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In “The Devil’s Tomb,” the cast lineup would make any director envious. Cuba Gooding Jr. has not been as busy lately, but he is a talented actor. Ron Perlman has always been such an amusing bust of masculine energy. The man is actually Ray Winstone, who is an actor and a cultivated force of nature and has some rather very interesting roles in his filmography. Add to that the rare and wordy but short appearance of Bill Moseley, along with Taryn Manning’s distinct look, and we instantly get something feared. Yes, with such a cast, “The Devil’s Tomb” has so many positives that it can only be average and might have some chance to be incredible.
Cuba and his team of mercenaries are tasked with retrieving a doctor (Perlman) who is held captive in a remote underground testing facility in the heart of the desert. From the start, it is clear that the group’s patron, Dr. Elissa Cardell is being a bit elusive when discussing the details behind the action. The group, however, chiefly unfazed, decides to go ahead with the mission and infiltrates the underground laboratory. Things inside the facility rapidly escalate from strange to profoundly disturbing. One of the team members, the medic (Manning) treating a sick priest, disappears and one of the researchers (Moseley) emerges with a nasty demon possessing him and a crucifix hewn into his skin to invite Cuba and his clan to the hellish nightmare awaiting them. Meanwhile, new specters on the other members of the team, those of the mirrors -of-your-greatest-weakness variety, begin showing up. Finally, however, Cardell tells them the truth that she has brought the soldiers to ensure that the demons contained deep within ice are exterminated and her real intention. But of course, as is universally known, evil is contagious, and no one who has entered stands a chance of being saved from the demons’ fate.
Bad, bad movie. Even worse that this features Jason Connery, who, for some reason, always seems to come well prepared. I know everyones ‘internal’ film critic likes to conjure conditions where they could eclipse the imagination of an average movie maker. More often than not, this is either outrageous exaggeration, or the muttering of someone who has no clue about filmmaking, which I will admit to being one from time to time. With the Devil’s Tomb I make this claim with a degree of seriousness. There are a lot of aspects that somebody who is not so well versed could do equally as good as what has been produced here assuming the film-set had adequate video assist.
There are some because the quality of lighting and shot selection is inferior to that of the CW network. With dimensionless shooting and a lack of creativity, it is very hard to forgive the lack of innovation when the plot and characters are strong. In this case, where both of these factors are average, the yield is embarrassingly low. Consider a scene where the 16 year old daughter of M. Night Shyamalan and Chloe Kardashian spends 15 million dollars, is handed a script by Bruno Mattei, and has a set of Oscar worthy actors to play around with. That’s something close to the range that this movie operates in. Add to that, the untapped ideas from old templates of “Resident Evil”, “Event Horizon”, “The Objective”, “The Bunker”, and amputate it with dismally uneven effect work and action sequences that make it seem like the previously stated 16 year old girl allowed her 8 year old sibling to edit the movie and you will have a movie that reeks of poor creativity and executes on all fronts.
In all fairness, while the silver linings are few, they are indeed present. The practical effects have their moments. To a similar extent, Cuba, Moseley, and, to a lesser extent, Manning, do not seem to be struggling with the most horrendous dialogue in history. With Rollins’ parts, it is accepted that he is going to be uninspired. This is a wedding gift because if he ever turned out to be a good actor, we might have to delete the glory of Black Flag from our memories. He approaches the role as if a 14-year-old has an energy drink and is unable to choose which guy to hit first. Other than a random moment of nudity, the last positive is the actor-induced seismic activity’s mis-execution. A rather dull one, but how hard can it be to try to have a bunch of players toss themselves against walls while the camera is tipped in order to imitate a quake? They mess it up with such frequency here that one does wonder if that second unit director was off getting a drink when someone shouted ‘action.’
In “The Devil’s Tomb,” the cast lineup would make any director envious. Cuba Gooding Jr. has not been as busy lately, but he is a talented actor. Ron Perlman has always been such an amusing bust of masculine energy. The man is actually Ray Winstone, who is an actor and a cultivated force of nature and has some rather very interesting roles in his filmography. Add to that the rare and wordy but short appearance of Bill Moseley, along with Taryn Manning’s distinct look, and we instantly get something feared. Yes, with such a cast, “The Devil’s Tomb” has so many positives that it can only be average and might have some chance to be incredible.
Cuba and his team of mercenaries are tasked with retrieving a doctor (Perlman) who is held captive in a remote underground testing facility in the heart of the desert. From the start, it is clear that the group’s patron, Dr. Elissa Cardell, is being a bit elusive when discussing the details behind the action. The group, however, chiefly unfazed, decides to go ahead with the mission and infiltrates the underground laboratory. Things inside the facility rapidly escalate from strange to profoundly disturbing. One of the team members, the medic (Manning) treating a sick priest, disappears and one of the researchers (Moseley) emerges with a nasty demon possessing him and a crucifix hewn into his skin to invite Cuba and his clan to the hellish nightmare awaiting them. Meanwhile, new specters on the other members of the team, those of the mirrors -of-your-greatest weakness variety, begin showing up. Finally, however, Cardell tells them the truth that she has brought the soldiers to ensure that the demons contained deep within ice are exterminated and her real intention. But of course, as is universally known, evil is contagious, and no one who has entered stands a chance of being saved from the demons’ fate.
Bad, bad movie. Even worse than this features Jason Connery, who, for some reason, always seems to come well prepared. I know everyone’s ‘internal’ film critic likes to conjure conditions where they could eclipse the imagination of an average movie maker. More often than not, this is either outrageous exaggeration, or the muttering of someone who has no clue about filmmaking, which I will admit to being one from time to time. With the Devil’s Tomb I make this claim with a degree of seriousness. There are a lot of aspects that somebody who is not so well versed could do equally as good as what has been produced here assuming the film-set had adequate video assist.
There are some because the quality of lighting and shot selection is inferior to that of the CW network. With dimensionless shooting and a lack of creativity, it is very hard to forgive the lack of innovation when the plot and characters are strong. In this case, where both of these factors are average, the yield is embarrassingly low. Consider a scene where the 16-year-old daughter of M. Night Shyamalan and Chloe Kardashian spends 15 million dollars, is handed a script by Bruno Mattei, and has a set of Oscar-worthy actors to play around with. That’s something close to the range that this movie operates in. Add to that, the untapped ideas from old templates of “Resident Evil”, “Event Horizon”, “The Objective”, “The Bunker”, and amputate it with dismally uneven effect work and action sequences that make it seem like the previously stated 16 year old girl allowed her 8 year old sibling to edit the movie and you will have a movie that reeks of poor creativity and executes on all fronts.
In all fairness, while the silver linings are few, they are indeed present. The practical effects have their moments. To a similar extent, Cuba, Moseley, and, to a lesser extent, Manning, do not seem to be struggling with the most horrendous dialogue in history. With Rollins’ parts, it is accepted that he is going to be uninspired. This is a wedding gift because if he ever turned out to be a good actor, we might have to delete the glory of Black Flag from our memories. He approaches the role as if a 14-year-old has an energy drink and is unable to choose which guy to hit first. Other than a random moment of nudity, the last positive is the actor-induced seismic activity’s mis-execution. A rather dull one, but how hard can it be to try to have a bunch of players toss themselves against walls while the camera is tipped in order to imitate a quake? They mess it up with such frequency here that one does wonder if that second unit director was off getting a drink when someone shouted ‘action.’
But it wasn’t just Bill Moseley who had trouble choking this one out. Even Doug Bradley would have struggled with the following projection: ‘Together we will dine on the afterbirth of her new becoming’ That’s simply diabolical To append the quote with some ease, consider this after finishing ‘The Devil’s Tomb’, all I could witness was a soundtrack that was set to the remaining hues of horticulture ‘You’ could consider ‘The Devil’s Tomb’ my most dreaded case. A contention without resources is a victim of its own agony when kids serve this based only on the offense this can cause to the viewers. This one might get apprehended someday. Who in the world tasks himself to do something like this? Anyone for a Fetal Membrane sandwich?In “The Devil’s Tomb,” the cast lineup would make any director envious. Cuba Gooding Jr. has not been as busy lately, but he is a talented actor. Ron Perlman has always been such an amusing bust of masculine energy. The man is actually Ray Winstone, who is an actor and a cultivated force of nature and has some rather very interesting roles in his filmography. Add to that the rare and wordy but short appearance of Bill Moseley, along with Taryn Manning’s distinct look, and we instantly get something feared. Yes, with such a cast, “The Devil’s Tomb” has so many positives that it can only be average and might have some chance to be incredible.
Cuba and his team of mercenaries are tasked with retrieving a doctor (Perlman) who is held captive in a remote underground testing facility in the heart of the desert. From the start, it is clear that the group’s patron, Dr. Elissa Cardell is being a bit elusive when discussing the details behind the action. The group, however, chiefly unfazed, decides to go ahead with the mission and infiltrates the underground laboratory. Things inside the facility rapidly escalate from strange to profoundly disturbing. One of the team members, the medic (Manning) treating a sick priest, disappears and one of the researchers (Moseley) emerges with a nasty demon possessing him and a crucifix hewn into his skin to invite Cuba and his clan to the hellish nightmare awaiting them. Meanwhile, new specters on the other members of the team, those of the mirrors -of-your-greatest-weakness variety, begin showing up. Finally, however, Cardell tells them the truth that she has brought the soldiers to ensure that the demons contained deep within ice are exterminated and her real intention. But of course, as is universally known, evil is contagious, and no one who has entered stands a chance of being saved from the demons’ fate.
Bad, bad movie. Even worse that this features Jason Connery, who, for some reason, always seems to come well prepared. I know everyones ‘internal’ film critic likes to conjure conditions where they could eclipse the imagination of an average movie maker. More often than not, this is either outrageous exaggeration, or the muttering of someone who has no clue about filmmaking, which I will admit to being one from time to time. With the Devil’s Tomb I make this claim with a degree of seriousness. There are a lot of aspects that somebody who is not so well versed could do equally as good as what has been produced here assuming the film-set had adequate video assist.
There are some because the quality of lighting and shot selection is inferior to that of the CW network. With dimensionless shooting and a lack of creativity, it is very hard to forgive the lack of innovation when the plot and characters are strong. In this case, where both of these factors are average, the yield is embarrassingly low. Consider a scene where the 16 year old daughter of M. Night Shyamalan and Chloe Kardashian spends 15 million dollars, is handed a script by Bruno Mattei, and has a set of Oscar worthy actors to play around with. That’s something close to the range that this movie operates in. Add to that, the untapped ideas from old templates of “Resident Evil”, “Event Horizon”, “The Objective”, “The Bunker”, and amputate it with dismally uneven effect work and action sequences that make it seem like the previously stated 16 year old girl allowed her 8 year old sibling to edit the movie and you will have a movie that reeks of poor creativity and executes on all fronts.
In all fairness, while the silver linings are few, they are indeed present. The practical effects have their moments. To a similar extent, Cuba, Moseley, and, to a lesser extent, Manning, do not seem to be struggling with the most horrendous dialogue in history. With Rollins’ parts, it is accepted that he is going to be uninspired. This is a wedding gift because if he ever turned out to be a good actor, we might have to delete the glory of Black Flag from our memories. He approaches the role as if a 14-year-old has an energy drink and is unable to choose which guy to hit first. Other than a random moment of nudity, the last positive is the actor-induced seismic activity’s mis-execution. A rather dull one, but how hard can it be to try to have a bunch of players toss themselves against walls while the camera is tipped in order to imitate a quake? They mess it up with such frequency here that one does wonder if that second unit director was off getting a drink when someone shouted ‘action.’
But it wasn’t just Bill Moseley who had trouble choking this one out. Even Doug Bradley would have struggled with the following projection: ‘Together we will dine on the afterbirth of her new becoming’ That’s simply diabolical To append the quote with some ease, consider this after finishing ‘The Devil’s Tomb’, all I could witness was a soundtrack that was set to the remaining hues of horticulture ‘You’ could consider ‘The Devil’s Tomb’ my most dreaded case. A contention without resources is a victim of its own agony when kids serve this based only on the offense this can cause to the viewers. This one might get apprehended someday. Who in the world tasks himself to do something like this? Anyone for a Fetal Membrane sandwich?In “The Devil’s Tomb,” the cast lineup would make any director envious. Cuba Gooding Jr. has not been as busy lately, but he is a talented actor. Ron Perlman has always been such an amusing bust of masculine energy. The man is actually Ray Winstone, who is an actor and a cultivated force of nature and has some rather very interesting roles in his filmography. Add to that the rare and wordy but short appearance of Bill Moseley, along with Taryn Manning’s distinct look, and we instantly get something feared. Yes, with such a cast, “The Devil’s Tomb” has so many positives that it can only be average and might have some chance to be incredible.
Cuba and his team of mercenaries are tasked with retrieving a doctor (Perlman) who is held captive in a remote underground testing facility in the heart of the desert. From the start, it is clear that the group’s patron, Dr. Elissa Cardell is being a bit elusive when discussing the details behind the action. The group, however, chiefly unfazed, decides to go ahead with the mission and infiltrates the underground laboratory. Things inside the facility rapidly escalate from strange to profoundly disturbing. One of the team members, the medic (Manning) treating a sick priest, disappears and one of the researchers (Moseley) emerges with a nasty demon possessing him and a crucifix hewn into his skin to invite Cuba and his clan to the hellish nightmare awaiting them. Meanwhile, new specters on the other members of the team, those of the mirrors -of-your-greatest-weakness variety, begin showing up. Finally, however, Cardell tells them the truth that she has brought the soldiers to ensure that the demons contained deep within ice are exterminated and her real intention. But of course, as is universally known, evil is contagious, and no one who has entered stands a chance of being saved from the demons’ fate.
Bad, bad movie. Even worse that this features Jason Connery, who, for some reason, always seems to come well prepared. I know everyones ‘internal’ film critic likes to conjure conditions where they could eclipse the imagination of an average movie maker. More often than not, this is either outrageous exaggeration, or the muttering of someone who has no clue about filmmaking, which I will admit to being one from time to time. With the Devil’s Tomb I make this claim with a degree of seriousness. There are a lot of aspects that somebody who is not so well versed could do equally as good as what has been produced here assuming the film-set had adequate video assist.
There are some because the quality of lighting and shot selection is inferior to that of the CW network. With dimensionless shooting and a lack of creativity, it is very hard to forgive the lack of innovation when the plot and characters are strong. In this case, where both of these factors are average, the yield is embarrassingly low. Consider a scene where the 16 year old daughter of M. Night Shyamalan and Chloe Kardashian spends 15 million dollars, is handed a script by Bruno Mattei, and has a set of Oscar worthy actors to play around with. That’s something close to the range that this movie operates in. Add to that, the untapped ideas from old templates of “Resident Evil”, “Event Horizon”, “The Objective”, “The Bunker”, and amputate it with dismally uneven effect work and action sequences that make it seem like the previously stated 16 year old girl allowed her 8 year old sibling to edit the movie and you will have a movie that reeks of poor creativity and executes on all fronts.
In all fairness, while the silver linings are few, they are indeed present. The practical effects have their moments. To a similar extent, Cuba, Moseley, and, to a lesser extent, Manning, do not seem to be struggling with the most horrendous dialogue in history. With Rollins’ parts, it is accepted that he is going to be uninspired. This is a wedding gift because if he ever turned out to be a good actor, we might have to delete the glory of Black Flag from our memories. He approaches the role as if a 14-year-old has an energy drink and is unable to choose which guy to hit first. Other than a random moment of nudity, the last positive is the actor-induced seismic activity’s mis-execution. A rather dull one, but how hard can it be to try to have a bunch of players toss themselves against walls while the camera is tipped in order to imitate a quake? They mess it up with such frequency here that one does wonder if that second unit director was off getting a drink when someone shouted ‘action.’
But it wasn’t just Bill Moseley who had trouble choking this one out. Even Doug Bradley would have struggled with the following projection: ‘Together we will dine on the afterbirth of her new becoming’ That’s simply diabolical To append the quote with some ease, consider this after finishing ‘The Devil’s Tomb’, all I could witness was a soundtrack that was set to the remaining hues of horticulture ‘You’ could consider ‘The Devil’s Tomb’ my most dreaded case. A contention without resources is a victim of its own agony when kids serve this based only on the offense this can cause to the viewers. This one might get apprehended someday. Who in the world tasks himself to do something like this? Anyone for a Fetal Membrane sandwich?But it wasn’t just Bill Moseley who had trouble choking this one out. Even Doug Bradley would have struggled with the following projection: ‘Together we will dine on the afterbirth of her new becoming’ That’s simply diabolical To append the quote with some ease, consider this after finishing ‘The Devil’s Tomb’, all I could witness was a soundtrack that was set to the remaining hues of horticulture ‘You’ could consider ‘The Devil’s Tomb’ my most dreaded case. A contention without resources is a victim of its own agony when kids serve this based only on the offense this can cause to the viewers. This one might get apprehended someday. Who in the world tasks himself to do something like this? Anyone for a Fetal Membrane sandwich?
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