Retro Film Noir: Nightmare Alley

The world of film noir is full of murder-filled cityscapes, rain-slicked streets and doomed characters, but one of the bleakest and most cynical stories in noir cinema actually starts out not in the big city, but at a carnival. Nightmare Alley, a 1947 tale from director Edmund Goulding, is a cynical tale filled with a sense of foreboding, which features some very dark twists and turns. The movie stars Tyrone Power as Stan Carlisle, an ambitious guy, who's something of a heel. He’s eking out a living as a barker at a slightly low-rent carnival. He also assists Zeena, a mentalist, and her husband Eric, with their act. Stan, who’s both a con man and a ladies man, is having an affair with Zeena, and wants to find a way into the big-time.

Stan learns that Zeena and Eric had a popular vaudeville show, before her extramarital affairs and Eric’s drinking ruined their careers. They used a shared “code” which made it appear that Zeena truly had supernatural powers of perception. Stan’s desperate to get a hold of it, believing that he and Zeena could put a successful act together. But she won’t share the code or leave her husband. Then tragedy strikes, and Pete dies in an accident, for which Stan is inadvertently responsible. Zeena has to teach Stan the code in order to continue the act. Meanwhile, the venal Stan’s already thinking about his next conquest, and is romancing Molly, a younger member of the carnival troupe, who's infatuated with him, behind Zeena’s back. Stan is a bit of a cad, and pretty full of himself.

When Stan’s liaison with Molly is discovered, the carnival crew forces him to marry her, and Stan and Molly leave the show behind. Stan re-invents himself as a mentalist, and with Molly as his assistant, their show becomes popular on the nightclub circuit. One night, a woman in the audience challenges Stan’s supposed “power.” Stan’s able to outwit her, but can't get her off his mind. She turns out to be a psychiatrist named Lilith Ritter, who’s as fascinated by Stan as he is by her. Stan and Lilith enter into a scheme using the recordings of sessions with her clients to enhance his con, and display his remarkable powers of perception, in order to wrangle money from their marks. Just how low will Stan go to attain fame and fortune? What’s Lilith’s game, and is she trying to further her own ends?

Every time Stan makes a choice, he picks the self-interested path that will profit him, even at the expense and downfall of others. The carnival troupe is depicted as a family, and the fact that Stan, as a rootless drifter who'd been given a home there, discards them so casually, is another factor in his undoing. He also underestimates Lilith, who’s much sharper than Stan gives her credit for, and ignores Molly’s warnings about going too far with his schemes. Will the dark prediction Zeena saw in her tarot cards back at the carnival regarding his ultimate fate come true? Stan is haunted by his part in Eric’s accidental death, and when things really unravel for him, he'll find himself brought lower than he’s ever been before. Is Stan's fate his own doing, or was it his destiny all along?

Nightmare Alley is based upon a novel by William Lindsay Gresham, which became a best-seller upon its release in 1946. The book is, if anything, even darker than the film, and it was a big success with readers. Gresham was fascinated by seamy side of carnival life, and based the novel on conversations he had with a former carny. Tyrone Power read the book and wanted to star in the film version. Power was looking to do something a bit different from the romantic leads and swashbuckling roles he normally essayed, and thanks to his star power, as well as the recent success of his dramatic turn in The Razor’s Edge, he convinced Daryl Zanuck to produce the film version of Nightmare Alley. The studio brought in writer Jules Furthman to adapt the novel, and assigned Power’s Razor’s Edge director, Edmund Goulding, to helm the film.

Power gives a terrific performance as Stan, imbuing the character with just the right mix of con man charisma, suave ladies man charm, and the complex emotions of a multi-layered noir anti-hero. He’s perfectly matched by Joan Blondell as Zeena, Coleen Gray as Molly, and Helen Walker as the enigmatic Lilith, all of whom are excellent. Mike Mazurki as Bruno and Ian Keith as Eric are also wonderful in their supporting roles. Goulding’s direction is solid, and there’s some brilliant cinematography by Lee Garmes, who uses the film’s black and white palette to its full advantage. His masterful lighting and shot composition are showcased throughout the film.

Nightmare Alley was not a success upon its original release, and Daryl Zanuck quickly pulled the film from theaters. Perhaps the subject matter was a bit too dark and disturbing for the time, even with its studio-imposed "happy" ending, but the movie remained one of Power’s personal favorites, and has gone on to become a classic of film noir. There’s a remake of the film (which is reportedly a closer adaptation of the novel) coming later this year, directed and co-written by Guillermo Del Toro, and featuring Bradley Cooper, Cate Blanchett and Ron Perlman. In the meantime, check out Nightmare Alley on the recently released Criterion Collection Blu-ray or DVD, which has some excellent special features, including a commentary by noir historians James Ursini and Alain Silver, and interviews with co-star Coleen Gray, writer Imogen Sara Smith and Todd Robbins, a real-life carnival performer. Nightmare Alley is a terrific movie, and it’s one of my absolute favorite noir films. If you haven’t seen it, I urge you to check it out. If you have seen it before, maybe it’s time to re-discover it! Here’s a link to the trailer for the film: https://www.youtube.com/watch?v=a7Nly0xSm1E, which is textless and narration-less.

Falling for Lehane's "Since We Fell"

Dennis Lehane has written some well-regarded novels, including Mystic River and The Given Day. I first became aware of Lehane when I read his terrific mystery series featuring Massachusetts based private investigators Patrick Kenzie and Angie Gennaro, which began with 1994's A Drink Before The War. I was a huge fan of those books, and was delighted when the fourth entry, Gone, Baby, Gone, was adapted into a film directed by Ben Affleck. Other Lehane novels, including Mystic River and Shutter Island, have also been turned into movies. Lehane was also  a writer for the third season of the acclaimed HBO series The Wire. I recently caught up with one of Lehane’s 2017 thriller Since We Fell. It’s a fast-paced tale of love, lies, larceny and murder.

The story centers on Rachel Childs, a reporter who goes through a very public on-air meltdown while covering the 2010 earthquake in Haiti. Not only does she sideline a once-promising career, but Rachel becomes agoraphobic, and literally shuts her self off from the outside world. Despite her marriage to one of her colleagues at her former network, Rachel can't seem to straighten out her life. She has other issues as well. Rachel was brought up by an emotionally distant mother, and never really knew her father, who left when she was a young child. Her mother refuses to divulge his identity, and finding him becomes something of an obsession for Rachel.

While searching for her father, Rachel meets Brian Delacroix, a private investigator, who initially warns her that because of the lack of evidence, her search may never bear fruit. He declines to take her case. Rachel and Brian end up crossing paths again over the years, and eventually begin a tentative romance, as Rachel's first marriage is spiraling towards its end. The pair eventually marry, and Brian helps Rachel come out of her carefully shielded world, and live her life to the fullest once again. At this point, he's supposedly working for his family's successful business. Rachel is happier than she's ever been.

 

But she begins to suspect Brian may not be all he says he is, and that he has a secret life. He claims to be traveling the world for business, but Rachel catches him misleading her and lying about his whereabouts. As Rachel digs deeper into his background, she discovers there may be a lot of other things that Brian is hiding. As the novel shifts into high gear in its last third, the twists come fast and furious, and Rachel has to keep one step ahead of an ever-widening series of dangerous situations related to Brian's real identity.

 

As Michael Connelly (the creator of Harry Bosch) did with his novel Chasing The Dime, this is Lehane working in popcorn thriller territory. Since We Fell is a fun and engaging read that feels like Lehane's version of a summer action movie. While it doesn’t quite achieve the noir-ish heights of some of his other works, Lehane is a talented storyteller, and knows how to keep readers on the edge of their seats, and turning the pages to see what happens next. The novel actually takes its time to bring in its thriller elements, charting Rachel's fall from grace, and eventual rebirth, as a resilient heroine who's determined to find out the truth about her husband. 

Since We Fell is a riveting thriller. Rachel is a well-rounded character, and her journey is fascinating and compelling. You'll find yourself rooting for her to succeed in figuring out the truth, and coming out on top. It's interesting to see Lehane writing from a female point of view, and the Hitchcock style twists that occur in the last portion of the novel will keep you guessing. It's no surprise that the screen rights for Since We Fell (the title comes from the Lenny Welch hit "Since I Fell For You") have been sold to DreamWorks Pictures, and Lehane's novel is going to be adapted for the big screen. Catch up with it now, and put it on your summer reading list, before the eventual big budget movie shows up at your local cinema!

A Superb Tribute To Brian Wilson's Music

Tribute albums can be a tricky enterprise. To properly honor the music of a renowned artist, the people involved with the project have to appreciate why the songs of the musician being saluted have touched and inspired so many people, and treat them with the proper care and respect. Otherwise, the whole project can come off feeling misguided. When they're done properly, tribute albums can be a valuable exploration of an artist's legacy and a positive listening experience for fans. Last year, JEM Records successfully paid homage to the music of John Lennon with the excellent JEM Records Celebrates John Lennon, which featured amazing bands like The Weeklings, The Gold Needles and The Anderson Council masterfully covering songs from John's time with The Beatles and his work as a solo artist.

On July 16, for the second chapter in what promises to be an ongoing series, the label will be releasing JEM Records Celebrates Brian Wilson. Brian's unforgettable songs and albums with The Beach Boys, as well as his noteworthy solo projects, are absolutely worthy of celebration. This marvelous and immensely enjoyable album is a terrific tribute to his enduring work. JEM's supremely talented roster of artists, including Nick Piunti, The Midnight Callers, Lisa Mychols and Super 8, and Richard Barone, are at the top of their game here, providing us with marvelous interpretations of fifteen of Brian's classic songs. It's one of the best tribute albums I've heard since JEM's John Lennon disc, and it's absolutely worth checking out.

Things kick off with a lovely a cappella rendition of "The Warmth Of The Sun" by The Weeklings, who also offer us their toughened up version of "Help Me Rhonda." Nick Piunti rocks out on his terrific cover of "Hang On To Your Ego," while The Anderson Council's fabulous versions of "Girl, Don't Tell Me" and "I'd Love For Once Just To See You" will have you reaching for the replay button. The disc also includes powerful takes on a trio of Brian's most beloved songs: Richard Barone's spare, poignant reading of "In My Room" and Lisa Mychols and Super 8's girl group styled, Wall of Sound-ified rendition of "Don't Worry, Baby," effectively illustrate the emotional depth inherent in Brian's work, which is also very much in evidence on The Gold Needles' beautiful version of Brian's remarkable solo track "Love & Mercy."

There's more exceptional music to be heard on this phenomenal record. The Midnight Callers check in with a magnificent, power-pop infused cover of "Do It Again." The Beach Boys hit "Dance, Dance, Dance," gets a high energy workout from Johnathan Pushkar, who's joined by Richard Barone for an exuberant romp through "I Get Around." The Grip Weeds, New Jersey's own purveyors of psychedelic rock, provide an exceptional, not to be missed rendition of "You're So Good To Me" and apply their psych/pop sheen to an extraordinary, immersive version of "Heroes & Villains." The album wraps up with Lisa Mychols and Super 8's clever mash-up of Beach Boys/Brian Wilson song titles and lyric snippets on the tremendous "Pet Sounds Story." If you enjoy classic rock and roll and pop music interpreted with real heart and soul, you're going to love every track on this album.

JEM Records Celebrates Brian Wilson is a superb record that will have strong appeal for Beach Boys and Brian Wilson devotees, as well as fans of the talented artists involved with this project. Executive Producer Marty Scott, all of the artists, and everyone at JEM have crafted a wonderful tribute to the music of a one of a kind rock and roll icon. For more information on the album, head over to JEM's site at: http://www.jemrecordings.com. If you'd like to learn more about this outstanding record, you can read my behind the scenes interview with Marty Scott and several of the artists over at CultureSonar, an indispensable arts and entertainment website. Follow this link to check out the article: https://www.culturesonar.com/a-celebration-of-brian-wilsons-music/. Here's a link to the video for The Grip Weeds cover of "You're So Good To Me," which will provide you with just a small sample of what to expect from the album: https://www.youtube.com/watch?v=9o3BBMU4_sk.

Is "Fatale" A Fatally Flawed Modern Noir?

If you’re going to make a modern day noir thriller, you can go about it in a couple of ways. You can go the subtle route, and the result will be something akin to John Dahl’s Red Rock West, or you can spin the dial all the way to eleven, and get something like Paul Verhoeven’s over the top Basic Instinct, which has inspired a host of direct to video imitators. Fatale, starring Michael Ealy and Hilary Swank, leans towards the latter, and tosses in a generous helping of Fatal Attraction on the side.  Derrick Tyler runs a successful sports management agency with his partner and friend, Rafe Grimes. Derrick feels like the spark has gone out of his marriage, and that his wife Tracie may be having an affair. While the two friends are attending a bachelor party in Las Vegas, Derrick confides these feelings to Rafe, who encourages him to step outside of his current situation, and have some fun for just one night.

 Derrick meets a woman named Valerie at the bar, and lies about his name and marital status. They spend the night together. When Derrick tries to leave the next morning, he discovers she’s locked his phone in her hotel safe so he can’t “run out on her.” They end up having sex again before he departs. Derrick, who’s started to feel remorseful about his one night stand , returns home to California. He tries to reconcile with Tracie, and the two share a romantic evening together. That night, there’s an attempted break-in at their home, and Derrick fights off an intruder, who flees the scene. When the cops arrive to investigate, the detective assigned to the case (in one of those “only in this type of movie” coincidences) turns out to be Valerie, the woman Derrick slept with in Vegas.

Valerie initially relates to Derrick that revealing their affair is not on her agenda, as it could cause them both trouble. She’s in the middle of a custody battle with her ex-husband, and doesn’t want to rock the boat. But her behavior indicates quite the opposite. Valerie questions Tracie without Derrick present, and then indicates there are things he may not know about his own situation at home. Derrick and Rafe’s company is very valuable, and she hints the break-in could have been an “attempted hit.” Rafe has been pushing Derrick to sell the company to a big conglomerate, so is that what or who is behind this? As Valerie investigates the break-in, she discovers Rafe and Tracie are having an affair, and takes Derrick to a house where they’re spending time together.

Spoilers ahead: In true B-movie fashion, Rafe and Tracie turn up dead, and Derrick becomes the prime suspect. It turns out that Valerie killed them, and in return for this “favor,” she expects Derrick to kill her ex-husband. Her ex has been blocking her from having visitation rights with their daughter, because of an incident that occurred during their marriage, while Valerie was drinking. Thus begins an escalating battle of wits between Derrick and the clearly off-center Valerie, as he tries to stay out of jail, and also stay one step ahead of her, while Valerie keeps upping the ante in her efforts to ruin his life unless he helps her. Will Derrick actually go through with it, and kill Valerie’s ex, or will he able to expose her for the manipulative killer she really is?

Fatale is a by the numbers thriller that is mildly entertaining,  but never quite takes it to the next level. Some interesting ideas are introduced, and then those plotlines are left hanging or ignored. The revelation that Derrick’s partner Rafe is sleeping with his wife opens up some interesting story avenues., since Rafe has been hinting that he and Derrick should sell their company in order to make more money. Was Rafe behind the break-in at Derrick’s house, or was it Valerie? Did Valerie know who Derrick was before they met? Was it all a set-up from the get go? There’s also a whole subplot regarding Derrick’s cousin Tyrin, which seems to exist only to set that character up as a sacrificial lamb, and give Valerie someone else to kill.

The cast tries their best, and it’s fun to see Hilary Swank as a femme fatale, in a part that’s quite different from her usual roles. Michael Ealy does a nice job as Derrick, and Mike Colter (best known as Luke Cage on the Netflix series) does what he can with his limited screen time as Rafe. Damaris Lewis isn’t given a lot to do as Tracie, but she does have an effective moment in a pivotal scene. The film boasts some cool cinematography by the talented Dante Spinotti, and the direction by Deon Taylor is decent, if a bit workmanlike. The script by David Loughery, who penned the clever 1984 science-fiction thriller Dreamscape, never quite pushes things to the off the rails heights of Basic Instinct, nor does it bring the film into the territory of Body Heat or The Last Seduction, two of the best examples of neo-noir. Fatale is a passable time-filler, but sadly, the movie doesn’t really rise above the level of the plethora of erotic thrillers that turned up regularly on late night cable in the 1980s and 1990s . Here’s a link to the trailer for the film, which is currently streaming on HBO Max, and is also available on Blu-ra and DVD: https://www.youtube.com/watch?v=tPWURGgKJ7o.

Vincent's Dazzling "Whatever It Takes"

If you're the type of fan who longs for those halcyon days of turning on your transistor radio and listening to songs by bands like Ambrosia and Orleans, or tunes by power pop pioneers like The Raspberries, then you need to check out the music of Kyle Vincent. He's a supremely talented musician and songwriter whose latest album, Whatever It Takes, is a wonderful collection of sunshine-drenched pop songs that's a gift to music lovers everywhere. Kyle's a veteran performer who started out in the music world at the age of eight, when he played saxophone in his school's jazz program at Berkeley, California. He later took bass lessons from none other than guitar master Joe Satriani, and went on to front the power pop band Candy. That group's lineup included Gilby Clarke, who later became a charter member of Guns 'n Roses.

Candy released one album, 1985's Whatever Happened To Fun..., which was produced by Jimmy Ienner, who'd worked with Grand Funk Railroad and the Bay City Rollers. Wally Bryson of The Raspberries was the musical director for the project. The title track received a lot of MTV airplay at the time. The band went on to open for acts like Rick Springfield and Corey Hart, and the group is still well-regarded in power pop circles. Kyle went on to release a number of excellent solo albums, and his music has been featured in a number of television shows, including MTV's The Hills and The Real World, and films such as The Other Sister. He's also fronted touring versions of the Bay City Rollers and Bo Donaldson and The Heywoods, and opened for Barry Manilow (a big supporter of Kyle's music) on his Greatest Hits & Then Some tour.

Whatever It Takes is filled with shimmering pop confections that will move you, enchant you, exhilarate you and have you singing along on repeat listens. As soon as you hear the opening track, the lovely "Dreaming of July," you'll realize that this album is something special. The ethereal song is a beautiful ode to summer love that superbly captures the longing for that special someone that lights up your life, and the memories you've shared. The heartfelt vocals, masterful work from the backing musicians, and sparkling production resonate from every track on the record. Check out "Dreaming of July" to see what I mean: https://www.youtube.com/watch?v=WE7LqGX4XkU.

Tracks like "Bubblegum Baby" and "I Feel New" radiate joy, and aptly illustrate Kyle's innate gifts as a songwriter and musician. It's something of a cliche to say "there's not a bad song on the album," but in the case of Whatever It Takes, it's true. The record features a talented lineup of musicians backing Kyle, including legendary session guitarist Louie Shelton, who has played on hits like "Last Train To Clarksville" and "Let's Get It On." Also appearing on the record are several power icons, including guitarist Tommy Dunbar of The Rubinoos, and drummer Jim Bonfanti and guitarist Wally Bryson of The Raspberries. Noted Japanese guitarist Kyoji Yamamoto plays on the title track, and Parthenon Huxley, a power pop hero in his own right, co-wrote the marvelous song "Hard To Be Happy," with Kyle.

The music on Whatever It Takes will instantly teleport you back to a simpler time, have you smiling from ear to ear, and will absolutely inspire you to check out the rest of Kyle's catalog of fantastic songs and albums. Kyle is a remarkable artist who crafts melodic, emotion-filled pop tunes that will get stuck in your head and steal your heart. Whatever It Takes is now available from Universal Music Group, and can also be found at Kyle's website, https://www.kylevincent.com, where you can learn more about Kyle and his music. I can't think of a better way to end this review than with a link to the track "A Gilbert O'Sullivan Song," which perfectly encapsulates all the best qualities of Kyle's music. If you'e ever been enthralled by the work of an artist who made a real impact on your life, you'll empathize with the feelings that Kyle shares in this tune: https://www.youtube.com/watch?v=r1b3CaOi5TI.

Lon Chaney, Jr. Enters the Inner Sanctum

In the 1930s and 1940s Inner Sanctum was a print, radio and film franchise which featured tales of mystery, murder and the macabre. The Inner Sanctum imprint was initially used for a series of best-selling mystery novels from Simon & Schuster that ran from the 1930s right through to the 1960s. The title was also used for a very popular radio show that aired from 1941-1952. The show was memorable thanks to the eerie "creaking door" sound effect which opened each episode. It was inevitable that Hollywood would take advantage of the Inner Sanctum's success, and Universal Pictures signed Lon Chaney, Jr. to star in a series of films bearing the Inner Sanctum banner. Chaney had portrayed the Mummy, Dracula, Frankenstein's Monster and most notably, The Wolf Man in various films, and he was eager to try something a bit different, while the studio wanted to capitalize on the success of one of their biggest horror stars.

The six movies in Universal's series of "Inner Sanctum Mysteries" are indeed mysteries, and not horror films, as they have often been misrepresented as, or misunderstood as, over the years. While some of the movies contain mild supernatural elements, these films should really be viewed as murder mysteries or suspense thrillers. The Inner Sanctum films were produced between 1943 and 1945, and they're a lot of fun to watch. These movies are prime examples of the kind of B pictures that were a staple of the classic Hollywood era, and they truly "don't make 'em like that anymore." Several of the films even have Chaney narrating the story or letting us in on his thoughts via an inner monologue, in the style common to classic tales of film noir.

The first film in the series, 1943's Calling Dr. Death, stars Chaney as Dr. Mark Steele, whose wife is murdered. Steele is a prime suspect because he can't remember where he was, or what he was doing, for several days, including the time the murder was committed. Has this memory loss occurred because he's blacked out the fact that he actually committed the crime? A police detective (a nice performance by character actor J. Carroll Naish) and Steele's dedicated secretary, played by Patricia Morison, try to help him remember, but they have quite different motives for doing so. The film is solidly directed by Reginald LeBorg, who'd go on to helm the next two movies in the series. LeBorg, would later direct such well-regarded "A" films such as San Diego, I Love You and Destiny, as well as a ton of additional B movies, including Voodoo Island, with Boris Karloff and Elisha Cook, Jr., and Diary of a Madman, which starred Vincent Price and Nancy Kovack.

Weird Woman (1944), the second film in the Inner Sanctum sextet, is based on Fritz Lieber's novel Conjure Wife, which was later adapted into the well-regarded 1962 British horror film Burn, Witch, Burn. This tale of love, jealousy and murder stars Chaney as a college professor who gets mixed up in witchcraft. The supporting cast features Evelyn Ankers, Anne Gwynne and Elisabeth Russell, all of whom are familiar faces to classic horror fans. It's an entertaining thriller that's one of the best entries in the series. The third film in the Inner Sanctum oeuvre, Dead Man's Eyes, also from 1944, features Chaney as an artist who goes blind due to a terrible accident. He receives the eyes of his fiance's father in a transplant, but only after the man is murdered. The catch is, the victim recently changed his will to bequeath his eyes to....his new son-in-law! 

The fourth film in the series, directed by Harold Young, is entitled The Frozen Ghost (1945), and stars Chaney as Gregor the Great, a hypnotist with a successful night club act. When a man dies onstage during a performance, Gregor blames himself, and retires from his hypnotism gig. But he probably should have re-thought his choice of next job; working at an eerie wax museum! This time out, the supporting players include Chaney's House of Frankenstein co-star Elena Verdugo and veteran movie villain Martin Kosleck. 1945's Strange Confession, the fifth film in the series, tells a flashback-centered story of love, betrayal and murder. Chaney portrays Jeff Carter, who works for a pharmaceutical company owned by Roger Graham (J. Carroll Naish again) a duplicitous jerk with designs on Carter's wife. The final entry, Pillow of Death (1945), is a moody tale of murder and mysticism as lawyer Wayne Fletcher (Chaney) is accused of killing his wife by her ghost, via a seance conducted by spiritualist Julian Julian, portrayed by Chaney's Son of Dracula co-star J. Edward Bromberg.

The Inner Sanctum movies all run about (or just over) an hour, so they never overstay their welcome. These films were primarily designed to play as second features, and they're well-made, enjoyable mysteries. They're atmospheric, stylishly directed and crisply paced. Lon Chaney, Jr. is often given a bad rap (and is quite under-rated) as an actor, but I think these movies suit his on-screen persona and his talents very well. He's quite effective in them, often as a man caught up in circumstances he can't control. The supporting casts are filled with terrific character actors, such as Lloyd Bridges, Mary Gordon (Mrs. Hudson from the Basil Rathbone/Nigel Bruce Sherlock Homes films) and Clara Blandick, best known as Auntie Em from The Wizard of Oz. Classic film fans will have a ball seeing all of those familiar faces. These movies should resonate with, and have strong appeal for, old school mystery and horror fans. There are excellent Blu-ray releases of the complete series from Mill Creek Entertainment in the US, and the Eureka label in the UK. Some of the films are also available to view on various streaming services. Here's the trailer for the Eureka films Blu-ray release: https://www.youtube.com/watch?v=X2zj10Nc98k, and watch out for that crystal ball encased floating head (played by actor David Hoffman) that introduces the first five films in the series: https://www.youtube.com/watch?v=LaF7VPjAM-Y.

Those Who Wish Me Dead: Fiery Action, Hired Killers and a Heroic Angelina Jolie

The action film genre is constantly trying to reinvent itself, top itself, and find new ways to thrill audiences. There are certain tropes, however, that you'll likely see play out in most iterations of this type of film. We usually see a hero haunted by a tragedy from his past, where a person or a group of people died as a result of a difficult choice made by him. The hero gets a chance to redeem himself when a new challenge comes his way. In director Taylor Sheridan's combustive thriller Those Who Wish Me Dead, the hero is actually a heroine. The story concerns Hannah Faber, a Montana-based smokejumper who can't get over the deaths of several people during an out of control forest fire her team was trying to contain. She blames herself for their deaths in the out of control conflagration.

Hannah's ex-boyfriend Ethan, a deputy sheriff, tries to get her to deal with her guilt, but she lives on the edge and is something of a loose cannon. Meanwhile, Owen Casserly, a forensic accountant, discovers that some people close to him have died in a mysterious explosion. Owen realizes the mob boss he worked for is eliminating those who could offer evidence that would put him in jail. Owen goes on the run with his son Connor. When Owen is killed by assassins sent by his former boss, Connor goes on the run, and he meets up with Hannah, who's stationed in a fire lookout tower.

Of course, Hannah ends up helping Connor evade the hit men, and Ethan lands in their crossfire as well. There's also a super-sized fire (set by the assassins as a distraction) to contend with, and Hannah has to use all her skills to save Connor and survive the deadly inferno. Those Who Wish Me Dead doesn't blaze any new trails in the action genre, but Taylor Sheridan's excellent direction helps propel the film, and keeps you interested throughout. Sheridan is perhaps best known for writing two well-received thrillers, Sicario and Hell or High Water, and for co-creating the TV series Yellowstone. He co-wrote the screenplay along with Charles Leavitt and Michael Koryta, based on Koryta's novel.

Angelina Jolie is excellent as the resourceful Hannah, and gives the character a bit more shading than usual in this type of thriller. She has good chemistry with her young co-star Fin Little, who plays Connor. The supporting players include Jon Bernthal as Ethan, and Jake Weber as Owen. Nicholas Hoult and Aidan Gillen are quite effective as the dangerous and driven hit men. Tyler Perry has a cameo as their boss. Media Senghore is very effective in her role as Ethan's wife, who gives the assassins a bigger challenge than they expected; appearances can be deceiving.

Those Who Wish Me Dead is an exciting, well-directed action film with a talented cast. The movie has a sharp and energetic visual style, courtesy of director Sheridan, cinematographer Ben Richardson and editor Chad Galster. It's the kind of fast-paced, well-made popcorn flick where you don't start asking too many questions about its believability before it ends. If you're looking for an enjoyably old-fashioned thriller that will hold your interest, but doesn't overstay it's welcome, Those Who Wish Me Dead should fit the bill.The movie is currently in theaters, and is also streaming on HBO Max until June 13. Here's a look at the trailer for the film: https://www.youtube.com/watch?v=kciXOTguPCs.