carmelolia

I found the direct-to-video film 'True Crime' to be a taut and suspenseful thriller. Driven by a plot which keeps you engaged and a confident performance from a young Alicia Silverstone, the film successfully builds an atmosphere of paranoia and suspense.

The narrative follows Mary Giordano (Silverstone), a bright Catholic school student with a passion for crime novels and magazines. When a series of murders strikes her town, she takes it upon herself to investigate, convinced that the police have overlooked crucial details. Her journey is a captivating blend of teenage curiosity and a genuine thirst for justice.

What makes 'True Crime' so effective is its ability to create a sense of unease through its characters and their shifting loyalties. The film relies on psychological tension that builds as Mary gets closer to the truth. The central mystery is well-crafted, with a killer who is cunning and manipulative, constantly framing others and leaving a trail of misdirection. I also enjoyed the commentary on the nature of crime and detective work between the protagonists.

Alicia Silverstone delivers a standout performance, portraying Mary as intelligent, resourceful, and refreshingly determined. She embodies the "Nancy Drew with an edge" persona perfectly, making her a protagonist the audience can root for. The film's low-budget origins actually work to its advantage, giving it a raw, grounded feel that enhances the gritty, dangerous world Mary finds herself in. It's a film that proves a strong story and solid acting can more than compensate for a limited budget.

'True Crime' is a well-paced, engaging thriller that will keep you guessing until the very end. It's an excellent example of a direct-to-video film that punches well above its weight, delivering a tense and satisfying mystery with a memorable lead performance.

This film acts as a charming relic of the 1990s, serving as a magical foundation for the beloved series that would follow. While perhaps not as polished or memorable as its successor, it's a delightful watch for fans of the show or anyone curious about its origins, such as myself.

The film's plot is straightforward and breezy. Sabrina Sawyer (played with an infectious youthful charm by Melissa Joan Hart) is a seemingly normal teenager who moves to a new town with her eccentric aunts, Hilda and Zelda. On her 16th birthday, she discovers she is a witch. What follows is a light-hearted romp as Sabrina navigates the challenges of high school popularity, crushes, including one on the handsome Seth, as portrayed by a pre-fame Ryan Reynolds, and the tricky business of mastering her newfound powers. The film perfectly captures the 90s aesthetic (which I'm fond of as it reminds me of my childhood) from the fashion to the pop culture references.

One of the most interesting aspects is seeing the differences between this and the series. The film feels more like a standalone teenage comedy that happens to have magic in it, whereas the series used to delve deeper into the fantastical elements and world-building. The special effects also feel dated but the film's real strength lies in its heart. Melissa Joan Hart is perfectly cast, embodying the cheerful and slightly rebellious spirit of Sabrina. The film's low-budget, made-for-TV feel is part of its charm. It's not trying to be a cinematic masterpiece; it's simply a fun, feel-good film for a family audience. And that it most certainly is.

In many ways, 'Sabrina the Teenage Witch' is a glimpse into a time before the more established lore of the TV series took hold. It's an enjoyable and nostalgic piece of entertainment that, while not reaching the full potential of its premise, successfully sets the stage for a television phenomenon.

Joel Schumacher's 1995 entry into the 'Batman' saga feels less like a continuation and more like a colourful, jarring diversion. Gone are the gothic, almost claustrophobic shadows of Gotham City that Tim Burton so masterfully created. In their place, we are given a city that gleams with garish neon and theatricality, a vibrant, almost cartoon-like metropolis that reflects the film's shift in tone.

While this stylistic choice is a bold one, it ultimately serves as a distraction from the film's shallow core. The costumes and set designs are a feast for the eyes, a veritable big-top spectacle that screams comic book panels come to life. Jim Carrey's performance as the Riddler, in particular, leans into this aesthetic, transforming the character into a grating, scenery-chewing spectacle of green spandex and question marks.

However, beneath the vibrant, glossy surface, the film ultimately rings hollow. While the style is undeniable, a certain substance we associate with the best of the 'Batman' graphic novels feels critically absent. The narrative, weighed down by the introduction of both Two-Face and the Riddler, is a mess at times. We are given a series of explosive set pieces and frantic chases, but the emotional core that anchored the previous films is entirely lost in the chaos. With regards to Val Kilmer's portrayal of Batman, his is a more wooden, less psychologically complex figure than his predecessor Michael Keaton in 'Batman' (1989), and his internal struggles are dismissed.

'Batman Forever' is a visually stimulating ride, but once the credits roll, one is left with the sense that it is a beautifully wrapped gift with nothing of real value inside. It is a striking work of pure aesthetic, but it is ultimately a soulless, forgettable spectacle. Despite its flaws, the film is still enjoyable and entertaining, even if it falls short when compared to the best or better 'Batman' films.