to report on the atrocities they have seen, or to stay behind and help some of the victims they have encountered.
Excerpts of the life of a waiter who, living alone and isolated from the outside world developed an abysmal hatred of his fellow man. He finds himself quiz show after quiz show and then ... See full summary »
Controversial director Uwe Boll depicts the harsh reality of the process inside one of the most infamous Nazi death camps by using brutally realistic imagery. Book-ended by documentary ... See full summary »
It's a hundred years later, and the dhampir Rayne has arrived in the town of Deliverance, Montana where a group of vampire cowboys have emerged. Led by Billy the Kid, hell-bent on creating his own kingdom, he slaughters townspeople and rounds up children. He spares the life of Chicago Chronicle reporter Newton Pyles. Rayne aligns herself with Pat Garret, a member of the long-thought-dead Brimstone society, a dishonest preacher, and a lowlife named Franson, to stop Billy the Kid and show the world how the West was really won. Written by
Chris Walker (firstname.lastname@example.org)
In the scene where Billy the Kid bites the girl laying on his lap, the bite marks and blood (when viewed from girl's right profile) are located in the center of the throat. A few seconds later, when viewed from above, the bite marks and blood have moved 2 or 3 inches to the left. See more »
Newton, life is like a penis. When it's hard you get screwed. When it's soft you can't beat it.
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...but still a catastrophe. I tried to watch this movie without any prejudice, despite the horrible first part. Wild West meets vampire story, curvaceous female Blade imitator battles bloodthirsty Billy the Kid and his gang of undead outlaws - what could possibly go wrong with such a genre mix? Every director with an ounce of talent should be able to turn this idea into an entertaining movie experience. But not Uwe Boll.
Boll understands the true meaning of horror: BloodRayne II is simply a horrible movie. The first entrance of heroine Rayne is staged like a fashion show, underlayed with tacky country music. Boll films her belly shirt and leather coat from every angle, in real time and slow motion, occasionally crossfading to the legs of her horse. Then he decides that country music doesn't add the right ambiance to a vampire flick, switches to a murkily menacing soundtrack and sticks with it.
And oh boy, does he stick with it, until the audience can't hear it anymore. Can you imagine the suspenseful music of a scene right before the monster jumps from behind a corner? Good. Now imagine the same music while our heroine walks down the thoroughfare of a Western town. An utterly harmless scene. The menacing music plays on while she's being hit on by some riff-raff, still plays as she enters the saloon, gets into a short brawl, sits down for a round of poker... after 20 minutes, the climactic sounds become entirely meaningless. And annoying, since it's almost loud enough to drown out the featherbrained dialog.
The acting rivals the awfulness of camera work and soundtrack. Natassia Malthe manages to get through the movie with only three basic facial expressions: poker face, slightly bewildered poker face and mildly belligerent poker face. Zack Ward, a.k.a. Billy the 38-year-old-looking Kid, alternates between an absurd Transylvanian accent and accent-free English. Chris Coppola, in the role of an easily intimidated news writer, acts dead calm in the face of danger and almost hysterical in harmless situations.
How does Boll do it? How does he get away with a camera work that a 12 year old with a hand-cam could do better? How does he get halfway decent actors to perform worse than amateurs in a highschool play? And how the heck does he always get new movie contracts, when everything he produces turns out to be an utter mess? There must be some fans out there who like his sorry efforts. Odd that they never comment on IMDb.
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