Trashtacular

When I stumbled upon the 2024 action flick "Aftermath," directed by Patrick Lussier and starring Mason Gooding, Dylan Sprouse, Megan Stott, and Dichen Lachman, I braced myself for a thrill ride filled with suspense and explosive action. Instead, what I got was a front-row seat to a demolition derby of filmmaking: a spectacular collision of bad scriptwriting, painful performances, and puzzling plot choices that could run circles around any B-movie cache.

I went into Alarum thinking, perhaps out of misplaced optimism, or just that basic human longing for improvement, that it has to be better than Armor, the last shitty Randal Emmett movie with Stallone. But you know what? It's not! If cinema is meant to offer us hope and reinvention, here is a sequel in spirit, though not in name, that squanders even that. To its defence, Alarum brings a few new weak spots to the autopsy table, but much of the decay is depressingly familiar.

There is a kind of filmic purgatory, a cinema of stalled ambition and aesthetic vacancy, where the only thing more oppressive than the endless hours of tedium is the lingering sense of money misspent. Armor is not just another addition to the b-movie landfill, it’s the sound of late-career legacy clanging hollowly on the asphalt of a bridge, the celluloid equivalent of watching Sylvester Stallone doze in real time, bracketed by echoes of his own mythos and, faintly, the dying whinny of a studio accountant’s last desperate crackle.

"Absolution," directed by a vision that eludes me, features the formidable Liam Neeson alongside a cast that includes Frankie Shaw, Ron Perlman, and Daniel Diemer. It attempts to take us on an emotional journey of an aging gangster trying to reconnect with his children while the criminal underworld supposedly seeks to thwart his efforts.