THE THREE MUSKETEERS - PART I: D'ARTAGNAN -- Swashbucking Adventure Buoyed by Intrigue and Cast12/8/2023 Review by Daniel Lima Another year, another adaptation of The Three Musketeers. This rendition, The Three Musketeers - Part I: D'Artagnan, is a lavish French production filled with the intrigue, romance, and action you'd expect from a take on the classic novel. Though there's never a dull moment and plenty here to light up the imagination, one can't help but wish that the filmmakers were a bit more inspired in how they approached the material. Like the novel, the film follows the young and brash D'Artagnan as he arrives in Paris, seeking a place in Louis XIII's esteemed royal guard. Quickly earning the friendship of the titular trio, he finds himself embroiled in a conspiracy to spark a war between the king, dissident Protestant elements, and the British crown that supports them. While faithfulness to the original work and historical fidelity (or at least, the perspective this film chooses takes) require familiarity with both French literature and history, the unfolding narrative here is as gripping as it is busy, probably the result of condensing the novel to the length of two films. As dense as the crisscrossing web of schemes and allegiances gets, every character's goals are clear, never getting too convoluted to follow. There's a thrill to watching plans come into focus only to be thwarted, be they the heroes' or the villains', and it's easy to see why this story continuously gets remixed and repeated. The star-studded cast does a great job of preventing the characters from becoming mere props in yet another retelling. The noble rogues — Francois Civil in particular — have a playful air while nevertheless displaying a serious commitment to their charge; Louis Garrel conveys someone accustomed to power yet tempered by a reluctance for conflict; Eva Green oozes charisma and mystery in her femme fatale role. A film so packed with plot might have ended feeling like a dutiful retread, but these performances make the movie something more.
While this is clearly a production with money behind it, with lots of location shooting, intricate costumes, big practical effects, and lots of extras, the scale of the budget is not reflected in the filmmaking craft. The resplendent interior of the royal palace looks just as muted and underlit as a campsite in the middle of the woods, and the camera never seeks to capture more than whoever is speaking at a particular moment. The sole bits of flair come from the action, a series of stitched-together oners and long takes, and even they amount to random bits of violence happening until the heroes prevail, with no attempt to tell a story within the set piece. It's not bad by any stretch, but it ultimately leaves the film feeling less like a grand cinematic experience and more like a particularly expensive streaming show. Despite that, The Three Musketeers - Part I: D'Artagnan is a solidly entertaining take on the well-worn novel. Though the winding narrative and the excellent cast are a bit under-served by the filmmaking, they are still enough to keep the movie engaging, enough that I myself am considering reading Dumas' tome before the second part. If that doesn't speak to the strength of this adaptation, what possibly could? The Three Musketeers - Part I: D’Artagnan is available in theaters and on demand December 8. Rating: 3.5/5
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Review by Daniel Lima If there is a word to sum up Fast Charlie at first glance, it’s “inauspicious.” A journeyman director whose best years are long in the rearview; a screenwriter whose name is on such dire films as the Equalizer series and The Expendables 2; a host of producers responsible for some bottom-of-the-barrel DTV junk. By all means, this looks like a money laundering operation that happened to get enough cash together to nab a couple of big-name stars looking for an easy paycheck. What a shock to find a fun crime thriller full of charm and heart. Pierce Brosnan plays the titular character, a fixture in the underworld of the Mississippi Delta. When an upstart gangster from New Orleans attacks his crime family, he goes on a quest for vengeance, teaming up with a taxidermist looking to leave her past behind her. In pursuit of their quarry, they reflect on the lives they’ve led thus far and how they want to spend the time they have left. On the surface, this is indistinguishable from any number of low-budget thrillers with aging leading men front and center. The film follows the conventions of this ignoble genre to a T, from narrative beats to character archetypes to lines of dialogue. It is competently shot but lacks any interesting or unique visual flourishes. There’s nothing here that could be called remarkable. Very quickly, however, Fast Charlie proves to be a cut above its would-be peers. There is a depth to the world these characters move through that seems to extend beyond the frame of the film, a sense of shared history that makes meeting every new face exciting. Those faces live up to that expectation, brought to life by an ensemble that makes the most of what could be a series of one-note caricatures (this would have been a fine send-off role for the great James Caan). The darkly comic vein running throughout, befitting a story where everyone leads such dangerous lives, goes a long way in preventing a descent into drudgery. In a word, this is fun.
The biggest assets are Brosnan and co-star Morena Baccarin. Both bring bona fide movie star turns to rote material, capturing a sense of deep regret and hopelessness in their characters. While their romance feels every bit as forced as their accents, the hope that they inspire in each other feels genuine, and by the time the film catches up to the in medias res opening, it’s impossible not to feel invested in them, predictable or not. Does Fast Charlie reinvent the wheel? Is it a seminal work in the genre? Will anyone remember watching it a year after doing so? The answers to these questions are no, no, and probably not. Is it a surprisingly enjoyable time? Does that make it better than most of its contemporaries by default? Did I log onto my library account and check out Gun Monkeys, the novel it is based on, immediately after finishing it? Absolutely. Fast Charlie is available in theaters and on demand December 8. Rating: 3.5/5 Review by Joseph Fayed A story built upon the foundation of a certain historical period is far more difficult to convey than a story set during a specific time period. Peacock, a South African gothic horror, blurs its lines between past and present, and the results are a mixed bag. After being dismissed from her school, Anna is sent to be the caretaker for an elderly man, Sarel Cilliers, on his remote farm. As soon as Anna settles in, Sarel begins going on bizarre rants and has disturbing visions and hallucinations. Sarel's behavior leads Anna to think something deeper lies within the farm and how it ties into her own past. This type of gothic horror is inherently lazy. Sarel's hallucinations look like they were filmed as part of a Children of the Corn sequel. Low budget aside, it was clear that the "threat" was nothing more than a poor horror trope rather than something that could have tied in with South African folklore. I thought the landscape was underutilized, too. While I think there's more to explore in horror than a setting like a haunted house, a remote setting is meant to be bleak and isolating. Without that, Sarel comes across as just a kooky old man who lives alone. Tarryn Wyngaard's performance as Anna was perfectly distraught and carries the film. Her expressions can really capture both timid nature and exhaustion quite well. She had me convinced she despised watching over Sarel, as I would too. However, Anna's backstory is woefully underdeveloped. The single significant event from her past isn't fleshed out enough to better understand where she comes from. This is most noticeable when she befriends another character named Jean. Her encounter with Jean feels out of place and very rushed. There is a notable lack of chemistry between Anna and Jean during his brief screen time. This placement in the final act sticks out like a sore thumb because intimacy was clearly not fathomable between those two.
Peacock is a gothic horror with a neat color palette behind its cinematography. The story simply isn't scary enough to justify its existence. It can't decide what fears it wants to expose its viewers to. Impressive acting feels wasted on a script that isn't very subtle about what secrets are being kept from its audience. This genre of horror tends to try to elevate itself above the rest of horror because it relies on being "bleak," but this film is no different than a lackluster haunted house-themed popcorn pleaser. The only difference is box office results. The scare tactics in this get old really fast, and any pretty peacock with its beautiful feathers shown on screen can't prevent the film from being too barren even for its gothic backdrop. Peacock is now streaming on IndiePix Unlimited. Rating: 1/5 Review by Adam Donato Stop-motion animation fans rejoice! Another feature-length entry is added to a subgenre seldom given its due credit. Unfortunately, this entry comes in the form of a sequel that nobody was asking for. The original Chicken Run is a childhood classic at this point, straight from a time when it wasn't abnormal for a G-rated movie to be in theaters. In what world does the sequel require parental guidance, but the original is a whole rating safer? With the movie premiering on Netflix, parents will likely throw this on and leave the room anyway. Are people nostalgic enough to stream a sequel to Chicken Run? It's a cliche to call a sequel "The Empire Strikes Back of the franchise." Luckily for Chicken Run: Dawn of the Nugget, that won't be a problem. Characters keep using the word "again" in the movie. How original can a Chicken Run sequel be anyway? This time around, the chickens are trying to break into a chicken farm to save some chickens, instead of the chickens trying to break out of the chicken farm like in the original. The opening prologue recaps the original film as if audiences need catching up. One could watch this sequel without watching the original, but that's not necessarily a good thing. The animation is arguably a lateral move from the original film. Just watch the original instead. This sequel brings nothing new to the table whatsoever. Not even a new villain. We're doing the same thing again. This sequel isn't an exact carbon copy, as the lead roles are recast. Despite Julia Sawalha and Mel Gibson still kicking, their roles were recast with Thandiwe Newton and Zachary Levi — recent Netflix favorites as Newton stars in the Big Mouth series, and Levi recently starred in a Spy Kids reboot. One could argue recasting Gibson was necessary due to his poor public perception, but to replace him with Levi is hilarious. Levi is a worse version of Chris Pratt these days. Both of these recastings are unremarkable. Rising star Bella Ramsey from The Last of Us series stars as the daughter of the main couple. Casting celebrities as voice actors is a marketing attempt that doesn't seem fruitful here as nobody is watching the Chicken Run movie because these stars are in it — it's totally uninspired casting.
Few Netflix films have stood the test of time. Even if they're good, they fade into the background of the streaming service unless they have clout like The Irishman. Chicken Run: Dawn of the Nugget is franchise nostalgia bait that will almost certainly fade into obscurity. The only way this sequel getting nominated for Best Animated Feature is a good thing is if it means Wish doesn't score a nomination. There are too many quality animated films this year to justify recommending people prioritize this one. I respect the animation style, but other than that, it's an uninspired whatever of a movie. Chicken Run: Dawn of the Nugget hits theaters on December 8 and Netflix on December 15. Rating: 2/5 Review by Jonathan Berk Batman is the character that just keeps on giving. In the spirit of the season, Prime Video has Merry Little Batman, a new animated Batman holiday movie, and yes, it contains the iconic “Jingle Bells” parody song. While this story doesn’t quite smell, it also fails to lock itself in as an instant Christmas classic. The story focuses on young Damian Wayne (Yonas Kibreab), who is determined to prove himself ready to be a superhero to his less-brooding-than-usual father, Bruce (Luke Wilson). However, in this world, Batman has defeated crime in Gotham, so there is less need for the bat. Bruce has focused on being a good father to Damian and is understandably overprotective and overbearing (considering his whole character exists due to unresolved trauma). Damian gets his chance to prove himself as he confronts many enemies in the city after finding himself home alone in Wayne Manor. Kibreab is the film’s center and does a great job with the voice acting. Damian has a lot of energy and enthusiasm. This is an “else-world” type story, as none of the characters truly resemble the canon versions of them. While Damian gets his chance to be Kevin in Home Alone, the movie gets going when Damian is forced to chase after the two burglars. Batman fans will find joy in tons of the references and Easter eggs, though it is not quite to the level of The LEGO Batman Movie. There is a clear nod to Adam West’s Batman with the Batphone. Joel Schumacher’s Batman films are referenced in a few ways, which makes a lot of sense since this Christmas special is sillier in tone than Christopher Nolan’s Dark Knight trilogy. If you’re a Batman fan, there will be many moments where you will be the Leonardo DiCaprio pointing meme. Chief among them are the number of villains from Batman’s iconic rogue gallery. The introduction of each has fun story beats, and the basis of their designs spans the various eras of the characters. There are many variations of the characters show up. The most obvious one to appear is the Joker, voiced this time by David Hornsby. This performance is probably the weakest in the film, possibly just because of the sheer pedigree he is up against. Some may feel the Joker is too scary a villain for an animated Christmas special, but we have seen the Joker work in various contexts. The laugh Hornsby does never quite feels correct, but it’s not a deal breaker.
No Christmas movie is complete without its music selection, and the soundtrack for this one is perfect. While every rendition isn’t necessarily the best version of the song, the song selection just clicks. The energy the music brings matches the action-oriented story and still gives plenty of Christmas cheer. I’m not sure if Merry Little Batman will find its way into my annual Christmas movie rotation. It is clearly geared towards a younger audience, and children ages 8-15 will probably get a kick out of this. Fortunately, parents of the target audience who also have a love of Batman will have a good time identifying all of the references in the movie. Basically, there is something for everyone and enough Christmas spirit to satisfy one’s itch. Merry Little Batman will be on Prime Video on December 8. Rating: 3.5/5 Review by Camden Ferrell DK Welchman and Hugh Welchman are a married directing duo who are most known for their 2017 film Loving Vincent, which garnered them an Oscar nomination. It was notable as the first fully painted animated film, and their new film, The Peasants, employs a similar animation style. Based on the novel of the same name, it had its premiere at the 2023 Toronto International Film Festival. This movie is visually captivating while telling a compelling yet familiar and conventional story. In a 19th century Poland village, Jagna is a young woman married off to a much older man despite being in love with his son. Through this marriage and other turmoil in the village, she endures resentment and hostility at the hands of those around her. The film is told in four parts, one representing each season, and each section sees Jagna as she grapples with ire, gossip, and abuse as she tries to make the most of the situation in which she finds herself. Written by the Welchmans, the script is fairly standard. It doesn’t try and mess with the narrative structure or play around with its dialogue and interactions in any way. It seems they likely wanted to keep it as straightforward as possible. Even though it works within the context of the film, there are some sluggish and familiar moments that can sometimes bog down the pacing and enjoyment of the film. However, when a film is so engrained in its complex visual style, I suppose it makes sense to keep the narrative as conventional as possible. The performances in this movie are all strong. While the entire ensemble elevates the film with some truly hostile and condescending performances, it’s hard to deny the show-stealer is Kamila Urzedowska who plays Jagna. She leads the film with a sensitive yet powerful portrayal of our protagonist. She captures a wide range of emotions from passionate love and happiness to heartbreaking and soul-wrenching pain. It’s a demanding role due to its brutal and uncomfortable nature, and she handles it fantastically.
While the movie has a lot working for it, the main attraction is its animation. The painted technique is used to a captivating extent here. Each of the frames are meticulously painted and animated to enhance a rather standard story. This technique is beautiful and engaging to watch, and it adds an indescribably mesmerizing quality to its more chaotic and dynamic scenes. Without its unique animation, The Peasants would just be a solid drama, but its approach to animation allows it to flourish and become a memorable viewing experience. It’s a difficult movie to watch due to its graphic content, but it’s an engaging story that overcomes its flaws with its visual style and superb leading performance. The Peasants is in theaters December 8. Rating: 4/5
Review by Sean Boelman
Waitress: The Musical is a stage recording of the show’s brief 2021 Broadway remount. Gorgeous in its music, storytelling, and performances, this is a show that will take you by surprise — even if its beats are entirely familiar — by how wonderfully heartfelt yet infectiously fun it is.
Based on the 2007 movie of the same name, the musical tells the story of a small-town waitress and baker whose dreams come into question when she faces an unwanted pregnancy with her abusive husband. Why an indie movie from the 2000s was chosen to be adapted into a stageplay is beyond me, but the result is truly fantastic. For a story that deals with such darkness at times, it’s extraordinary how much hope and humor they are able to find in it. Viewers will be drawn into the compelling story of the protagonist, and even though she makes some decisions that may not be the most “likable,” the show has a keen eye for the humanity of all of the situations. However, it isn’t just the protagonist who is compelling. The show does a great job of giving us side characters that are just as riveting as the heroine. Although there are a few storylines that feel underdeveloped — particularly that of the protagonist’s love interest, the sexy gynecologist — others, like her coworkers, are honestly brilliant.
Although Sara Bareilles was not the actress to originate this role on Broadway, she did write the songs. As such, she clearly has a connection to the material, and it shines through with her emotionally and vocally powerful rendition of these tunes. Other standouts in the cast include Drama Desk winner Christopher Fitzgerald in a comedic relief role and Dakin Matthews, who steals every one of his very few scenes.
As far as stage recordings go, Waitress: The Musical doesn’t do anything special. It’s very straightforward in how it captures the action happening on stage, but the show itself is so extraordinary that it does all the heavy lifting. And there is enough movement and kineticism in the camera to lend the movie a sense of energy and momentum. The soundtrack of the show is tremendous, but that should be no surprise considering how many nominations it racked up during its stage run — from the Tonys to the Drama Desks and even a Grammy nod. The songs run the gamut from catchy to emotional, offering anything one could possibly want from a stage musical. Waitress: The Musical is an absolutely incredible show, and while the stage recording isn’t terribly revolutionary, the show speaks for itself. The ingredients come together perfectly, and the result is absolutely delicious and entirely satisfying. Waitress: The Musical is in theaters for five nights only beginning December 7. Rating: 4.5/5 POOR THINGS -- Lanthimos's Ambitious Sexual Odyssey Is Buoyed by a Never-Better Emma Stone12/5/2023
Review by Sean Boelman
Greek filmmaker Yorgos Lanthimos has quickly become a cinephile favorite with his English-language work like The Lobster, The Killing of a Sacred Deer, and The Favourite. With a screenplay by The Favourite scribe Tony McNamara adapting Alasdair Gray’s novel, his latest, Poor Things, is an undeniably wacky film. However, its strengths lie more with Lanthimos’s direction than McNamara’s script.
The movie follows a woman brought back to life by a scientist as she experiences the world with fresh eyes and experiences liberation. It’s a weird, sexy odyssey, but at this point, what else do cinephiles expect from Lanthimos? It’s incredible that a filmmaker so idiosyncratic has entered the relative mainstream, and Poor Things is maybe his most grand film yet in terms of scale. Every single aspect of the movie’s aesthetic is on point. The production design is wonderfully immersive, with a colorful approach that feels like a mixture of several different art styles. Robbie Ryan’s cinematography is wonderfully askew. And Jerskin Fendrix’s score is truly fantastic. However, it’s great that the world is so brilliantly immersive, as the script leaves something to be desired. At two hours and twenty minutes, the film ends up overstaying its welcome. The movie is very funny, and the protagonist’s arc is consistently compelling, but there are many moments that drag.
Poor Things is the third collaboration between Lanthimos and leading lady Emma Stone, and if this is any indication, it’s sure to be fruitful. Stone delivers what might be a career-best performance, which, considering her filmography, says a lot. However, the range she shows is astounding, with the performance evolving massively over the course of the runtime.
Stone’s excellent performance lends itself to the character’s arc. There’s a tremendous amount of nuance to the film’s exploration of female sexuality — something that one would not expect from a movie written and directed by men. However, Stone was clearly involved with the film creatively, having gotten a p.g.a. mark for her work on it as a producer, which translates to a brilliant turn. Yet, while Stone’s presence is commanding, the supporting cast manages to hold their own. Willem Dafoe and Mark Ruffalo are probably the biggest two faces, but some of the more minor performers make even more of an impact. Ramy Youssef is incredibly charming in his role and is great as an emotional grounding. Jerrod Carmichael and Christopher Abbott both only get a few scenes but make the most of them. Poor Things is undeniably impressive in terms of its pure craftsmanship, and Emma Stone’s performance is worth the price of admission alone. Still, the bloated runtime keeps Lanthimos’s latest from ranking among the upper echelon of the filmmaker’s work. Poor Things hits theaters on December 8. Rating: 3.5/5
Review by Sean Boelman
Helmed by Paddington filmmaker Paul King and starring indie-darling-turned-megastar Timothée Chalamet, Wonka hopes to revitalize the IP with a wholesome new movie musical. Unfortunately, the film is sorely lacking in the thing supposedly at its core — imagination — resulting in an outing that feels all too generic to make much of an impact, in one direction or the other.
Wonka serves as an origin story for the eponymous chocolatier of Roald Dahl’s creation, showing how he overcame the odds, going from vagabond to owner of his very own chocolate factory. At first, the film takes the form of a rags-to-riches tale, and while it’s diverting enough, it’s also rather plodding. In the second act, it turns into something more closely resembling a kiddie heist movie, but at this point, it’s too little too late to give the film the energy it needs. Beyond the story of the movie being generic, the music feels rather uninspired. Of course, no one expects a song as iconic as “Pure Imagination” to come out of this musical. Yet, the song they’re pushing for awards consideration — “A World of Your Own” — feels incredibly safe and isn’t even the best on the soundtrack. That being said, the film does manage to get some true magic out of its visuals. That Wonka is shot by a cinematographer as talented as Chung-hoon Chung (The Handmaiden, It) will allow it to delight cinephiles, at least in an aesthetic sense. The contributions of costume designer Lindy Hemming and production designer Nathan Crowley also cannot be ignored.
Ultimately, the biggest obstacle that prevents Wonka from being great is that Chalamet is nowhere near as strong in his role as either of his predecessors. King is trying really hard to lean into a sort of boyish charm that Chalamet sadly does not have. Worse yet, his singing voice isn’t all that strong. The result is a movie that should be carried on its lead performer’s shoulders but falls to everyone else.
And in terms of the supporting cast, Olivia Colman and Paterson Joseph, playing the villains, are doing the Lord’s work. The duo goes over the top in a way that infuses the film with a much-needed feeling of whimsy. Colman, in particular, is clearly having the time of her life playing an exaggeratedly tyrannical antagonist to Wonka. The rest of the A-list names in the ensemble aren’t given enough screen time to make much of an impact. Hugh Grant is fun as an Oompa Loompa but only has a few scenes. The talented Keegan-Michael Key is wasted on a recurring gag that is painfully unfunny. And others, like Matt Lucas, Rowan Atkinson, and Jim Carter, feel completely unutilized. It would be impossible to call Wonka a bad movie based on the strength of its visuals alone. However, bland songs, an uninspired story, and a tragic misuse of most of its cast mean that this film will hardly be remembered next year, much less for generations to come, unlike the other iterations of this character. Wonka hits theaters on December 15. Rating: 3/5 VENGEANCE: RISE OF THE FOOTSOLDIER -- Sixth Film in Gangster Series Is Made to Be Forgotten12/1/2023 Review by Daniel Lima The 2007 British crime film Rise of the Footsoldier chronicled the life of a football hooligan-turned-gangster, spanning a decade from his entry into the Essex underworld to the murder of his close friends that convinced him to mend his ways. A complete biographical story told from beginning to end seems like a shaky foundation for a long-running film series. Yet Vengeance: Rise of the Footsoldier is the sixth film following the exploits of this particular band of brutes. So far removed from the particular charms of the original film, it’s hard to see what else the franchise has to give. Craig Fairbrass once again steps into the role of Pat Tate, one of the aforementioned victims at the end of the first film. Set some undetermined time before his death, he leaves his South End stomping grounds for London in search of the men who killed his friend. He glowers, he threatens people, he engages in the odd bit of violence, and eventually, the movie ends. The original film might have been a cliche-ridden crime drama more interested in reveling in the freewheeling chaos of the hedonistic, id-driven men at its center than actually communicating anything, but at least the filmmaking was freewheeling and chaotic to reflect that. The sequels, however, have largely been bland and po-faced, stripping both the setting and the characters of all the personality they once displayed. Vengeance is the ultimate culmination of that decline. The trippy rave aesthetic has given way to staid and bland direct-to-video cinematography, only livened up by jarring shifts in aspect ratio. The colorful personalities of the characters have been largely sanded off, turning them into interchangeable tough guys who speak in very direct threats. Even the conceit of the story being rooted in real life is gone. Where previous entries contorted themselves to explore different angles of the events detailed in the first film, this one never even bothers to give a defined time frame. It signals a complete divorce from reality, yet no single aspect capitalizes on the promise of fantasy.
Nowhere is this more apparent than in Fairbrass’s portrayal of Pat. When introduced, he was a crass, volatile, thuggish rogue who indulged in every vice and whim — a tendency that led to his fateful demise. Watching him here, it’s a wonder anyone could ever take issue with him, as he is routinely the most level-headed, straight-talking head in the room. Calling him a likable presence in the original film would be a stretch. Still, there was something to Fairbrass’s commitment to playing up this loose cannon among loose cannons, where what he would do at any given moment was completely up in the air. Now, comparatively sedate and docile, there is nothing to distinguish the character from any number of brooding anti-heroes. Without an interesting protagonist, a dynamic visual aesthetic, a sense of place, or a spark of personality, there’s nothing to hold an audience’s attention as Fairbass goes from pub to bar to club, having terse and predictable exchanges with London criminals in search of his quarry. Yet for almost two hours, he dives into a distinctly uncompelling web of contacts and connections, including some familiar yet charmless faces from past entries who nevertheless get far too much screentime. The brief flashes of action offer a momentary respite, but it’s not enough to generate any real momentum. The film just plods along until it comes to a strangely anti-climactic finale. Vengeance: Rise of the Footsoldier is a film for no one. For the fan of the original who wants even a modicum of what made that film work for them, it offers nothing, having devolved into a generic gangster tale. For someone who wants an unfussy crime story, it’s so slow-moving and bereft of any flair (yet still marginally indebted to previous entries) that it doesn’t provide the simple thrills they’d hope for. The most that can be said about the film is that it is too rote and conventional to be a truly agonizing watch. It is a movie that is almost tailor-made to be immediately forgotten. Vengeance: Rise of the Footsoldier is in theaters and on demand December 1. Rating: 2/5 |
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