All posts by Movie Burner Entertainment

The Movie Burner Entertainment Organisation (M.B.E.) was founded in January 2017 by Executive Producers John Walsh (Editor in Chief), Kevan McLaughlin (Head of Development) and Stephen McLaughlin (Head of Programming) as an entertainment platform to provide Movie News and Reviews. “The Movie Burners” expanded the writing team and introduced experienced writers Chauncey Telese, D.M. Anderson, Michael McGeown, Anna-Maria McAlinney, Steven Wilkins, Philip Henry, John Gray, Gianni Damai, Gerry Brown and Elizabeth Brown (The Movie Couple) and Peter Pluymers on board with a vast knowledge of film and give their view on the latest and retro movie reviews. The Movie Burner Entertainment Organisation (M.B.E.) Official Website ( hosts the reviews. The Movie Burners Podcast hit the airwaves on SoundCloud and are now weekly shows (Box Office Chat, MBE Heroes, Movie Burner News, The Blog Rundown and The Force Friday Show) that you can find on iTunes & YouTube.

The Sonata (2018 ) Movie Review By Peter Pluymers

The Sonata Review

Director: Andrew Desmond
Writers: Andrew Desmond, Arthur Morin
Stars: Freya Tingley, Simon Abkarian, James Faulkner

Do you like a dash of classical music? And are you a fan of Gothic horror movies such as “Crimson Peaks” for example? Well, then you’ll certainly enjoy yourself with this movie “The Sonata“. However, if you are looking for a scary and nerve-racking horror, then it would be best to ignore it. Because it really isn’t creepy at all. Only the background music tries its best to make it all a bit more exciting. Even worse. In this film, classical music is even the means par excellence for opening the gate to hell so the Prince of Darkness in person can walk amongst us. All quite mysterious but the film just didn’t make it to the “horror” category.

The most unique thing about the film is the fact that Rutger Hauer shows up in it. Most likely his last achievement in the field of acting. But don’t get too excited. The number of times he appears on screen is fairly limited. He may be the central figure in this mystery, which mainly takes place on French territory, but still, he plays a minor role. Hauer plays the eccentric composer Richard Marlowe who has withdrawn to an old mansion from the 10th century to compose a final symphony there. Marlowe may not have been a famous composer, but he was a notorious one. “A trendy composer” as Charles Vernais (Simon Abkarian), the agent of the talented violinist Rose Fisher (Freya Tingley), claims. The Syd Barrett of the classical music scene, as it were. When Richard Marlowe dies, his daughter Rose (her father disappeared out of her life when she was 14 months old) inherits the estate and his notorious past. And when the wayward Rose travels to France to view the dilapidated estate, she finds, miraculously, the latest creation of her deceased father. A violin sonata that, according to her agent, could cause quite a stir in the world of classical music. Did they know that this bundle of scores full of musical notes and mysterious signs would become a completely different source of misery?

“The Sonata” is not really a movie to remember. There are too many flaws to be discovered in it. First of all, there’s the acting part. This was generally acceptable. But at times it was simply bad. As if the actors weren’t able to empathise with their character suddenly. The only one who continued to act on the same level was Freya Tingley. Not only she’s a natural beauty. Her acting as the somewhat emotionless and resentful Rose is absolutely splendid. The most disappointing thing about this film was the CGI. I haven’t seen such outdated special effects for a long time. Most probably the budget must be blamed. Especially the graphics at the end of the film was laughable. And as said before, there’s also the total lack of tension or creepiness. Apart from a single “jump scare”, this was a rather weak aspect. And many will complain about the denouement. A “That’s it?” sigh won’t be far away. And some things didn’t make much sense either. For instance. Despite the alienation from her father (even being ignorant of whether he’s alive or not), Rose doesn’t hesitate for a second to travel to France and move into a ruin that looks like a haunted house. Weird.

Naturally, you expect a film about a possessed house where restless souls roam around. In a sense, that’s true, but it doesn’t feel that way. It’s rather a film about obsession and the power that lies in music. The most positive thing about the film is the overall atmosphere they managed to create. And this mainly due to the set-up. An age-old country house with dark, drafty rooms full of cobwebs. Where people still have to use such a medieval-looking candlestick at night. But the soundtrack also contributed to the mood. Something I don’t really pay attention to normally. But I have to admit that classical music is extremely suitable to give it a more spooky touch. Only the music wasn’t enough to make it a scary movie. A nice attempt. A pleasure to see Rutger again. But unfortunately, nothing special either.

Giant Little Ones (2018) Movie Review By Peter Pluymers

Gian Little Ones Review

Director: Keith Behrman
Writer: Keith Behrman
Stars: Josh Wiggins, Darren Mann, Taylor Hickson

Just like in chemistry class at the start of the film, there’s a lot of intense experimenting among the youngsters in this movie. Especially sexually. However, when this experimenting turns out bad for Ballas (Darren Mann), he starts losing his mind. Because it could be detrimental to his reputation as a tough stallion who prefers to brag about the number of times he did it with his girlfriend. His blood brother, friend for life and partner in crime Franky (Josh “Walking Out” Wiggins) suddenly becomes the feared enemy. Franky is treated as a purebred pariah whose proximity causes paranoid reactions. As if he’s the carrier of disgusting STDs. From one day to the next, Franky belongs to the camp of the outcasts in a youth community where popular teens, who measure up to the ideal of beauty, are in charge and seem to lay down the standard rules for acceptance.

“Giant Little Ones” belongs both in the category of “Coming of age” films and the category containing films with a gay/lesbian theme. Now about that last item. The film deals with that topic in a clever way. And this by not explicitly revealing anything about the actual sexual orientation of the persons involved. At the end of the film, we still don’t know whether Franky or Ballas should come out of the proverbial closet. And that makes “Giant Little Ones” a film that feels authentic. As in reality, some people need a lot of time to discover their sexual preferences. The only personage in this film who does this coming-out is Franky’s father (a limited but defining role played by Kyle “Twin Peaks” MacLachlan). A situation that causes conflicting feelings for Franky. On the one hand, there is a love-hate relationship between him and his father. Its the opinion of Franky that Ray has disrupted the ideal family portrait and that he abandoned them. On the other hand, Franky starts to have doubts regarding his sexual orientation. There’s the question of whether or not he has inherited genetic material from his father.

The whole fuss starts when Franky and Ballas go to bed and sleep there together after a hellish birthday party, during which excessive alcohol and probably other mind-altering drugs are consumed. Initially, it all looks like a perfectly normal idea. Two friends sleeping in the same bed. Although, they both are in a questionable state. And all this because the plans Franky had with his so-called girlfriend Priscilla, failed that evening. That’s why they ended up together, instead of fooling around with their girlfriends. Anyway, it’s abundantly clear that their friendship reached a completely different level that evening. Blurred images of someone tossing and turning plus one of the two fleeing the scene early in the morning, are both good indications to back this up. When afterward Ballas takes a distant demeanor (or even better, an aggressive, hostile attitude) and visibly doesn’t want any contact with Franky anymore (and other fellow students as well), you know that shit hit the fan.

Josh Wiggins’ acting is outstanding. A fresh young man who on the one hand effortlessly is invited to the club of popular boys and at the same time has an attitude as if this reputation doesn’t really interest him. Darren Mann also played a convincing role and was the perfect choice to play the role of Ballas. He has a charisma that fits such a guy who makes peers’ lives miserable because they are less fortunate when it comes to appearance and heritage. Such a kid who must uphold his reputation with his fellow confreres and therefor degrades himself to harassment and play that annoying tough-guy routine. And of course, such a person is idolized by members of the opposite sex who practice the same standards. Let’s try and describe such a girl. A blond bimbo with a shockingly low IQ whose sole purpose in life is to open her well-shaped, slender tanned legs wide open as quickly as possible in such a way that this popular jock can get his kicks. A victory for the young lady in question whose reputation goes sky-high among like-minded female souls. And finally, I think Taylor Hickson’s role was the most moving.

Visually, “Giant Little Ones” isn’t really spectacular. But narratively speaking, it’s an excellent, almost brilliant film. The film shows how fake a part of American youth is. A plastic payment card has more character and charisma than most of those mannequins from posh circles. Not only these cartoonish fake persons with their derogatory and homophobic behavior are being presented here. But also those who stay true to themselves, are put in the spotlight. The message “Be yourself” is extensively displayed here. The hilarious lesbo Mouse (Niamh Wilson) in particular loudly proclaims this message by doing things the way she likes it. “Giant Little Ones” has both emotional and funny moments. And what it mainly did, was surprise me. In a positive way, that is.

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Inherit the Viper (2019) Movie Review By Peter Pluymers

Inherit The Viper

Director: Anthony Jerjen
Writer: Andrew Crabtree
Stars: Josh Hartnett, Margarita Levieva, Bruce Dern

Everyone knows the principle of the “American Dream”. The ideal image of a hard-working American who, regardless of his origin, can reach the top through hard work and commitment. “Inherit the Viper” shows the other side of the coin. A film about American citizens who experience the “American Nightmare”. They are part of agglomerations located in remote areas where poverty prevails and survival instinct is a necessity. An additional problem in recent years in the U.S. is the opioid crisis that causes an unprecedented number of victims. This widespread addiction is the Conley family’s important source of income. Apparently they inherited the business from their deceased father. Although, the storyline about what happened to him wasn’t really clear to me.

“Inherit the Viper” is primarily a crime thriller in which the Conley family, consisting of sister Josie (Margarita Levieva) and her two brothers Kip (Josh “Pearl Harbor” Hartnett) and Boots (Owen “IT” Teague), try to make ends meet by running a thriving drug-dealing business somewhere in Appalachia (especially the opioid pills OxyContin) and to sell pills to the locals massively. Even though the subject lends itself to the elaboration of a solid crime story, this film is rather a family drama in which the dynamic between the different family members is central. A family triangle with opposite character traits.

Josie is the tough little cookie from the family whose numbness has reached shocking proportions. Without hesitation, she puts a freshly sold pill back in her pocket that she finds next to the body of an addicted old woman who just died. Self-interest has more priority to her than compassion for a fellow person. Hence the explanation for a later initiative she takes and which shows how numb she is. Kip is an ex-soldier. A hardened and fearless gut-eater who knows the tricks of the trade. Yet he’s the one who would prefer to stop with the family business in order to build a safer future with his heavily pregnant girlfriend. And finally, you have Boots, the benjamin of the family. This impetuous teenager wants nothing more than to get into the family business as quickly as possible. Because this is still being put on hold by brother and especially his sister, it’s Boots who takes an initiative. Unfortunately, things are not going the way he’d hoped.

“Inherit the Viper” isn’t a masterpiece, but still it fascinates. It’s a gray, dark (literally and figuratively) portrait about despair and how to survive in a run-down and soulless corner in American society. A life without a future that requires the protagonists to make unworthy decisions. No shred of compassion is shown. It’s all about supporting the family. Although you feel the tension constantly and the Conley family is slowly but surely confronted with threatening situations (a police investigation is in progress resulting in an accusing finger pointing at them and revenge-seeking city dwellers who have lost someone thanks to the Conley’s threaten them) there are very few action-rich or criminal scenes. This is largely compensated by the interesting interactions and the realistic appearance of the film. The most colorful role is that of Bruce “The Monkey’s Paw” Dern as the obscure, critically ill bar owner where Josie deals pills. A local character who isn’t amused with the fact that corpses are piling up in his bar and whose metaphorical story actually uncovers the essence of what this film is about. And also it’s an explanation of the film title. Although I am not 100% sure about that either.

The denouement managed to surprise me in a certain way. And I was also pleased to see that Josh Hartnett hasn’t slipped off the grid. If you come across “Inherit the Viper” on a VOD service, I recommend to give it a chance. This dark film is worth a watch.

Terminator: Dark Fate (2019) Movie Review By D.M. Anderson

Terminator - Dark Fate Review

Director: Tim Miller
Writers: James Cameron (story by), Charles H. Eglee (story by)
Starring Linda Hamilton, Arnold Schwarzenegger, Mackenzie Davis, Natalia Reyes, Gabriel Luna, Diego Boneta. 

While the world may not have needed another Terminator movie, this one cuts to the chase, so to speak, reverting back to what made the first two films undisputed classics.

Gone is most of the convoluted plot baggage that muddied Terminator Salvation and Terminator Genisys. Those films aren’t without merit, but both seemed forget what really drove Terminators 1 & 2(and even the underappreciated Terminator 3) was the thrill of the chase. We were given a crash course in time travel – just enough to accept the premise without scrutinizing it too hard – before pummeling us into submission. I haven’t met many people who cared much about the franchise’s temporal logistics anyway.

Terminator: Dark Fate ignores the last three films altogether, which is ironic since it essentially cops the “Judgment Day is inevitable” assertion of Terminator 3. Only this time it isn’t Skynet sending terminators back in time to dispatch the Connors. Now it’s a computer network called Legion and the target is Dani (Natalia Reyes), a feisty young assembly line worker in Mexico. It’s never effectively explained how Legion evolves to threaten all humankind, nor does it really matter. Once the Rev-9 terminator (Gabriel Luna) arrives in the present day, it’s up to mechanically-enhanced super-soldier Grace (Maclenzie Davis) to keep Dani alive for whatever purpose she serves in the future (revealed late in the film, though the viewer will have figured it out long before).

Of course, the big drawing card (or at-least it should have been) is the welcome return of Linda Hamilton as Sarah Connor. Ever since preventing Judgment Day decades earlier, she’s been hunting terminators, though Grace has never heard of her, Skynet or John Connor (unceremoniously killed by a terminator in the very first scene). In fact, Sarah and Grace have an amusingly antagonistic relationship throughout most of the film. Still, she sees a lot of herself in Dani. Playing Sarah as a grizzled, cynical and bitter warrior, Hamilton is clearly having a lot of fun.

It just occurred to me I haven’t yet even mentioned Arnold Schwarzenegger. That’s probably because he doesn’t show up for at-least an hour, his existence & motivations are sort-of contrived and – narratively speaking – he’s the least essential character in the film. But hey, it’s not a Terminator movie without Arnold, even if he’s often regulated to being comic relief.

Like the original Terminator, there are no concurrent timelines, no altering the future to save the world. It’s all about the simplicity of the chase, with exciting action sequences and large-scale destruction (though nothing as groundbreaking as T2), relenting just long enough for occasional story or character exposition. None of it ends up being really necessary, but it sure is a lot of fun.

Primal (2019) Movie Review By D.M. Anderson

Director: Nick Powell
Writer: Richard Leder
Stars: Nicolas Cage, Famke Janssen, Kevin Durand

National treasure Nicholas Cage squares-off against a deadly jungle cat and a vicious assassin on-board a cargo ship. Man, I don’t see how anyone could pass that up. It’s a concept as wonderfully ridiculous as Samuel L. Jackson battling snakes on a plane. Primal doesn’t milk its premise to the campy heights of that kitschy classic, but it’s a lot more fun than the average Nick Cage Movie of the Week.

Cage plays Frank Walsh, a grizzled, grumpy game hunter who traps wild animals to sell to zoos. His latest haul includes birds, angry monkeys, poisonous snakes and – his biggest prize – a rare white jaguar. Sharing the boat ride home, however, is rogue assassin Richard Loffler (Kevin Durand), who’s been captured by U.S. forces and being returned in chains to stand trial for his crimes. Naturally, he manages to escape and frees all the animals. So now it’s man vs. man and man vs. nature, with Loffler and the cat picking off the supporting cast one by one.

Primal has less actual animal action than I hoped. Not that the conflict involving Loffler isn’t enjoyable. Durand does a decent job playing your standard over-confident bad guy, but watching nature get even is a lot more entertaining, especially in an unusual setting. Still, the beasties manage to get-in their licks here and there. Those scenes are the goofiest, therefore the liveliest, even if the CGI-rendered jaguar is laughably unconvincing.

Cage attacks his role with his inimitable brand of gusto, tongue planted firmly in-cheek, which is always enjoyable. Less vital is Famke Janssen as Ellen Taylor. She plays a Navy doctor tasked with monitoring Loffler’s health, but mostly exists to bicker with Cage and place herself in peril. The remaining cast – including Michael Imperioli – are essentially cannon fodder (or cat food).

Well made on a relatively limited budget, Primal won’t win any Oscars, but it’s hardly Razzie-worthy, either. Fast-paced and enjoyably silly, this features Nick Cage in prime any-role-to-pay-off-my-debts mode. And that isn’t always a bad thing, especially once he breaks-out his trusty blowgun.

The Professor (2018) Movie Review By Peter Pluymers


The Professor Review

Director: Wayne Roberts
Writer: Wayne Roberts
Stars: Johnny Depp, Rosemarie DeWitt, Odessa Young

Let me start in a cheeky and derogatory tone. Let’s take Jack Sparrow, promote him to be an eloquent university professor teaching literature and tell him that he’s terminally ill. If you watch the movie “The Professor” (the original movie title was “Richard says goodbye“) with a dismissive attitude, you could utter such a statement. Well. Johnny Depp may have the tendency to use the ever-drunk pirate character. But otherwise, this entertaining tragicomedy doesn’t have much in common or many similarities with the Caribbean pirate spectacle. Even if the film is steeped with dark humour, a deeply tragic subject can still be discovered. A message about acceptance and an attitude of resignation. Though, Richard’s (Johnny Depp) way of acceptance and resignation can be called very rigorous.

Instead of a tough treatment against the proliferating ailment, Richard decides to let things carry on as they are and completely change the course of his life (the subtle Sparrow-references come to mind spontaneously). That means enjoying life to the full. In short, exploiting the saying “Carpe Diem” in an extreme way. Richard gets dead drunk continuously, smokes pot on a regular basis and ventures into unabashed free sex. In fact, with both sexes and with the approval of his wife who confessed she’s having an affair with Richard’s boss. So you can say that the bad news told by his doctor, caused a groundbreaking turn in his personal life. For the bystanders, however, it seems as if he has become completely insane.

This is without a doubt one of the most successful interpretations of Depp in years. Here this energetic actor shows he can act for sure. I fully understand that he was given this part. The rebellious character of the egocentric figure Richard fits effortlessly with a figure like Johnny Depp. Perhaps his personal private situation provided the appropriate state of mind to play this indifferent intellectualist. His sarcastic view on life produces amusing scenes. The recklessness with which he plunges into adventures, causes others to frown. As a viewer, you understand this turnaround much better. As a result, Richard finds himself in some fairly bizarre situations in which his wife Veronica (Rosemarie DeWitt), daughter Olivia (Odessa Young) and best friend Peter (Danny Huston) are involved. By the way, I didn’t think the acting performance of these last actors was that bad either. Apart from the theatrical drama of Danny Huston.

“The Professor” probably won’t appeal to a younger audience. It’s not really a movie that will make you happy. I guess it applies to all films that deal with this terrible disease. Yet “The Professor” succeeded in transforming this tragic fact into something humorous. That the end would become more emotional (you could use the expression corny as well) was of course inevitable. Serious films where you are confronted with the concepts of finiteness and death clearly does something with a person. It makes you think about the meaning of life and what you have achieved. And I agree that as I grow older my thoughts sometimes drift away into that area. After seeing this film, I think I will drastically revise my opinion and also take a “Je mon fou” attitude like Richard. So I can fully enjoy everything in the time that’s left. That seems a more pleasant way to end my earthly journey.