Last night’s flick pick was Overlord.

I last saw this JJ Abrams production in theaters, and a lot of it had already faded from memory (it’s been almost seven years since the premiere, after all), so a rewatch was definitely in order.

I do like this movie – hell, it’s about as close as we’ll ever get to a Wolfenstein adaptation without actually being Wolfenstein – but I wish I liked it even more. It’s got all the makings of a (cult) classic: solid production, killer sets, costumes, and effects. But something about it just feels… well, meh.

Last night, I finally realized why: the characters are paper-thin, stereotypical caricatures, and none of the actors have much charisma (yeah, Wyatt ain’t his old man, that’s for sure). That side of things really drags the movie down. It’s not just that the American soldiers are bland – the main villain, played by Pilou Asbæk, is also incredibly forgettable and about as intimidating as a soggy sandwich.

Right now, this sits at a 3 or 3.5 out of 5 for me, depending on the mood, mostly thanks to the evil Nazi scientists and that sweet Wolfenstein vibe. But man, with a better cast and actual characters, this could’ve been a straight-up five-star banger.

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Finally cracked open Cauldron Films’ The Houses of Doom box set and treated myself to a Fulci double feature: The Sweet House of Horrors (1989) and The House of Clocks (1989), both from Fulci’s later work in 1989, originally made as Italian TV movies.

Sure, these don’t exactly rank among Fulci’s finest, but I gotta admit – they were super entertaining and fun watches.

The Sweet House of Horrors felt like an eerie fairy tale for adults, where a wealthy couple gets brutally murdered (in classic Fulci fashion, meaning no shortage of gore) but then returns from beyond the grave to be with their kids. The House of Clocks follows three young burglars who pick the wrong house to rob, where time itself starts playing all kinds of twisted tricks…

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