The homepage of Gareth Myles.
Turbulence is a terrible movie. Its plot is thin, most characters secondary to the central gimmick, and its execution leans heavily on audience complicity. However, it functions perfectly as an “enjoyably stupid” piece of cinema.
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For enthusiasts of 90s low-budget action cinema, especially those familiar with PM Entertainment’s output, The Underground offers a nostalgic trip through gritted teeth.
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Sometimes you stumble upon a cinematic gem that feels like a personal discovery. That was my experience with Terminal Exposure.
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Based loosely on true events, Thieves Highway echoes the grit and lone-wolf determination of classic films like Walking Tall.
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A movie so obscure it barely exists. Come for the low-budget 90s action, stay for the scene where the main character screams in total silence because they forgot to add the audio.
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The Last Shark is an Italian ’81 Jaws knock-off, infamous for its US block. An author (Franciscus) and shark hunter (Morrow) track a great white terrorising a coastal town, battling a stubborn mayor. It’s a fun, low-budget effort with B-movie charm.
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The Mother of Tears, directed by Dario Argento, is a disappointing conclusion to the Three Mothers trilogy following Suspiria and Inferno.
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The Pick Up flips the buddy-cop script, casting Eddie Murphy as the straight man opposite Pete Davidson’s lazy “manchild” routine. Despite passable action, the film suffers from crude humor, a wasted villain arc, and a squandered Andrew Dice Clay cameo. It’s forgettably fun.
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Under Fire combines elements of the fox hunt sniper genre with humor and tension. While it doesn’t excel, it provides a decent, entertaining experience despite some flaws like slow-motion effects and an underwhelming plot twist.
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Awaiting the 4K release of Night Train Murders, I thought I would head off into similar territory and have a look at another train based Italian Giallo from that period. Terror Express seemed a perfect option.
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