Odessa Young plays a widow suffering the consequences of an impossible choice in “The Damned”, a period psychological horror thriller from director Thordur Palsson. Set in the 19th century, the story (written for the screen by Jamie Hannigan) builds much of its tension through its harsh setting. It often implies more than it shows which fuels much of the dread. The rest comes down to Palsson’s ability to sustain a chilling atmosphere for the duration.

Young’s character is named Eva. She and her husband Magnus purchased a fishing station along the icy Icelandic coast. It’s a frigid and forbidding place, but one that offers tremendous opportunity for those able to endure the cold. When we first meet Eva, Magnus has already died in a tragic accident. Determined to keep her husband’s dream going, Eva opens it up to fisherman who come to fish during the winter months. There they stay, snowed in until Spring when they can take their earnings and reunite with their loved ones.

One afternoon Eva and the fisherman witness a ship sinking out in the icy bay. They’re left with a harrowing choice. If they venture out into the tumultuous sea to help they run the risk of crashing their boat against the rocks. And if they do save the sailors and bring them to shore, will they have enough food to make it through the winter? A pained Eva decides not to send their boat out to help which leads to some devastating consequences.

Their fateful choice weighs heavier on them after bodies from the shipwreck begin washing up on the shore. To make matters worse, the camp’s hyper-superstitious cook Helga (Siobhan Finneran) ominously warns that vengeful spirits have been unleashed due to their inaction. The fisherman are quick to dismiss her claims as old wives’ tales. But as a series of horrifying events befall the small group, we’re left to wonder if they’re cracking under the weight of guilt or if a supernatural evil is in their midst.

Even with its lean 89-minute running time, “The Damned” is a bit of a slow-burn. The film has its grisly moments which fit well and have a savagely potent effect. But Palsson is less interested in spectacle and more into patiently developing an intensifying sense of fear, tension, and paranoia. And while Hannigan’s script can be light on characterization, there remains a human pulse which is seen most in the way guilt gnaws away at Eva and the men. It’s mental and physical toll is crushing.

Filmed on location in Iceland, “The Damned” uses its distinct setting as a key means of defining its characters’ bleak and pitiless circumstances. DP Eli Arenson’s high-contrast cinematography is bone-chilling in a variety of ways. It effectively captures the forbidding Westfjords winter while also setting up some of the movie’s biggest frights. A case could be made that Palsson leans it tad too much on the visuals and the atmosphere they help create. But they’re essential in making “The Damned” a truly visceral experience.

VERDICT – 3.5 STARS

Eva Green gets to flex her action movie muscles in “Dirty Angels”, the new action thriller from director Martin Campbell (“Goldeneye”, “Casino Royale”). Joining Green in the mostly female-driven cast are Ruby Rose, Maria Bakalova, Rona-Lee Shimon, Jojo T. Gibbs, Emily Bruni and Laëtitia Eïdo, all of whom show to be plenty capable of pulling off what the movie needs and more. If only they had better material to work with.

The problem is the ladies are handcuffed by a lackluster script that doesn’t allow them to deliver beyond their character archetypes. There are a smattering of scenes that attempt to provide at least some emotional depth. But they fizzle out once the characters are forced back into their shallow and simplistic roles. The actresses do the best they can and manage to add a little personality to the proceedings. But everything from the action to the pseudo-tough talk feels like it’s copying an out-of-date formula.

“Dirty Angels” is set in 2021 during the United States’ messy military withdrawal from Afghanistan. A band of ISIS terrorists led by a ruthless and borderline cartoonish radical named Amir (George Iskandar) storm a girls high school in Pakistan where they take several students hostage, among them the daughter of a high-ranking Pakistani minister. Amir transports them back across the border to his hideout in Afghanistan where he demands $70 million and the release of a certain “holy man” being held prisoner.

Green plays Jake, a hardened special ops soldier who is recruited by a CIA agent and old friend named Travis (Christopher Backus) to lead an international team on a rescue mission to save the girls. Jake has no interest until she hears the mission involves Amir, the madman who executed her team only a few months earlier. Hungry for revenge, Jake accepts the op and takes her fury to Pakistan.

In order to get across the border, Jake will be posing as a member of an International Relief Organization. To make it more believable she is assigned a team of all women, each coming from different parts of the world and each with their own specialty. And of course they all go by nicknames. There’s Shooter (Bruni), the weapons specialist, Geek (Gibbs), the tech expert, The Bomb (Bakalova) who handles explosives, Rocky (Shimon) the mechanic, and Medic (Rose) who is…the medic. They’re assisted by two local brothers (Aziz Çapkurt and Reza Brojerdi) who bring a little levity to the otherwise super-serious movie.

It takes a while for the story to kick into gear and even longer before we get any noteworthy action. Once it finally does it becomes pretty obvious how things are going to play out. Along the way screenwriters Alissa Sullivan Haggis and Jonas McCord make an effort to show the volatility of the region. But deciphering who’s who between ISIS, the Taliban, and the Pakistani government isn’t always easy.

The rescue mission’s inevitable action-packed finish is a well staged blowout that brings some welcomed energy. But that doesn’t make the sluggish trek to get there any more thrilling. It doesn’t provide the flimsy characters with any more substance. And it doesn’t change the movie’s overall lack of originality. Those are just some of the hurdles that trip up “Dirty Angels” and that keep it from reaching the potential it teases us with.

VERDICT – 2 STARS

It’s always nice when Netflix surprises you with something you weren’t expecting. Such is the case with the Sam Raimi produced “Don’t Move”, the platform’s recently released feature, co-directed by Adam Schindler and Brian Netto and co-written by TJ Cimfel and David White. Set mostly in the California wilderness, “Don’t Move” meshes together psychological and survival elements into a taut and high-stakes thriller.

Kelsey Asbille (“Yellowstone”) plays Iris, a grieving young mother who recently lost her son Mateo in a tragic hiking accident. One morning she wakes up and slips away into the California mountains to the site of her son’s death with the intent of taking her own life. But while there she’s surprised by a stranger named Richard (Finn Wittrock) who quite literally talks her off a ledge.

But Richard’s kindness turns to malice after he suddenly attacks and injects Iris with a strong paralytic. He informs her that her body will quickly shut down and she’ll be temporarily paralyzed. But Iris is able to escape through the woods with Richard leisurely following behind. But the farther she goes the more she begins to lose her body’s functions which sets up a key part of the movie’s suspense. How does she survive all alone, off the grid, and with no use of her body?

Asbille gets a role that’s light on dialogue, but she does a stellar job selling Iris’ dread through her physicality and ability to express. Meanwhile Wittrock is convincing as a misogynistic charmer who’s barely able to conceal his sociopathic desires. A couple of well-acted side characters (played by Moray Treadwell and Daniel Francis respectively) pop up mainly to help ratchet up the tension and build Richard’s cold-blooded pathology.

Handsomely shot by cinematographer Zach Kuperstein, propulsively directed by Schindler and Netto, and fiercely acted by Asbille and Wittrock, “Don’t Move” makes for a thoroughly satisfying watch-at-home escape. Its simple and straightforward story arc follows a fairly obvious course so it’s easy to guess where it’s going. But there’s enough along the way to keep you on the edge of your seat and glued to the screen. “Don’t Move” is now streaming on Netflix.

VERDICT – 3.5 STARS

On the surface, “Die Alone” has all the markings of a standard-issue zombie flick: a deadly virus, a global outbreak, a society in ruin, the dead coming back to life as ravenous flesh-eaters. But “Die Alone” is a different kind of zombie movie. Yes, it proudly embraces a number of familiar horror sub-genre tropes. But it puts its own spin on them resulting in a surprisingly fresh and creative feature.

In unveiling his earthen dystopia, Canadian writer-director Lowell Dean reveals many facets of his world that sparks our interest, yet he intentionally keeps several things vague. Beyond that, he does what many before him have done. Dean focuses on the living people in his world more than the walking dead. It’s those people who prove to be the rays of hope and the most ominous threats.

In “Die Alone”, the planet has been decimated by a plant-based virus. It not only kills those infected but reanimates them into deadly flesh-munching zombies who over time become more plant than people. We never get a full explanation of the virus, what caused it, or if there is any sign of a cure. But Dean does throw in some compelling hints in the form of conspiracy theories and hypotheses. One idea is that it’s nature purging itself of the destructive parasite known as mankind.

It’s in this world that we meet Ethan (Douglas Smith) and his girlfriend Emma (Kimberly-Sue Murray) who are driving to their remote lakeside cabin in hopes of waiting out the global catastrophe. But on their way they have a violent car wreck. When Ethan wakes up he discovers Emma is gone. Blood stains show signs of injury, but she’s nowhere to be found. So the injured yet determined Ethan sets out to find her.

As Ethan searches the husk of a vacant town, he’s attacked by a group of armed ruffians. But he’s saved by a mysterious survivor named Mae (a terrific Carrie-Anne Moss) who takes him to her remote farmhouse. It’s revealed than Ethan has amnesia and struggles to remember anything other than the car crash and Emma. He’s haunted by fragmented memories of her that compels him to continue his search. But Mae seems determined to keep him from leaving.

As the story progresses is becomes clearer that “Die Alone” has interests that extend beyond the normal zombie fare. Dean uses the cryptic relationship between the younger addled Ethan and the older enigmatic Mae to dig into some of his meatier themes (I’ll let you discover them in order to avoid spoilers). Along the way they encounter a number of people who help define their relationship including a band of dubious drifters, a single mother and her son, and even Frank Grillo playing a protective husband and father.

“Die Alone” steadily builds itself towards a walloping twist that immediately encourages a second viewing. It’s a turn that causes us to reevaluate much of what we have seen and heard while sending the film towards an unexpected conclusion. And that’s what makes “Die Alone” stand out. It may seem somewhat conventional at first, but Dean patiently begins to chip away at our expectations before landing his refreshingly subversive ending. “Die Alone” is now available on VOD.

VERDICT – 3.5 STARS

Oksana Orlan cements herself as an action movie force of nature in “Dominique”, a ferocious pulse-pounding thrill ride that sees her reteaming with director Michael S. Ojeda. The two previously worked together on the 2018 horror thriller “The Russian Bride”. Their latest collaboration is a pure action spectacle, shaped by Ojeda’s assured style and driven by Orlan’s steely charisma and commanding presence.

Written, directed, and edited by Ojeda, “Dominique” takes a fairly familiar formula and energizes it with its reverence for its setting, the power of its performances, and its ruthless willingness to push the envelope. While the action is undoubtedly the main course, Ojeda puts time and effort into establishing relationships which raise the stakes, especially in the film’s unflinching final act.

Orlan plays the title character, Dominique, a hardened Ukrainian assassin attempting to flee her violent past. Her hopes are to begin a new life off the radar in South America. But while flying over Columbia’s La Guajira desert, her plane is shot down by the local De La Cruz cartel. After crash landing and offing some gun-toting thugs, Orlan travels to the small town of San Lucas where she meets a kindly local named Julio (Sebastian Carvajal).

Julio has looked after his pregnant sister Paulina (Maria del Rosario) and her three children since her husband tragically died of heart attack. He’s also a San Lucas police officer working under the brutally sadistic Chief Santiago (Maurice Compte). Santiago is on the payroll of the cartel and has terrorized the city at the behest of the gang’s matriarch, Gabriela de la Cruz (Marcela Benjumea). Sickened by the department’s savagery, the upright Julio notifies internal affairs to help bring the murderous Santiago to justice.

Julio and his family give Dominique a place to stay until she can secure some wheels which allows Ojeda the time to establish these characters and their circumstances. It’s a crucial ingredient for the story. The kind and hospitable family are fascinated by this statuesque and stoic “gringa”. Meanwhile, despite her best efforts, Dominique develops an attachment to her welcoming hosts. And that puts her on a collision course with Santiago who puts the family in his crosshairs after discovering Julio is working undercover.

Ojeda pulls no punches in depicting Santiago’s brutality, revealing a man who will stop at nothing to get what he wants. That realization sets up a jolting mid-point twist that forces Dominique to make a difficult decision. Does she take off before things heat up or does she stay and defend this vulnerable family. You probably know the answer.

The action that follows is kinetic and at times harrowing as Orlan unleashes her fierce physicality to go along with her steel-plated intensity. In many ways her character fits the common one-man-army stereotype. But the actress gives us just enough of a glimpse inside of Dominique’s tough exterior to make her more than a copy-and-paste protagonist. Overall “Dominique” is a terrific showcase for Orlan, from its furious opening to its a bold and gutsy finish. “Dominique” is out now on VOD.

VERDICT – 4 STARS

Looking for a much-needed fresh start, a struggling single mother named Ebony Jackson (Andra Day) moves her three children to a new house in Pittsburgh. That opens up the story of “The Deliverance”, the latest film from director Lee Daniels that happens to be one of most baffling movies of the year. What starts out as a sincere dysfunctional family drama turns into a hokey supernatural horror thriller that erodes any chance of us taking it seriously.

The film is based on the real-life case of LaToya Ammons, an Indiana mother who claimed her house was haunted by demonic spirits who eventually possessed her children. Mercifully, that messy element of the story doesn’t kick into gear until the final act. We get several supernatural hints sprinkled throughout, but the bulk of the movie focuses on the family as they attempt to navigate their domestic conflicts and social challenges. That’s when “The Deliverance” is at its best.

A solid cast brings the movie credibility. Andra Day plays Ebony, a well-meaning but troubled single mother whose life is a reflection of her own violent childhood. She recently moved into a house in Pittsburgh with her oldest son Nate (Caleb McLaughlin), middle daughter Shante (Demi Singleton), and youngest child Andre (Anthony B. Jenkins). Ebony’s struggle with her past unfortunately manifests itself in her own abuse against her children. And her resurfacing alcoholism only makes things worse.

Ebony’s overbearing mother Alberta (Glen Close) agrees to move in and help with the kids which adds a whole new layer to the story. To make things more stressful, they’re constantly under watch by the state and paid visits by a dogged social worker named Cynthia (Mo’Nique). Nate is routinely roughed up by a neighborhood bully, Shante desperately misses her father, and Andre is his happiest hanging out with his imaginary friend Trey. That’s a lot of drama, but through it Daniels, along with co-writers David Coggeshall and Elijah Bynum, give us a grounded portrait of a family in crisis.

But looming is the story’s unfortunate horror component. It starts with strange odors from the basement and buzzing flies around its door. We get the usual loud bangs and doors mysteriously opening. Then there is Andre’s peculiar behavior including his concerning conversations with Trey. And what’s with the strange woman (Aunjanue Ellis-Taylor) who keeps showing up outside their house?

It all culminates in a trope-riddled final act that goes full Exorcist mode. Ebony faces demonic voices, body contortions, levitations, and even a stigmata as her motherly instincts kick in and she fights for the souls of her children. There seems to be some admirable allegorical intent. Sadly it’s all but lost as the movie turns into a generic copy-and-paste possession flick. The final 30 minutes end up clashing with nearly everything that came before it while wasting a fierce performance from Andra Day along the way. “The Deliverance” premieres on Netflix August 30th.

VERDICT – 2 STARS