John Carter (Antonio Sabato Jr.) is some kind of lone soldier in the middle east who looks at everyone through the scope on his rifle, until one day he gets shot a bunch of times and the ... See full summary »
Antonio Sabato Jr.,
A family moves in to look after the Winchester mansion for a few months, and soon find themselves terrorized by vengeful spirits. With the help of a paranormal investigator they'll unravel the mystery of the house.
In 5th Century Britian, a young Merlin struggles for his place in his known land under the tutelage of The Mage, a local wizard whom sees the young man's potential for magic, as well as ... See full summary »
Strange lights descend on the city of Los Angeles, drawing people outside like moths to a flame where an extraterrestrial force threatens to swallow the entire human population off the face of the Earth.
A giant beanstalk brings Jack to a land in the clouds filled with snarling, evil beasts. When the creatures make their way to the ground, Jack must figure out how to get back down before they destroy earth and everyone in it.
This is the Asylum's knock-off imitator of the big BATTLE: L.A., and it's pretty dull. The film is muddled by poor pacing, extreme predictability, characters we don't care about, and lack of scope. Budget reasons no doubt affected the latter, resulting in a film that never really visualized the full extent of its concept; all of the action stays concentrated within a small group. Amidst that microcosm, however, the film has action aplenty, although much of it is hampered by the director's turgid pacing reaction shots hold forever and are repeated over and over at the expense of engaging editing and propulsive forward motion so that the film even at its most exciting seems to proceed at a snail's pace. Cast does okay, especially Nia Peeples as an Area-51 styled military agent whose skill with a katana sword, however incongruous in the modern military, is thrilling, and Robert Pike Daniel as a crusty old-school soldier who takes pot shots at the alien saucers with a revolver, and steals the whole show. A first-rate synth-and-samples score by Brian Ralston & Kays Al-Atrakchi gives the story what propulsion it manages to gather. As the equivalent of a "B" movie it's passable entertainment for the undemanding, but most of us are demanding coherency and creativity. BoLA's story sustains little of that.
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