Posted in: Disc Reviews by Brent Lorentson on June 26th, 2020
It continues to amaze me how Warner Brothers does so well with their DC products in the television universe but manages to execute so poorly with their films. Despite being a bit formulaic, the CW DC shows are still a blast to watch, but it’s the more adult-oriented shows Titans, Doom Patrol, and Swamp Thing that have left me most impressed. Now they have released Pennyworth for the Starz Network. Despite the confidence I have in the other shows, I went into this one with cautious optimism. The biggest question that bothered me was do we need another series that delves into the Batman universe? Gotham recently wrapped up, there’s a Batwoman series, Joker was last year, and a new Batman film coming next year, not to forget all the other incarnations of the Dark Knight. What had me interested, though, is the notion of finally getting to see Alfred Pennyworth as the former SAS officer in his prime and the chance to see how he became entangled with the Wayne family. Was the series a letdown or yet another success for the DC television universe?
Posted in: No Huddle Reviews by Brent Lorentson on June 9th, 2020
Over the past decade we’ve seen a resurgence of reboots, remakes, and anthologies, so it isn’t much of a surprise that the beloved horror anthology Creepshow would get the reboot treatment. To be fair, this is an extension from what the first films set out to be, though the big difference is instead of just being a film with a few stories, it is now a TV series, each episode containing two tales to horrify and entertain. When I first heard about the series, I was cautiously optimistic. The first two films I consider classics, as do many other fans of the horror genre. Then there was that third Creepshow that I feel we all just want to forget and pretend never really happened. Without George Romero being around, I just wasn’t even sure I’d want to see a show that could possibly just water down everything that was great about the films and simply turn out to be a cheap imitation. Now that I’ve watched Season 1, how does it fare alongside the previous films? Honestly, I found myself impressed with what I saw, and there is plenty of potential to be refined here.
Posted in: Disc Reviews by Brent Lorentson on June 2nd, 2020
"This is this. This ain't something else. This is this."
When it comes to picking “the greatest Vietnam War film” it’s one of those arguments that can get pretty heated with fans of cinema. Platoon, Apocalypse Now, and The Deer Hunter are typically the three I tend to hear named the most, as for me it has always been The Deer Hunter, not just because of its intense portrayal of the war but because of the journey it sets us on, a journey so profound I can easily say it’s one of the best films ever made. I don’t feel like I’m saying anything bold after all it did win Best Picture in 1978 as well as several other Oscars that year. It’s a film though that every time I sit down and watch it, the experience manages to impact me in a way I’m never quite ready for. I first saw it when I was a teenager, didn’t know anything other than it had Robert De Niro and Christopher Walken, I didn’t know what to expect and by the time it ended I was floored. Everything from the visual scope of the film, the intensity of the violence, the performances, I was maybe 14 and didn’t quite have a grasp for what epic cinema could be but after watching The Deer Hunter it became the film I’d hold others up to this standard. It is now decades later and Shout Factory has gone through the process of restoring the film and released it in 4K, how does it hold up after all this time?
Posted in: Disc Reviews by Brent Lorentson on May 28th, 2020
"Surprise."
It wasn’t all that long ago that Universal was seriously attempting to develop a Dark Universe for their classic monsters. Things changed after the releases of Dracula Untold and The Mummy and their poor box office showings, but having seen those two films, I feel fans were spared in the long run from a disaster that could have been. Then in 2019 word got out that Blumhouse was going to be doing The Invisible Man, and this somewhat reignited the talks of a Dark Universe project. When I first heard Blumhouse was backing the film, I was cautiously optimistic about the project; where the company does have its hits like Happy Death Day and Get Out, there are plenty of duds as well. It’s when Leigh Whannell got attached that I had some hope for the film. For those unfamiliar with the name, Whannell is the writer responsible for the Saw franchise as well as the Insidious franchise. Now the wait is over and the film has been seen; how does it turn out? The film opens up with Cecilia (Elisabeth Moss) attempting to escape from her home while her husband is asleep. This opening sets the tone masterfully, and as much as I hate the phrase “will leave you on the edge of your seat”, that is simply what this sequence is. So much is revealed in the visuals of the home and the performance that Moss delivers that the audience can appreciate that characters need for escape. If anything it’s in these opening moments of the film as Cecilia is wandering through the home that almost too much is revealed about the story that will follow.
Posted in: Disc Reviews by Brent Lorentson on April 14th, 2020
The 19th century novel penned by Louisa May Alcott has been adapted in numerous forms since it was first published. Personally the 1994 film is my favorite, but this new film from Greta Gerwig is a welcomed adaption that shows that Gerwig is a talented force to keep an eye on. Little Women is one of those stories that have entertained me over the years, despite it being a story that appeals to a radically different demographic. Even in my teens when I first discovered the story, when I was obsessed with horror films and reading the newest King novel, when I was required to read the story for class, what started as a reluctant task I was doing for a grade, by the time I finished the book and watched the 1994 film in class, well, I found myself smitten with the March family. I was a bit cynical when it came to this new film. Even with it getting all the critical attention I was still hesitant. Really, if it wasn’t for the quarantine, I’m not sure if I ever would have given this film a chance. Despite my reluctance, I’m glad this film found its way into my hands. The most noticeable change that Gerwig has made to the film is by telling the story in a nonlinear fashion. For those who are not familiar with the story, this won’t be much of a problem, but in some ways I feel this kind of cheats the story out of some of its emotional moments, both good and bad. In deciding to tell the story this way, I do appreciate how Gerwig went ahead and gave the film a visual style to help the audience tell what is a flashback as compared to a more current moment. The moments where Jo (Saoirse Ronan) seems to be looking back, there is warmth in the visuals. With Jo taking the front-and-center role as she struggles with being a writer while juggling her relationship with her family, there are moments where we have to question how reliable she is with her dreams and memories. One of these moments that stands out involves her sister Beth (Eliza Scanlen) as she struggles with scarlet fever.
Posted in: Disc Reviews by Brent Lorentson on March 26th, 2020
For a while it was looking like 2019 was going to be a lackluster year for films, but once fall rolled around, we seemed to get bombarded with some quality award-worthy films. Aside from Once Upon a Time in Hollywood, nothing jumped out at me as Best Picture. Sure, Joker was great, and I had a great time with Uncut Gems, but when 1917 rolled around, this was the film that left me in awe. Sure, there have been some great war films over the years. Platoon and Apocalypse Now are great Vietnam films, Saving Private Ryan is definitely a contender as the best film about WWII. Really, it would have been difficult to say what’s the “best” war film out there …well, that is, until now. It’s a bold statement, and I know many will disagree with me, but after two screenings of 1917, I’m feeling pretty confident when I say this is the best and my favorite war film. What’s even more impressive is how 1917 manages to standout from the big blockbusters, sequels, and comic book films and stand alone as a film that can remind viewers about that magic that comes with seeing a movie on the big screen and in Dolby sound.
Posted in: Disc Reviews by Brent Lorentson on March 25th, 2020
It’s hard to believe as a cinephile that Terrence Malick isn’t a more celebrated director. Sure, he has his fans, but his films virtually never translate to box office success, which is a bit of a shame. His past few films have managed to sneak into movie houses and disappear with little to no fanfare. Honestly, I was a bit surprised to realize how many films Malick has managed to release since the release of The Tree of Life. I understand how most will look at his films and say they are “pretentious” or even “boring”. To be fair, his films are not for everyone, but the one thing I think anyone can take away from his films is that they are each visually stunning. Malick doesn’t simply make your typical tent pole adventure film. Instead they all have a tendency to be contemplative and have a more spiritual or philosophical message. When it comes to A Hidden Life, he delivers just that, and while I’d consider labeling this one of his better films, its nearly-three-hour running time has this film feeling as though it’s overstayed its welcome.
Posted in: Disc Reviews by Brent Lorentson on March 11th, 2020
Warner Brothers has done an impressive job when it comes to their live action DC Universe television shows. Everything including Arrow, The Flash, and Legends of Tomorrow have been fun entertaining experiences. Now with them starting up their own streaming service, they have upped the ante by releasing Titans. When I first heard about this one, I wasn’t sure what to think considering I wasn’t much of a fan of the animated series, but I’m so glad I came into this show with an open mind, because this show is jam-packed with coolness. Since this was made for a streaming service and not broadcast television, not only do we get superheroes dropping F-bombs, but we get some edgier storytelling along with some violent action you may not expect. Seriously, this one is not for the kids. Season 2 picks up right where Season 1 left us hanging as we see the Titans coming together to save Rachel (Teagan Croft) from her father, Trigon, as he’s about to destroy the world. You know; typical bad guy behavior.
Posted in: The Reel World by Brent Lorentson on February 29th, 2020
It wasn’t all that long ago that Universal was seriously attempting to develop a Dark Universe for their classic monsters. Things changed after the releases of Dracula Untold and The Mummy after their poor box office showings, but having seen those two films, I feel fans were spared in the long run from a disaster that could have been. Then in 2019 word got out that Blumhouse was going to be doing The Invisible Man, and this somewhat reignited the talks of a Dark Universe project. When I first heard Blumhouse was backing the film, I was cautiously optimistic about the project; where the company does have its hits like Happy Death Day and Get Out, there are plenty of duds as well. It’s when Leigh Whannell got attached and I had some hope for the film. For those unfamiliar with the name, Whannell is the writer responsible for the Saw franchise as well as the Insidious franchise. Now the wait is over and the film has been seen; how does it turn out?
Posted in: Disc Reviews by Brent Lorentson on February 25th, 2020
You can argue that the teen slasher genre is mostly a cautionary tale about premarital sex and using drugs and alcohol. After all, a majority of the time the “final” girl was typically the “good girl”. In a lot of ways, the horror genre is basically a cautionary tale for the viewers, though many of us fans of the genre seem to take delight in seeing the bad decisions people make and the consequences that follow. Teeth and It Follows are a pair of my favorite cautionary-tale horror films that deal with sex and the consequences in a fun and unique way. Snatchers I was hoping would follow and be a welcome addition to these modern cult favorites, but for me, it didn’t quite stick the landing. Sara (Mary Nepi) is doing what she can to keep up with her popular friends in high school, which means she’s willing to do what she can to hold onto her jock boyfriend, Skyler (Austin Fryberger), even if it means losing her virginity with him. Unfortunately the consequences arrive swiftly as she discovers she is pregnant. Things only get worse when two days later Sara wakes up with a bulging pregnant belly and no one to turn to. Feeling as though she has no other option and no one to talk to, she reaches out to her former best friend, Haley (Gabrielle Elyse). The chemistry between Nepi and Elyse is a big factor as to why this film works, and this chemistry is what will keep many viewers engaged when normally they would have given up on the film.
