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Family enforcer.

1976 Directed by Ralph De Vito

A kid from the neighborhood goes to work for the Mafia as a collector.

Joe Cortese Lou Criscuolo Joe Pesci Bobby Alto Frank Vincent Keith Davis Jack Ramage Anne Johns Bob D'Andrea Victoria Hale Frank Ammirati Gino Gennaro Floyd Levine Sal La Pera Richard Ward Frank Piazza Tony Munafo Joseph Summo Michael Aronin Jeri Haywood Daniel P. Conte Hyla Marrow

Director Director

Ralph De Vito

Producer Producer

William N. Panzer

Writer Writer

Casting casting.

Aaron Beckwith

Editor Editor

Dominique Milbank

Cinematography Cinematography

Executive producer exec. producer.

Peter S. Davis

Art Direction Art Direction

Ronald De Vito

Special Effects Special Effects

Composer composer, sound sound.

Lee Dichter Marc Cerutti

Hairstyling Hairstyling

Michael Mauriello

Releases by Date

29 oct 1976, releases by country.

Theatrical R

85 mins More at IMDb TMDb Report this page

Popular reviews

Review by Jeremy Milks ★★★★★

The best mob movie Scorsese never made. Authentic low budget New Jersey masterpiece.

Review by RanchoTuVu ★★★★½

A gritty mafia film set in New Jersey about an ex-con working as a debt collector for the mob. The people who owe the money are also kind of connected, so he's supposed to collect without hurting anyone's feelings because even though they're deadbeats, they're still connected. The dialog of veiled threats with a lot left between the lines is spot on. Joe Cortese as Jerry Bolanti makes it clear he's going to collect one way or another and screw the mob hierarchy. After watching this you'd wonder where it had been all your life. It's quite the mafia movie with a strong taste of North New Jersey 70s atmosphere that the Sopranos would live in and each character seems to naturally belong in it.

Review by Pube ★★½

A lot of this movie is a blatant rip off of The Godfather , but with absolutely no depth or emotional relevance. It's as if somebody saw The Godfather , liked what they saw, didn't understand any of it, and made this movie. But, I didn't watch this for actual cinematic value. That would have been an added and unexpected bonus. No, I watched this because of Joe Pesci. I like the guy a lot and have kept my eyes open for The Death Collecter/Enforcer/Family Enforcer or whatever the hell it's really called for years. The cover on the copy I found threw me off and is pretty goofy because it's a picture of Pesci from Eight Heads in a Duffel Bag , but…

Review by John S. ★★★

Looks ruddy and a little choppy but smooths down to a decent low-rent mob movie echoing Mean Streets . The poster is awesome, screams a good time. Maybe. This guy Bolanti (described as a “kid” in some places, ha!) who rolls in to the story thinking he’s slicker than grease plies the boss for jobs until he gets them; proceeds to get ripped off on both. Revenge scenes sort out the mess of interested parties who all want our up-and-comer dead. And for what? I guess that’s ironic considering the villains of Point Blank wondered the same thing about Parker. The money either isn’t coming or it isn’t ultimately worth the trouble for a soldier.

The oddball hero, Jerry, is sometimes…

Review by Luscious Johnny V ★★★★ 1

Holy shit, this was great: no-budget North Jersey neo-realism that plays like the grindhouse Sopranos prequel we all deserved and not The Many Saints of Newark we got instead. Here be low-ranking Meadowlands wise guys doing the real greaseball shit Henry Hill talks about in Goodfellas , only really marred by a script that can't quite make up its mind whether Joe Cortese is an elite assassin or your standard-issue 55-IQ stugots. Otherwise, it's energetically shot and edited, generally well-acted (Pesci and Frank Vincent both debut here), mordantly funny with some deft characterization, and some unexpected flourishes, too: a rival black hitman who isn't to be fucked with, a (closeted?) thug checking out the goods in an issue of Playgirl , one…

Review by TomAtkinsDiet ★★★★

The only real crime taking place in this film is that it hasn't been released to a physical/digital format.

A street-level gangster classic. Seek it out.

Review by JC13 ★★½

Today is Joe Pesci's birthday and this was his first movie. Apparently Robert De Niro and Martin Scorsese saw it and decided to cast Pesci (and Frank Vincent) in Raging Bull because of this one. The movie isn't particularly good, but I suppose I'm thankful for it because without it we might not have had Pesci in those Scorsese classics, as well as some of his other standout movies. Despite appearing on the poster, Pesci plays a supporting role, but he's the best part of the movie. The story had potential, but it just wasn't very interesting the way it was executed and it wasn't that well made either. There are a few good scenes though and it's fairly short, which was nice. 5/10

Review by waj ★★★½

Far better than the B-movie shlock I was expecting.

Don’t get me wrong: the visual and sound quality is quite bad. The script, however, surprisingly toes the line between hilarity and suspense well. And the acting — which features future Scorcese regulars Joe Pesci and Frank Vincent — also feels very authentic to the New Jersey mob lifestyle the movie is representing.

It’s a shame the film’s writer-director, Ralph De Vito, died — in what I’ve read what was a potential mob-related shooting — soon after his debut feature’s release. Would’ve loved to see him work on a higher-budget film.

Review by Raul ★★★★

This film doesn’t get talked about more because….?

Review by Alex Dawson ★★★½

JERRY BOLANTE isn’t afraid of anyone or anything. He’s young, street-smart, tough, with a fierce raw sexual energy...He’s MAFIA!

Mob failson James Woods De Niro returns to Jersey, looking for work as a debt collector. His ambition and cockiness result in various violent conflicts and slip-ups, he pulls a robbery outside a supermarket with his friends, and he has to confront an utterly badass middle-aged black hitman (Keith Davis, in his only film credit). A little aimless, but I never got bored with it.

Fun dialogue and character interactions, some nice mob minutia, good mix of humor and brutality, and strong debut performances from Joe Pesci and Frank Vincent (with an afro).

Review by Joshua ★★★★½

An ultra grungy no-budget mafia picture filled so much heart you can't not love it. Not quite the bombastic outsider grit of something like Massacre Mafia Style , but pretty fuckin' close. Fantastic exploitation all around. Would kill to see this projected in 35mm. Loved it.

Review by Sean Liebe ★★½

You know that Italian friend of yours from Jesey who pretends he lnows people in the mafia? This is the type of movie he would write.

A star and a half for Joe Pescis hair. One star for the constant yelling.

Double feature this with Mean Streets

Select your preferred poster

Beautiful, interesting, incredible cinema.

FAMILY ENFORCER

The death collector.

Goodfella Joe Pesci appears in one of his earliest roles in this 1976 Mafia drama about Jerry Bolanti, a young tough who returns to his New Jersey hometown and starts working as a collections agent for the local mob boss (Lou Criscuolo).

MPAA Rating

Produced by, family enforcer (1976), directed by ralph de vito.

AllMovie Rating 4
User Ratings ( 0 )
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Synopsis by Hal Erickson

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Pay or Die!

1975, Crime/Drama, 1h 34m

Where to watch Pay or Die!

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Pay or die photos.

A young hoodlum rises through the ranks of organized crime by collecting money and favors for a New Jersey mobster.

Genre: Crime, Drama

Original Language: English

Director: Ralph De Vito

Release Date (Streaming): Jul 28, 2016

Runtime: 1h 34m

Production Co: CDS Management

Cast & Crew

Joe Cortese

Jerry Bolanti

Lou Criscuolo

Anthony Iadavia

Ralph De Vito

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Family Enforcer Reviews

1 hr 30 mins
Watchlist Where to Watch

A young drifter becomes a debt collector for New Jersey racketeers.

A low-budget crime thriller about second-string New Jersey mobsters, writer-director Ralph De Vito's only film shows a promising gift for characterization and features Joe Pesci's movie debut, leaving aside his uncredited bit part as a band member in HEY, LET'S TWIST (1961). Hot-headed Jerry Bolanti (Joeseph Cortese) is back in town after a lengthy absense and looking for work. He approaches bush-league don Anthony Iodavia (Lou Criscuolo), who throws him a gig collecting a debt from a local club owner. When that goes well, Iodavia give him a bigger job: Collecting $27,000 from businessman Bernie Feldshuh (character actor Frank Vincent, who generally plays Mafiosi) on behalf of his former associate, Herb Greene (Jack Ramage). Jerry's strong-arm tactics trigger a series of bloody confrontations that leave both businessmen dead and Jerry wounded. Ultimately Iodavia has to step in and clean up the mess, and the money is never collected. Nevertheless, Iodavia offers Jerry another job, helping neighborhood fixtures Joe Cavallo (Pesci) and his dimwitted friend, Serge (Bobby Alto), hold up a supermarket manager carrying a full day's receipts. The robbery goes more or less as planned, but Jerry later finds Serge and Joe executed and the money gone. Worse, Iodavia begins to suspect that Jerry is playing him for a chump. The film's lighting is harsh and the editing is sometimes choppy, but De Vito's direction is never less than professional and some of his dialogue has a sharply naturalistic feel. Scenes like the one in which Jerry and Joe torment a lounge pianist (Bob D'Andrea) by pelting him with peanuts show a real flair for illuminating character through small gestures and reactions. Pesci's raw talent is evident throughout, and this performance was directly responsible for getting him cast in RAGING BULL (1980). Having spent more than a decade scrounging a living as a musician and aspiring actor, Pesci had abandoned his hopes of stardom and was working in a Bronx restaurant when he got a call from Robert De Niro. Martin Scorsese and De Niro had seen DEATH COLLECTOR and tracked Pesci down to offer him the part of Joey LaMotta, which jump-started the actor's moribund career.

The Family & Family Enforcer

It may be the Christmas season for most people, but this year at the New Beverly, we’re celebrating our own December holiday – Crooksmas! All month long, we’re devoting our screen to celebrating our favorite rogues, cutthroats, murderers, bounty hunters, desperados, mugs, pugs, thugs, vipers, snipers, con men, muggers, bank robbers, and Methodists. And this month’s first Grindhouse screening on Tuesday, December 4th pairs up two solid seventies crime dramas involving The Black Hand, The Camorra, The Commission – The Mob! – each featuring a legendary acting team in the thick of the business.

Veteran hitman Jeff Heston (Charles Bronson), enjoying an island holiday with his girlfriend Vanessa (Jill Ireland), is betrayed and left for dead by a fellow gunman… and watches Vanessa run off with him. Heston survives, serves a prison sentence, and once free, sets about tracking down the turncoats. The quest for retribution puts him in the orbit of New Orleans boss Al Weber (Telly Savalas), who wants free agent Heston in his organization. Once Heston discovers that Weber’s new wife is Vanessa, what had been a personal vendetta now turns into a one-man crusade to undermine and dismantle The Family.

Writer/director Sergio Sollima had previously helmed three well-received westerns – The Big Gundown, Face to Face, and Run Man Run, all starring Tomas Milian – when he shifted into present-day action with this production, originally titled Violent City . The original story was conceived by Massimo De Rita, who had produced Mario Bava’s Black Sunday and Evil Eye , and Arduino Maiuri, who conceived and co-directed the spy spoof Kiss the Girls and Make them Die ; as a duo, they would provide uncredited rewrites on two more Bronson films, The Valachi Papers and The Valdez Horses (aka Chino ), as well as conceive more poliziotteschi, including Street Law . Dissatisfied with their original vision, Sollima reworked their concept with contributions from Sauro Scavolini, who co-wrote several gialli and Sergio Martino’s Loving Cousins (aka High School Girl ), which played the Bev in February 2017, and future Oscar-nominee Lina Wertmuller. Jon Voight and Tony Musante were initially courted for the role of Heston before the significantly older Bronson was cast, and Sharon Tate had been considered to play Vanessa until Bronson insisted on his wife Jill Ireland taking the role; it was her first headlining collaboration with her husband after small roles in his films Villa Rides, Lola, and Rider on the Rain . The prolific Ennio Morricone provided the score, and two cues, “Rito Finale” and “Norme con Ironie”, were later repurposed in Django Unchained .

Although Violent City had been shot in the United States with backing from Universal’s French division, and released in most parts of the world in 1970, no American studios were initially interested in releasing it stateside. Small outfit International Coproductions finally picked it up for the grindhouse circuit in 1973, renaming it The Family , and creating a title logo mimicking The Godfather ’s unique font. After 1974, when Bronson became a U.S. box office star with Death Wish and Savalas headlined the cop drama “Kojak”, the film was given a much wider reissue, with some theatre ads billing Savalas over Bronson even though Savalas had only 20 minutes worth of screentime. It was also one of the rare poliziotteschi to get a network TV premiere as the CBS Thursday Night Movie on January 30, 1975; that same night the CBS Late Movie aired another Telly Savalas film, Sol Madrid , which played the Bev in August 2015.

Jerry Bolanti (Joe Cortese) has just gotten out of prison, and through his old neighborhood relationships, builds a reputation as an effectively menacing debt collector for local wiseguy Tony Iadavia (Lou Crisculolo). With assistance from cohorts Joe (Joe Pesci) and Serge (Bobby Alto), Jerry envisions a comfortable life of ease for him and his girlfriend. But his attempt to call in the marker from the belligerent Bernie Feldshuh (Frank Vincent) ignites a series of bloody escalating reprisals between the two parties, with many unforeseen victims left behind. As Jerry’s ability to bring back payments due becomes more dangerous, he learns all too well the daily workplace hazards of serving as the Family Enforcer .

Family Enforcer , also known as The Death Collector , was the first film produced by the team of Peter S. Davis & William N. Panzer, who would achieve immortality for launching the Highlander film series, which in turn spawned TV and video game spinoffs. Other crew members who went on to greater fortune include assistant director C. Tad Devlin, who would produce Sleeping with the Enemy and Disney’s George of the Jungle, production manager John H. Starke, who would become executive producer of Step Up and Sicario , and key grip Constantine Makris, who would be cinematographer for over 100 episodes of “Law & Order” and direct over 60 episodes as well before moving on to direct installments of “Orange is the New Black.” This would be the only feature film credit for writer/director Ralph DeVito; his followup drama, Anna , starring actress/singer Lillian Roth with Pesci as her son, shot for six weeks in 1980, but during a break in filming, the 69-year-old Roth unexpectedly succumbed to a stroke and died, forcing the project to shutdown unfinished.

While Family Enforcer did not initially gather much notice upon its release in 1976, its place in history was earned when director Martin Scorsese saw it a few years later on a late-night TV broadcast, and subsequently invited its three main stars to participate in his then-upcoming biopic Raging Bull. Pesci and Vincent of course became stars from their casting, and would return for more films with Scorsese, but Cortese would ultimately leave the production, with United Artists steering him into another NY-based project filming concurrently: the controversial thriller Windows with Talia Shire, the sole directorial outing by cinematographer Gordon Willis. Cortese would later appear in Evilspeak , Monsignor , the sci-fi series “Something is Out There,” and in Warrant’s “Cherry Pie” music video. He continues to be cast in striking character roles today, including two appearances on “It’s Always Sunny in Philadelphia” and in the just-released drama Green Book with Viggo Mortenson and Mahershala Ali. Much like Pesci & Vincent, who had backgrounds in music and stand-up comedy, Bobby Alto, playing Pesci’s pal Serge, was also a musician and comic: he achieved particular notoriety for singing on the 1980 Mad Magazine flexidisc “ It’s a Super Spectacular Day ,” which would play one of eight different bummer endings depending on where you placed the needle.

In an evening that already features Bronson & Ireland, Pesci & Vincent, and sex & violence, the pairing that makes it all special is the New Beverly & yourself! So bring your mob to the first Grindhouse Tuesday of December. Just remember to obey our benign but firm “omerta” during the show!

(Thanks to writer Paul Talbot, author of Bronson’s Loose and Bronson’s Loose Again for some of the deep production information. His books are great reading for Bronson fans of all eras!)

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Family Enforcer

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LOS ANGELES -- The stick-up men are trapped in a liquor store. The cops have the place surrounded. There are innocent hostages inside. One of them will be killed unless the police supply a getaway car. "Hey, Harry - what are you doing?" asks a cop. "Taking them a car," says Harry Callahan . He commandeers a car. spins it 180 degrees, drives it straight through the plate glass front of the liquor store, runs down one robber, leaps out and opens fire on the others. It's amazing this guy is still on the force. Dirty Harry has been taking the law into his own hands in three films now, gunning down the bad guys on the streets of San Francisco, As punishment, he keeps getting transferred to assignments like traffic and personnel, but by the next film he's back on homicide again.

In " Dirty Harry " and "Magnum Force," some disturbing philosophical questions were raised by Harry's behavior: Were these movies glorifying a cop who was self-appointed judge, jury and executioner? "The Enforcer," Clint Eastwood 's third (and, it's said, his last) film as Dirty Harry, gets off the hook by handling its killings more in terms of self defense and rescue operations, instead of as cold-blooded executions.

It's also a more light-hearted film (although that may be hard to guess on the basis of the opening liquor store scene). All Dirty Harry films have given us a hard-boiled combination of violence and humor, with most of the laughs coming out of Harry's laconic calm in the face of mayhem. This time, though, there's, a genuinely interesting plot development that inspires a good deal more humor: Dirty Harry, of all people, has just been given a woman as his partner. Harry places women in two categories, those to be used and those to be rescued. He has never imagined one as a partner.

And especially not this one. He meets her the first time when she's taking her oral examination, (Harry, it should be explained, has been demoted to personnel again and assigned to the promotion board.) She has been on the force 10 years, he discovers. As a clerk. Now she's going to get promoted, go out onto the street, do real police work, get a larger salary than a lot of the guys who've been on the force longer and deserve it more - because she's a woman and there are quotas to be met. Harry's livid. He gives the woman a hard time during the examination. Asks her rude, personal questions. Grinds his teeth. Rails against this whole business of sending a woman to do a man's job. And then, inevitably, it turns out she's assigned to be his partner, How he got back to homicide so quickly is, thankfully, glossed over; it would take an hour in each of these movies to explain why he's not in jail.

The woman is played by Tyne Daly , who has done a lot of stage work but never made a name in the movies. She's very well cast, She's not beautiful, but she has a direct, spontaneous attractiveness. She speaks up for herself, has intelligent observations to make, is willing to learn from Harry's experience, and doesn't do dumb female things, except once when she can't find her gun in her purse. (When I say "dumb female things," you understand, I am reflecting Harry's chauvinistic attitude toward these matters.) Eventually she saves Harry's life. "A guy could have a worse partner," he admits.

"The Enforcer" is the best of the Dirty Harry movies at striking a balance between the action and the humor. Sometimes in the previous films we felt uneasy laughing in between the bloodshed, but this time the movie's more thoughtfully constructed and paced. For the first time we really get a sense of the human being behind Harry's facade, some of the scenes with Tyne Daly wouldn't work any other way. And Clint Eastwood, as always, is good at projecting Harry's loyalties and convictions in the fewest words possible.

The plot is cheerfully confusing, having to do with something called the Ecumenical Liberation Army, which may or may not be on the level. At various points explosives are employed and the mayor is kidnapped, and there's a sensational shoot-out at Alcatraz during which Eastwood, who seems to enjoy a larger weapon in every movie, uses a hand held bazooka, But the best things in the movie are the scenes between Eastwood and Tyne Daly. A relationship is explored, and it leads somewhere and makes a statement, and that makes "The Enforcer" more satisfactory than Dirty Harry's previous adventures - unless, of course, you go to see the bazooka.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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The Enforcer (1976)

Harry Callahan as Clint Eastwood

Lt. Bressler as Harry Guardino

Kate Moore as Tyne Daly

Capt. McKay as Bradford Dillman

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The enforcer, common sense media reviewers.

Violent noir action has nudity, sex crime, smoking, cursing.

A Lot or a Little?

What you will—and won't—find in this movie.

Theme of redemption.

Characters work in organized crime: Some might cho

Main character Cuda is Latino (although actor Anto

Sex trafficking. A teen girl is attacked and abduc

Sex workers, dancers, and bartenders in a club are

Near constant use of "f--k." Other strong language

Smoking by most characters throughout, made to loo

Positive Messages

Positive role models.

Characters work in organized crime: Some might choose to do the right thing in a given situation, but they're not role models. "Good" or compassionate actions from the main characters carry a self-serving reward.

Diverse Representations

Main character Cuda is Latino (although actor Antonio Banderas is European), and the teen runaway he helps is Black and depicted positively. There's one queer character, but this appears to be largely to create a provocative and steamy scene. The most powerful person in the film is a female mob boss, but she's not depicted positively. Other than Cuda's wife and daughter, who are rarely on camera, women are depicted as sex objects.

Did we miss something on diversity? Suggest an update.

Violence & Scariness

Sex trafficking. A teen girl is attacked and abducted. Frequent, intense violence. Shootings, many fatal and visual. Aggressive stabbings. Street fighting with quite a few punches and lots of blood and injuries.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Sex workers, dancers, and bartenders in a club are either topless or wearing leather and chain bikinis, trunks, and lingerie. Pornographic-style live feeds include images of scantily clad women touching themselves or each other. Kissing. Exotic dancing, including a steamy lap dance. Blooming romance between two characters who are shown kissing and, in an unrelated scene, waking up in the same bed.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Near constant use of "f--k." Other strong language includes "ass," "bitch," "bulls--t," "goddamn," and "s--t."

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Drinking, Drugs & Smoking

Smoking by most characters throughout, made to look cool. In a trap house, crime lords are shown lighting and smoking marijuana, a needle is shown being prepped. A girl who sits with the crime lords looks out of it, the implication being that she's high.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that The Enforcer is a neo-noir crime thriller. Antonio Banderas stars as Cuda (as in "barracuda"), a slick mob enforcer who knows his actions have cost him everything. When a path to redemption opens up, he follows it, no matter the personal cost. Part of his character evolution is the discovery of a sex trafficking ring, and victims are shown being violently abducted, kept in rooms with locked cell doors, and topless in sexualized attire. Images on a television in the background are meant to depict live sex cams, with women gyrating on camera. Much of the action takes place in a club that features scantily clad club dancers; one scene shows a steamy lap dance. While the suggestion of sex is everywhere, kissing is the only interaction that actually appears. Violence is extreme, with one storyline revolving around a street fighter who bare-knuckle fights opponents to bloody unconsciousness. There are also close-range shootings and stabbings, with plenty of blood and spray. Negative characters smoke pot, with the implication of heavier drug use. Most characters smoke cigarettes in a way that glamorizes the act. Expect drinking and strong language throughout, including near constant use of "f--k." To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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What's the Story?

Fresh out of prison, Cuda ( Antonio Banderas ) returns to his former job as THE ENFORCER of an organized crime ring in Miami. When his daughter, disgusted by his past deeds, refuses to reconnect with him, Cuda takes a 15-year-old runaway ( Zolee Griggs ) under his wing. Feeling like he's lost one daughter who depended on him, he refuses to lose the other.

Is It Any Good?

Violent crime dramas are a dime a dozen, but this Miami-set redemption tale has some heart. As Cuda, Banderas dresses like the James Bond of organized crime, a signal that he's too classy to work for the mob (not to mention a reminder that Banderas is too classy to be in this kind of film). But he turns in a performance as solid as he might for a Pedro Almodóvar film, and that achievement shines a light on his fellow actors, whose work might otherwise be overlooked. Kate Bosworth takes an unexpected approach as a mob boss who exudes power through her calm and femininity. Australian newcomer Mojean Arias is street fighter Stray, a young man who's trying to figure out his path in a world with few options, and it's easy to see that he's one to watch. (On the other hand, while rap fans may enjoy seeing 2 Chainz, he should probably keep his day job.)

First-time feature director Richard Hughes and established writer W. Peter Iliff ( Point Break , Patriot Games , Varsity Blues ) work well together. The Enforcer isn't a great film by any stretch of the imagination, but the filmmakers' choice to use noir elements and tailor them to a world-weary henchman instead of a detective is an exciting adjustment. Viewers' introduction to Stray is attention-getting: The camera follows him for a full minute as he walks through the streets of Miami, psyching himself up for a fight. It's easy to imagine this scene being discussed at length in panels and conferences for the rest of Hughes' life. But once the story pivots into the underbelly of the Miami crime scene, it goes from gritty to icky. The hope that the film might rise above the low-budget guns-and-glory schlock the title promises disappears like Cuda's hope that he'll be able to escape his life of crime. By the end, it's clear that this is meant for audiences who enjoy a juicy blood splatter and dames in dominatrix gear holding a smoking gun.

Talk to Your Kids About ...

Families can talk about The Enforcer' s violence . Do the brutal scenes help get the movie's point across, or are they gratuitous? What's the impact of media violence on kids?

Are there any positive portrayals of sex here? Why do you think sex and violence are often paired in movies and TV shows?

What is redemption? How does protecting teen runaway Billie offer a path to redemption for Cuda, Stray, and Alexis?

Does this film objectify women? Why, or why not?

What elements of noir did you spot? How does this compare to other films in the noir and neo-noir genre that you've seen?

Movie Details

In theaters : September 23, 2022
On DVD or streaming : November 8, 2022
Cast : Antonio Banderas , Kate Bosworth , Mojean Aria
Director : Richard Hughes
Inclusion Information : Female actors
Studio : Screen Media Films
Genre : Action/Adventure
Run time : 90 minutes
MPAA rating : R
MPAA explanation : strong/bloody violence, language throughout, sexual content, nudity and drug use
Last updated : March 25, 2024

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

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3 Great Movies on 1 DVD. Star Power, Exciting Genre with Extras on each DVD.

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MPAA rating ‏ : ‎ Unrated (Not Rated)
Product Dimensions ‏ : ‎ 9 x 5.5 x 0.53 inches; 2.4 ounces
Media Format ‏ : ‎ Color, DVD, NTSC
Run time ‏ : ‎ 4 hours and 38 minutes
Release date ‏ : ‎ March 20, 2001
Actors ‏ : ‎ Benton, Neave, Caban, Angel, Cuthrell, Elizabeth, Dannenfelser, Buzzy, Dorsett, Ernest
Studio ‏ : ‎ Bfs Entertainment
ASIN ‏ : ‎ B00005AQ83
Number of discs ‏ : ‎ 1
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Fallout First Reviews: A 'Violent, Fun, Emotional, Epic' Video Game Adaptation, Critics Say

Critics say prime video's new series benefits from strong storytelling, committed performances, and a deft balance of tone, making it one of the best video game adaptations ever..

TAGGED AS: First Reviews , streaming , television , TV

Fallout is the latest video game adaptation to hit the small screen. Created by Geneva Robertson-Dworet and Graham Wagner , and executive produced by Westworld ‘s Jonathan Nolan and Lisa Joy , the eight episode series, inspired by the hit game franchise from Bethesda Softworks drops on Wednesday, April 10 to Amazon Prime Video.

The post-apocalyptic series stars Ella Purnell as Lucy; Aaron Moten as Maximus; and Walton Goggins as The Ghoul. Joining them is an ensemble cast that includes Kyle MacLachlan , Sarita Choudhury , Michael Emerson , Leslie Uggams , Zach Cherry , Moises Arias and Johnny Pemberton , among others.

With nearly three decades of lore under its belt, the video game franchise has drawn a massive fanbase. Needless to say, there’s a lot of hype surrounding the new series. Does it live up to expectations? Here’s what critics are saying about Fallout :

How does it compare to the video games?

Prime Video’s TV adaptation of Fallout does something the games in the legendary franchise never have—put storytelling above all else. — Bernard Boo, Den of Geek

Fallout is the new standard for video game adaptations. This series is violent, fun, emotional, epic, and just plain awesome. — Alex Maidy, JoBlo’s Movie Network

Opting for a new narrative that simply takes place in the Fallout world, the series is a mix of adventure and puzzle-box mystery, with more than enough action scenes to satisfy the RPG faithful. It’s fun, and only occasionally overcomplicated. — Kelly Lawler, USA Today

Fallout takes the ideas of the games and crafts its own story in an already interesting world. Nails the satire, the wackiness, and about everything a fan could want. — Zach Pope, Zach Pope Reviews

Bodies fly, heads explode, and video game logic reigns triumphant. — Niv M. Sultan, Slant Magazine

How is the cast?

(Photo by Prime Video)

All of the performances are great; Purnell is a strong, loveably naive lead, while Moten delivers a fascinatingly, sort-of loathsome turn. Excusing the wonderful pooch that plays CX404, aka Four, Goggins is the runaway MVP, an agent of chilly, smooth-talking chaos somewhere between John Marston and Clarence Boddicker. — Cameron Frew, Dexerto

“I hate it up here,” Lucy mutters early on, and given the horrors to which she’s subjected, nobody could blame her. Yet her quest not only involves no shortage of carnage but also insights into her community and its origins, as well as encounters (some relatively brief) with a strong array of co-stars, including Moisés Arias, Kyle MacLachlan, Sarita Choudhury, Michael Emerson, and Leslie Uggams. — Brian Lowry, CNN

The Ghoul serves as the perfect foil for Lucy and Maximus, with Goggins deploying megatons’ worth of weary charisma in his performance as Fallout’ s resident lone wolf, black hat archetype. — Belen Edwards, Mashable

Emancipation’s Aaron Moten and And Just Like That… standout Sarita Choudhury nail the determined, world-weary drive that propels their characters forward while Justified’ s Walton Goggins gives one of his best performances yet as Cooper Howard, a mutated ghoul of a gunslinger who gives everyone a hard time with biting quips and searing bullet work. — David Opie, Digital Spy

How’s the writing and world-building?

The show’s creators have done such an impeccable job fleshing out the world of Fallout that it feels like the characters are treading stories and quests you’ve experienced yourself in one way or another. — Tanner Dedmon, ComicBook.com

Story-wise, Fallout smartly eschews trying to adapt specific storylines or side-quests from any of the games, but rather concocts a new one set in the rich and familiar landscape. — Brian Lloyd, entertainment.ie

There are plenty of Easter eggs, as you might expect from a video game adaptation, but Fallout manages to make them seem like part of the world, too. It all feels real and believable as pieces of a whole existence that these people have scraped together, which goes a long way toward helping the show’s humor land. Even the Easter eggs feel carefully designed to fit into the world and the lives of the characters, rather than drawing focus away from them or sticking out as a glaring distraction. — Austen Goslin, Polygon

Do the violence and humor work?

It’s strong, it’s goddamn hilarious, and it highlights exactly how to swing for the fences while still knowing where Homebase is. It may be a new series, but Fallout is an instant classic of the streaming age. — Kate Sánchez, But Why Tho? A Geek Community

A bright and funny apocalypse filled with dark punchlines and bursts of ultra-violence, Fallout is among the best video game adaptations ever made. — Matt Purslow, IGN Movies

Finding a tonal balance between the drama and the comedy is a razor’s edge, but Fallout makes it look effortless. As a result, spending time in this hardened world is as fun, engaging, and engrossing as the games. — William Goodman, TheWrap

It’s an equal parts funny and nightmarish show that, like its protagonist, isn’t content to live inside a projection of the past. — Kambole Campbell, Empire Magazine

Crucially, these laugh-out-loud moments of disbelief don’t detract from the harsh reality of this world, which is perhaps even more violent than you might expect, especially for newbies to this franchise. — David Opie, Digital Spy

Any final thoughts?

Fallout is a clever, twisted apocalyptic odyssey that soars as both a video game adaptation and a standalone series. — Lauren Coates, The Spool

For those who have never played the Fallout series, especially those of the time-strapped ilk who can’t just pour hundreds of hours into a game, they should give Prime Video’s Fallout a go. — Howard Waldstein, CBR

Fallout is both totally rad and an absolute blast. — Neil Armstrong, BBC.com

The show’s clearly committed to being the definitive Fallout adaptation, a love letter to fans, no question, while still opening the vault door to welcome in just about everyone else brave enough to step inside. — Jon Negroni, TV Line

There’s really nothing like Fallout on television right now, and that’s ultimately a good thing. — Therese Lacson, Collider

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Movie Review: Should you watch ‘Sasquatch Sunset’ about a family of Bigfoots? Not yeti

This image released by Bleecker Street shows Jesse Eisenberg in a scene from the film “Sasquatch Sunset.” (Bleecker Street via AP)

This image released by Bleecker Street shows Jesse Eisenberg, Riley Keough, and Nathan Zellner in a scene from the film “Sasquatch Sunset.” (Bleecker Street via AP)

This image released by Bleecker Street shows Jesse Eisenberg and Christophe Zajac-Denek in a scene from the film “Sasquatch Sunset.” (Bleecker Street via AP)

Jesse Eisenberg attends the premiere of “Sasquatch Sunset” at Metrograph, Monday, April 1, 2024, in New York. (Photo by Evan Agostini/Invision/AP)

Jihae Kim attends the premiere of “Sasquatch Sunset” at Metrograph, Monday, April 1, 2024, in New York. (Photo by Evan Agostini/Invision/AP)

The Octopus Project’s Yvonne Lambert, Josh Lambert and Toto Miranda, from left, arrive for the Texas premiere of “Sasquatch Sunset” at the Paramount Theatre during the South by Southwest Film Festival on Monday, March 11, 2024, in Austin, Texas. (Photo by Jack Plunkett/Invision/AP)

Christophe Zajac-Denek attends the premiere of “Sasquatch Sunset” at Metrograph, Monday, April 1, 2024, in New York. (Photo by Evan Agostini/Invision/AP)

Christophe Zajac-Denek, David Zellner, Nathan Zellner and Jesse Eisenberg, from front left, arrive for the Texas premiere of “Sasquatch Sunset” at the Paramount Theatre during the South by Southwest Film Festival on Monday, March 11, 2024, in Austin, Texas. (Photo by Jack Plunkett/Invision/AP)

Emily Meade attends the premiere of “Sasquatch Sunset” at Metrograph, Monday, April 1, 2024, in New York. (Photo by Evan Agostini/Invision/AP)

This image released by Bleecker Street shows Riley Keough in a scene from the film “Sasquatch Sunset.” (Bleecker Street via AP)

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Do you reckon Sasquatches snore? C’mon, you know the answer, deep down. Of course, they do. They snore and eat noisily and pick bugs out of each other’s fur and then eat those bugs, noisily.

What else do Sasquatches do, you wonder? One of the wildest movies of the year — or the century, for that matter — suggests they mourn, cuddle, bury their dead, enjoy throwing rocks in rivers, make art and wonder if they’re alone in the world.

Even so, “Sasquatch Sunset” from filmmaking brothers David and Nathan Zellner , is a bewildering 90-minute, narrator-less and wordless experiment that’s as audacious as it is infuriating. It’s not clear if everyone was high making it or we should be while watching it.

This image released by Bleecker Street shows Jesse Eisenberg and Christophe Zajac-Denek in a scene from the film "Sasquatch Sunset." (Bleecker Street via AP)

Nathan Zellner, Jesse Eisenberg, Riley Keough and Christophe Zajac-Denek play a makeshift family of four Sasquatches, lost in hair suits and prosthetics and communicating only in grunts, snorts and howls. They also pee a lot.

Why the filmmakers hired such starry actors instead of paying scale to some unknowns is puzzling. None of the Sasquatches do more than what could be called Method Chimpanzee — jumping up and down, whooping and growling. A group of real chimps would ding the quartet for overacting.

As an exercise in creating empathy for monsters, “Sasquatch Sunset” does an admirable job. In the first frames, when we see a loping Bigfoot in the middle distance — and then three more — it’s clear that they are telling this story, not the folks who usually capture them in shaky camera frames.

There are plenty of Sasquatches-are-just-like-us moments, like when one brings flowers to seduce another or two Bigfoots comfort each other after a death. Perhaps the most poignant moments are when they pound trees with sticks in unison, a rhythmic question that echoes through the valley. It’s a call, waiting for a response — anyone out there like us?

But then there’s a lot of gross-out stuff. We’ve mentioned the peeing, but it turns out that Sasquatches sneeze, procreate loudly and like to touch their genitals and then smell their fingers. They can also poo on demand and throw that poo to scare off predators.

One juvenile Bigfoot makes his hand into a makeshift puppet and talks to it — like a nod to the kid in “The Shining” — and another considers inserting his manhood into a small tree hole, like a prehistoric riff off that famous scene in “American Pie.”

Both things can be true, of course: Bigfoot can be disgusting and deep at the same time. But it’s not always clear what the filmmakers are going for here — satire, metaphor, sympathy, naturalism or gross-out comedy?

This image released by Bleecker Street shows Jesse Eisenberg, Riley Keough, and Nathan Zellner in a scene from the film "Sasquatch Sunset." (Bleecker Street via AP)

The Sasquatches reveal deeply human characteristics and may be stand-ins for our innocent pasts, a lost link in our evolution, showing the unrelenting violence of natural life or just the voiceless among us now. Or the filmmakers might just like the image of tossing poo.

Gorgeous vistas of pristine forests and misty valleys don’t help us figuring out when this all takes place but gradual clues emerge, including evidence of logging and a truly surreal bit at a human camping site, scored by the Erasure song “Love to Hate You.” But if the Zellners had an environmental lesson here, they shanked it.

There’s great music from The Octopus Project, veering from bright electric guitar noodles to sci-fi electronic dread reminiscent of “2001: A Space Odyssey.” Stick through the roll of end credits and see one of the best credits ever in film: Sasquatch Wrangler. You don’t see that every day. You don’t see Sasquatch movies every day, either, but this is one you should probably let lope past you.

“Sasquatch Sunset,” a Bleecker Street release that lands in some theaters on April 12 and goes wider April 19, is rated R for “for some sexual content, full nudity and bloody images.” Running time: 89 minutes. One star out of four.

MPAA definition of R: Restricted. Under 17 requires accompanying parent or adult guardian.

Online: https://bleeckerstreetmedia.com/sasquatch-sunset

Mark Kennedy is at http://twitter.com/KennedyTwits

'Sting' Review: A Creepy Spider Horror Movie That Gets Caught in Its Own Web

Hey, at least it's still a better spider movie than Madame Web.

The Big Picture

Sting fails to fully embrace the potential of a murderous spider, getting bogged down in a poorly written family drama.
The film sporadically succeeds in capturing the absurdity of a killer spider, but is weighed down by excessive padding.
The design of the spider creature is a standout, but the film's climax comes too late and emotional aspects fall short of being engaging.

In the opening moments of writer-director Kiah Roache-Turner ’s Sting , a creature feature that never makes the most of its premise, we get a glimpse of what could have been a joyous horror movie. Various exterminators are called to an apartment complex in New York City , where they are picked off one after another by a giant spider. Frank ( Jermaine Fowler ) is the first death that we really see, with the actor screaming and shouting with all the necessary gusto to make it fun as he gets dragged away. But the film doesn’t sit with this for much longer, as we then almost immediately flash back to trace the path of how it is that we got here. In addition to being an immediately disappointing shift in focus, Sting spends nearly its entire runtime trying to get back to the promise with which it began .

Sting (2024)

After raising an unnervingly talented spider in secret, 12-year-old Charlotte must face the facts about her pet-and fight for her family's survival-when the once-charming creature rapidly transforms into a giant, flesh-eating monster.

Instead of fully embracing the ridiculous potential of a murderous spider that takes over an apartment, the film becomes tangled up in a poorly written and acted family drama that gets in the way of the fun bits. Even as it picks up in the end, the journey to get there drags it down. While it could tickle the fancy of those looking for a horror movie built around the common fear , Arachnophobia this is not. Where that managed to make the arachnid into what was essentially a slasher villain, capturing things from their perspective in abundantly absurd fashion while still bringing plenty of serious attention to the craft itself, Sting is only sporadically successful at doing this . There are a few high highs scattered throughout the film, but there are just as many low lows where you’re left wondering why we’re spending so much time building up to the best parts that we already saw in the beginning.

What Is 'Sting' About?

This begins with a wonderfully ridiculous opening scene where we see something from space coming hurtling toward Earth. It then proceeds to crash through the window of the apartment complex that is surrounded by snow where we will spend the majority of the film. That’s right, this spider is from an unknown place in the vast galaxy and is soon about to upend the lives of the already troubled family that now unknowingly has it as a roommate. Charlotte ( Alyla Browne ) is the young kid who becomes the film's protagonist and initially keeps this spider in a jar. She feeds it other bugs and is fascinated by how her new pet dispatches them before gulping them down. However, this only gives it more strength and leads to it seeking out bigger prey in the nearby apartments. Her mother Heather ( Penelope Mitchell ) and her stepfather Ethan ( Ryan Corr ) are initially oblivious to this, because of course, as they mostly bicker over adult things while also caring for a newborn. There are other quirky characters here and there, though they mostly exist to get picked off while the family drama plays out right next door. In this excess noise, Sting never finds enough strength to leave much of a mark .

There are bursts of bloody brutality , including a kill that takes someone apart from the inside out, which is a real highlight, that provide enough of a jolt to almost make you think there is something more substantively silly to chew on here. Almost, but not quite. Instead, just when it starts seeming like it is going to let loose, it settles back into the family dynamics that feel like padding more than they do anything else. There is one moment where Ethan says something so cruel near the end that it is almost comical, as the moment isn’t earned. You’re just wondering where the hell that came from and why he decided to lash out at a child who, while rebellious in cliché movie fashion, we are meant to believe he also cares about.

The subsequent banding together aspect of the movie as they must do battle with the spider in the film’s climax doesn’t work either. Sting is pushing hard for something more emotional to hang itself on , but this is just never as interesting as it seems to think it is. Instead, you’re just wishing all of that would step aside, and we’d get a horror film more from the perspective of the killer rather than the stock characters it’s setting out to consume. There are moments where it manages to shed all the excess nonsense and get right down to these strengths, though they’re too siloed off in the film to hold much weight in the overall experience.

The Spider in 'Sting' Is Still Something Special

All of this proves to be a shame as the design of the spider creature itself is often quite fun . There was clearly a lot of thought put into how it would move around and what it could do. Such moments represent the film at its most creative. Just seeing it dangle over its next victims or crawl towards them is proper fun. It’s the type of thing that, had it been made the heart of the experience, would have ensured it was all really cooking.

The entire last part of the movie is especially joyous, with Charlotte taking the fight to the spider à la John McClane in Die Hard , though it still comes as too little too late. Hanging over all of it is the sense that it should have launched into this much earlier and with more gusto . Instead, it teases us with where it is all going and then, like far too many movies do, flashes back to drag along until we finally make it back there. Rather than creating suspense, it just makes the whole thing into far more of a slog than a genuine horror romp. In the end, the whole film just can’t get itself completely unstuck from this web of its own making.

Sting is a horror movie about a killer spider from outer space that somehow falls short of the fun potential of such a premise.

The spider itself is a gem, even if it can't fully make up for the lackluster film around it.
The conclusion that goes full Die Hard is a joyous way to end despite taking a long while to get there.
After a promising start, the experience struggles to recover from the flashback that sends us back to a less interesting movie.
The central family drama doesn't feel earned and instead just comes across as a distraction from a more fun horror movie.
The performances and writing leave much to be desired, especially when what we really care about is the spider.

Sting comes to theaters in the U.S. starting April 12. Click below for showtimes near you.

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‘Housekeeping for Beginners’: A messy look at class divisions in Macedonia

Goran stolevski’s chaotic drama hurls us into a maelstrom of arguments, lies and complex family ties.

It’s hard to fault Goran Stolevski’s “Housekeeping for Beginners” for being chaotic and miserable. That’s the mood he’s after — and he captures it with such assurance that the film is a tough watch.

Stolevski, a Macedonian who emigrated to Australia as a child, explores the bond between outcasts exiled from the culture at large. Our setting is Skopje, the capital of North Macedonia, just a quick drive from Shutka, the country’s largest community of the traditionally nomadic people known as Romani or Roma. Here, on this border between cultures, an empathetic but exhausted social worker named Dita (Anamaria Marinca) has begrudgingly turned her home into a crash pad where she shelters three teenagers, played by Sara Klimoska, Rozafa Celaj and Ajse Useini.

The other adults in her house — Suada (Alina Serban), Dita’s Romani girlfriend, and Toni (Vladimir Tintor), a gay man who works the night shift at an asylum — don’t help with the bills. But they do contribute to the noise. Suada comes with two daughters from previous relationships, troubled ninth-grader Vanesa (Mia Mustafa) and 5-year-old spitfire Mia (Dzada Selim), and Toni cycles through young hookups. His new boyfriend is a homeless 19-year-old named Ali (first-time actor Samson Selim, fantastic) who, surprisingly enough, is the closest thing the place has to a calming influence. Ali spends his first night straightening the crooked art on the walls.

We’re supposed to pick up on the fact that Dita’s house, which she inherited, is uncommonly large, but the claustrophobic cinematography sticks so close to the actors, it’s hard to see past their faces to the furniture. Naturally, it’s impossible to find silence or keep secrets; scene after scene climaxes with someone cursing and storming away. The rare moments of lightness are a welcome relief, say when Suada and Ali crack jokes about the horse exorcists and vampire hunters they knew back in Shutka. They’re relieved they’ve escaped, and when the film finally goes outside to visit Suada’s mom, we see why.

Dita’s roommates are united by being either Romani, queer, punk or all three. By proximity, they’re embedded in one another’s lives. (There’s only one working bathroom.) Yet their ties are fragile. In Macedonia, being gay isn’t criminal, it’s just not publicly done. But it is illegal for the queer couples to wed or adopt children. Ali, whom Mia comes to rely on like a sibling, figures he’ll eventually leave to marry a woman. And he and the others are tempted to flee to any country in the European Union. Except Malta, which Ali snobbishly jokes is like Italy’s vomit.

Everyone limps along in a class system that ranks Toni, a Macedonian, above Dita, an ethnic Albanian, and forces the Romani characters to the bottom. If it’s not apparent who is what, Stolevski muddles things more by casting talented leads who aren’t from either place to begin with. (Tintor is Serbian; Marinca, Romanian.) We eventually catch up. But these divisions matter — and become terrifying hurdles when Suada, who is terminally ill, forces Dita to mother Vanesa and Mia — and, if possible, rebrand her orphaned girls as Macedonian. Suada handles her fate with such aggravating, mulish, relentless, impossible-to-be-around rage that, at the risk of sounding uncharitable, it’s a relief when she exits after the first act.

Stolevski hurls us into the story and hopes that we’ll catch on to these social intricacies. He wants us to acknowledge that while Dita’s home is hot-tempered and loud, her co-workers’ closed-mindedness and Shutka’s hardscrabble desperation are worse. Compared with the alternatives, he insists — and we come to mostly agree — this maelstrom is actually an oasis worth defending. (Only Vanesa, in the overconfident flush of early teenagerdom, claims she’d be happy to move back into her mother’s old shack and get married, like, now.) The film toys with conformity. If Stolevski’s country claims to value the heterosexual nuclear family over all, he’ll force his characters into a facsimile of it — fake certificates, fake rings, fake happiness — and then ask again if that’s the right choice.

The film strengthens as these complexities emerge from the confusion. By the end, we’ve soaked up something of modern Macedonia and had our own cultural standards put to the rack: Are we rooting for a teenager to keep dating a 40-something man? Would we give a 14-year-old a cigarette to keep the peace? Compared with the shrieking alternative, the uncomfortable answer is … maybe?

R. At area theaters. Language throughout, some teen drinking and sexual content. In Macedonian, Romani and Albanian, with subtitles. 107 minutes.

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Sasquatch Sunset

A year in the life of a unique family. It captures the daily life of the Sasquatch with a level of detail and rigor that is simply unforgettable. A year in the life of a unique family. It captures the daily life of the Sasquatch with a level of detail and rigor that is simply unforgettable. A year in the life of a unique family. It captures the daily life of the Sasquatch with a level of detail and rigor that is simply unforgettable.

David Zellner
Nathan Zellner
Jesse Eisenberg
Riley Keough
Christophe Zajac-Denek
2 User reviews
31 Critic reviews
72 Metascore
1 nomination

All cast & crew
Production, box office & more at IMDbPro

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Did you know

Trivia No dialogue is spoken by the actors, they only speak in grunts and other guttural noises.
Connections References Sometimes a Great Notion (1971)

Technical specs

Runtime 1 hour 29 minutes

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‘Arcadian’ Review: Take Two as Needed for Postapocalyptic Pain

Nicolas Cage defends his family against a paranormal siege in this derivative, low-budget creature feature.

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A man and two boys sit in a vehicle. One of the boys is driving.

By Calum Marsh

An important plot point in “Arcadian,” a domestic postapocalyptic drama bearing a close resemblance to “A Quiet Place,” revolves around medicine: people needing it, others hoarding it and so on. What kind of medicine is it? What is it for? The movie doesn’t say. It comes in an aspirin bottle, and the characters just call it “medicine,” and we have to take it on faith that it’s important.

“Arcadian” is fashionably oblique, implying more than it explains. (An improvement over the expository whiteboard in “A Quiet Place,” which offered bullet-form creature data like a PowerPoint presentation.)

The story is told in a cursory way: Paul (Nicolas Cage) lives on a remote farm with his teenage sons, Thomas (Maxwell Jenkins) and Joseph (Jaeden Martell). By day they forage and scavenge to survive; at night their fortified home is besieged by feral beasts, which (it is faintly suggested) are the mutated victims of an epidemic that wiped out most of humankind.

The director, Benjamin Brewer, uses many tried-and-true tricks to conceal budgetary limitations, obscuring his monsters in shadows or putting them behind doors, banging, to make the movie feel bigger than it is. He builds tension in brief pockets of silence, and when we do see the monsters, they look quite good — sticky and spindly in a tactile way, like the aliens in John Carpenter’s “The Thing.”

But a competent director can do only so much with a poor script, and “Arcadian” is littered with shortcuts and screenwriting clichés. It is vague to the point of careless, and often seems to be inventing rules for its monsters as it goes along. We hardly need everything to be detailed. But at the very least, it would have been nice to know more about that medicine.

Arcadian Rated R for graphic violence and disturbing imagery. Running time: 1 hour 32 minutes. In theaters.

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Stream It Or Skip It: ‘Midsummer Night’ On Netflix, Where A Family Deals With Its Secrets On The Longest Day Of The Year

Where to Stream:

Midsummer Night

Stream It or Skip It: ‘Yoh! Christmas’ on Netflix, A Successful South African Remake of a Hit Norwegian Holiday Series

Stream it or skip it: ‘christmas as usual’ on netflix, in which indian and norwegian cultures clash during christmastime, stream it or skip it: ‘a not so royal christmas’ on hallmark, in which a case of mistaken identity has royal consequences, stream it or skip it: ‘my norwegian holiday’ on hallmark, where a troll figurine spurs a european adventure… and love.

Sometimes when we’re watching a show, we think that it would work better if they cut the number of characters by at least a third. Sometimes there are just too many people and too many stories to give enough time and care to. A new drama from Norway has this issue, but it’s still worth watching because of its central couple and the news that will make everyone rethink their relationships.

MIDSUMMER NIGHT : STREAM IT OR SKIP IT?

Opening Shot: At a house on a lake, a large family is playing games on the front lawn.

The Gist: People are spinning with their heads on bottles and then stagger-running back to the starting line. There’s a tug of war. Seems like a lot of family togetherness. But all the while, Johannes (Dennis Storhøi) wonders when his wife Carina (Pernilla August) is going to break her news to everyone.

Two weeks earlier, as Johannes builds what will be the bonfire he burns during Midsummer, the Scandinavian celebration of the longest day of the year, Carina decides that she’ll break her news to everyone on Midsummer Night, when everyone is having fun and celebrating the holiday. She also wants a Swedish Midsummer celebration, which is more fun and silly than how its celebrated where they’re living in Norway.

When the day comes, Carina is making her traditional strawberry cake, and Johannes is setting up with his and Carina’s youngest daughter Helena (Sofia Tjelta). The first to show up is Petronella (Maria Agwumaro), Johannes’ daughter and Helena’s half-sister. Carina and Johannes’ older daughter Hanne (Amalia Holm) shows up with her fiancé Darius (Peiman Azizpour). Darius’ parents Jannike (Linn Skåber) and Tabur (Kadir Talabani) then show up, with Darius’ brother Robert (Eirik Hallert), who at one time dated Helena.

The whole time, Carina is wondering where her brother Håkan (Christopher Wollter) is. He arrives on a boat, with the much younger Sara (Fanny Klefelt) on board.

Johannes wonders if Carina is still going to tell them her news, which is when we flash back 7 weeks to Carina struggling to swim and admitting to a friend that she’s having cognitive issues, feeling like she needs to relearn things she once knew how to do.

Back on the lake, everyone is having a good time at lunch, when Hanne notices two empty chairs. That’s when Elin (Liv Bernhoft Osa) and her son Lysander (Kim Falck), Hanne’s ex, show up. Hanne tells Carina how messed up that was, and Carina she made a mistake given everything that’s on her mind lately, but won’t elaborate further.

This is when we go back a month. Carina may or may not have a cognitive issue, but she knows she feels like she’s “withering away.” She wants to experience more in her life, but she knows that she can’t do it with Johannes, who seems to be, in her words, “done.” It’s not that she doesn’t love him or the life they built, be she asks him for a divorce so he doesn’t stand in her way.

What Shows Will It Remind You Of? While Midsummer Night takes place over one day, the complicated family secrets aspect of the show remind us of shows like Brothers & Sisters and Parenthood .

Our Take: Per-Olav Sørensen, the creator of Midsummer Night , throws a lot at us in the limited series’ first half-hour. We’ve got the central couple, Carina and Johannes, who have been married for what seems like around forty years. They have two adult daughters, but it seems that Johannes has had a daughter with someone else at some point during those 40 years, one who is part of the family but not really. There are complications with both daughters, Hanne and Helena. Carina’s brother Håkan likes dating women half his age.

But at the center of all of this is Carina’s dissatisfaction with her life as she goes through her sixties and how she wants to blow up her life in order to get the most out of the time she has left. When she announces her news, it’s going to set a lot of things in motion that are likely to upend the lives of the rest of the family, as well.

Carina’s issues are presented in a bit of a confusing manner. It’s not the flashback device that bugged us, it’s the fact that she at first alluded to some sort of cognitive decline, but then she just says she wants a divorce in order to live her life how she wants. So, was the cognitive decline she talked about real or just her being scared about how settled her life is? Maybe it’s a little of both. We’re not quite sure yet. More flashbacks are likely necessary to flesh this out.

But we’re going to need flashbacks to figure out Johannes’ relationship with Petronella and how that affected things with Carina. We’re going to need to see Hanne with Lysander to see exactly how their marriage broke down and why Carina maintained a relationship with him after their divorce.

It’s a lot to keep track of. And we wonder if all of the stories are going to get the time they need to be properly told. But the family celebrating at that beautiful lakefront house is a pleasant one to be around, so that helps. We’re okay to hang in there and see if these myriad stories get sorted out because of it.

Sex and Skin: None in the first episode.

Parting Shot: Helena asks Carina what the “secret” her and Johannes have, but Carina won’t say yet. Johannes looks at his wife and wonders when she’s going to give the news.

Sleeper Star: Amalia Holm’s character Hanne has a lot to deal with, given that her ex and former mother-in-law are at this party and she has no idea why. We’ll see how she handles it.

Most Pilot-y Line: As soon as Håkan said he didn’t want to have kids, you knew that Sara would walk into a bathroom and pull out a pregnancy test. That may be one of the more predictable storylines on this series.

Our Call: STREAM IT. Midsummer Night may have a few too many stories to service in five short episodes, but the family at the show’s center is one we want to spend time with, which helps a lot.

Joel Keller ( @joelkeller ) writes about food, entertainment, parenting and tech, but he doesn’t kid himself: he’s a TV junkie. His writing has appeared in the New York Times, Slate, Salon, RollingStone.com , VanityFair.com , Fast Company and elsewhere.

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IMAGES

The Family & Family Enforcer
Family Enforcer (1975)
Family Enforcer (1976)
Amazon.com: Double Feature: FAMILY ENFORCER FOUR DEUCES : Movies & TV
Family Enforcer (1976)
#9 Family Enforcer

COMMENTS

The Death Collector (1976)
The Death Collector: Directed by Ralph De Vito. With Joe Cortese, Lou Criscuolo, Joe Pesci, Bobby Alto. Neighborhood kid goes to work for the Mafia as a debt collector.
The Death Collector (1976)
Never the less, even with the obvious low budget, if you're fascinated by mobsters and gangsters, "Family Enforcer" definitely has something to offer. The movie follows the style of such films as "Goodfellas" and "Mean Streets" by following the lower level guys in the criminal ladder, the main one here being Jerry Bolanti (played by Joe Cortese).
The Death Collector
The Death Collector (also known as The Family Enforcer) is a 1976 low-budget crime film directed by Ralph De Vito and starring Joseph Cortese, Joe Pesci and Frank Vincent.It was Ralph De Vito's only film as a director, and Joe Pesci's first billed appearance in a movie. Pesci and Vincent's performances in the film were met with high critical acclaim.
‎Family Enforcer (1976) directed by Ralph De Vito • Reviews, film
A gritty mafia film set in New Jersey about an ex-con working as a debt collector for the mob. The people who owe the money are also kind of connected, so he's supposed to collect without hurting anyone's feelings because even though they're deadbeats, they're still connected. The dialog of veiled threats with a lot left between the lines is ...
Amazon.com: Customer reviews: Family Enforcer
This movie shows an early version of a little known actor at the time in Joe Pesci. His acting in this movie was very good and it's obvious why Scorsese wanted him for Goodfellas. My biggest negative for this film is the poor film quality. The digital transfer is about as bad as it gets. I wish this movie would get refinished and released on ...
The Enforcer
Miami's top mob enforcer Cuda (Antonio Banderas) sacrifices it all to tear down the criminal organization he's spent his whole life building up when he discovers his boss Estelle (Kate Bosworth ...
Family Enforcer (1976)
Goodfella Joe Pesci appears in one of his earliest roles in this 1976 Mafia drama about Jerry Bolanti, a young tough who returns to his New Jersey hometown and starts working as a collections agent for the local mob boss (Lou Criscuolo).
Family Enforcer (1976)
Find trailers, reviews, synopsis, awards and cast information for Family Enforcer (1976) - Ralph De Vito on AllMovie - Joe Pesci makes one of his earliest screen…
Family Enforcer (1976)
69. R 1 hr 25 min Oct 29th, 1976 Action, Crime, Drama. A kid from the neighborhood goes to work for the Mafia as a collector. Starring Joe Cortese Lou Criscuolo Joe Pesci. Director Ralph De Vito ...
Family Enforcer (1975)
Low-budget mob movie starring Joe Pesci in one of his first roles. Also known as "The Death Collector."
Pay or Die!
A young hoodlum rises through the ranks of organized crime by collecting money and favors for a New Jersey mobster.
Family Enforcer
Check out the exclusive TV Guide movie review and see our movie rating for Family Enforcer
The Family & Family Enforcer
Family Enforcer, also known as The Death Collector, was the first film produced by the team of Peter S. Davis & William N. Panzer, who would achieve immortality for launching the Highlander film series, which in turn spawned TV and video game spinoffs. Other crew members who went on to greater fortune include assistant director C. Tad Devlin, who would produce Sleeping with the Enemy and ...
Family Enforcer : William N. Panzer : Free Download, Borrow, and
Family Enforcer. After being away for a couple of years, Jerry Bolanti (Joseph Cortese) is back in his tough, North Jersey neighborhood, close to swampy meadowlands where bodies get pulled from the trunks of cars and dumped. He's short on cash, so a local boss, Anthony Iadavia (Lou Criscuolo), throws him some work - as a collector and a holdup man.
Family Enforcer Family Reviews
Buy Pixar movie tix to unlock Buy 2, Get 2 deal And bring the whole family to Inside Out 2; ... Go to next offer. Family Enforcer Fan Reviews and Ratings Powered by Rotten Tomatoes Rate Movie. Close Audience Score. The percentage of users who made a verified movie ticket purchase and rated this 3.5 stars or higher. ...
Family Enforcer (1976) Cast and Crew
Meet the talented cast and crew behind 'Family Enforcer' on Moviefone. Explore detailed bios, filmographies, and the creative team's insights. Dive into the heart of this movie through its stars ...
Family Enforcer (1976)
Family Enforcer (1976)http://www.imdb.com/title/tt0072855
The Enforcer movie review & film summary (1976)
Music by. Jerry Fielding. LOS ANGELES -- The stick-up men are trapped in a liquor store. The cops have the place surrounded. There are innocent hostages inside. One of them will be killed unless the police supply a getaway car. "Hey, Harry - what are you doing?" asks a cop. "Taking them a car," says Harry Callahan.
The Enforcer Movie Review
Parents need to know that The Enforcer is a neo-noir crime thriller.Antonio Banderas stars as Cuda (as in "barracuda"), a slick mob enforcer who knows his actions have cost him everything. When a path to redemption opens up, he follows it, no matter the personal cost. Part of his character evolution is the discovery of a sex trafficking ring, and victims are shown being violently abducted ...
Great Mafia Movies (Family Enforcer / Mob War / Port of New York) [DVD]
Great Mafia Movies (Family Enforcer / Mob War / Port of New York) [DVD] Benton, Neave (Actor), Caban, Angel (Actor) Rated: Unrated. Format: DVD. 4.2 4.2 out of 5 stars 11 ratings. ... There was a problem filtering reviews right now. Please try again later. Helen. 5.0 out of 5 stars Five Stars. Reviewed in the United States on May 20, 2017 ...
Fallout First Reviews: A 'Violent, Fun, Emotional, Epic' Video Game
Prime Video's TV adaptation of Fallout does something the games in the legendary franchise never have—put storytelling above all else. — Bernard Boo, Den of Geek Fallout is the new standard for video game adaptations. This series is violent, fun, emotional, epic, and just plain awesome. — Alex Maidy, JoBlo's Movie Network Opting for a new narrative that simply takes place in the ...
Spy x Family Code: White (2023)
Spy x Family Code: White: Directed by Kazuhiro Furuhashi. With Takuya Eguchi, Atsumi Tanezaki, Saori Hayami, Ken'ichirô Matsuda. After receiving an order to be replaced in Operation Strix, Loid decides to help Anya win a cooking competition at Eden Academy, by making the director's favorite meal in order to prevent his replacement.
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"The Long Game" wedges in a lot of positive messages about overcoming adversity and standing true to what's right. There's nothing tongue-in-cheek about "Civil War." It's serious ...
Movie Review: Should you watch 'Sasquatch Sunset' about a family of
Even so, "Sasquatch Sunset" from filmmaking brothers David and Nathan Zellner, is a bewildering 90-minute, narrator-less and wordless experiment that's as audacious as it is infuriating. It's not clear if everyone was high making it or we should be while watching it. Jesse Eisenberg and Christophe Zajac-Denek.
'Sting' Review
Sting (2024) REVIEW. Sting is a horror movie about a killer spider from outer space that somehow falls short of the fun potential of such a premise. 5 10. Pros. The spider itself is a gem, even if ...
'In Flames' Review: A Patriarchy Horror Story
In Flames. NYT Critic's Pick. Directed by Zarrar Kahn. Drama, Horror. Not Rated. 1h 38m. Find Tickets. When you purchase a ticket for an independently reviewed film through our site, we earn an ...
Review
Goran Stolevski's chaotic drama hurls us into a maelstrom of arguments, lies and complex family ties. Review by Amy Nicholson. April 11, 2024 at 6:00 a.m. EDT. Dzada Selim stars as Mia and ...
Sasquatch Sunset (2024)
Sasquatch Sunset: Directed by David Zellner, Nathan Zellner. With Jesse Eisenberg, Riley Keough, Christophe Zajac-Denek, Nathan Zellner. A year in the life of a unique family. It captures the daily life of the Sasquatch with a level of detail and rigor that is simply unforgettable.
'Arcadian' Review: Take Two as Needed for Postapocalyptic Pain
April 11, 2024, 7:00 a.m. ET. Arcadian. Directed by Benjamin Brewer. Action, Horror, Thriller. R. 1h 32m. Find Tickets. When you purchase a ticket for an independently reviewed film through our ...
'Midsummer Night' Netflix Review: Stream It Or Skip It?
Back on the lake, everyone is having a good time at lunch, when Hanne notices two empty chairs. That's when Elin (Liv Bernhoft Osa) and her son Lysander (Kim Falck), Hanne's ex, show up. Hanne ...