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.
Episode 1 gets the season started on a strong note with the stories Gray Matter and The House of the Head. The first story comes courtesy of Stephen King, one of the co-creators of the original Creepshow, and the story definitely sets the tone for the series while at the same time setting expectations for the stories that will follow over the course of the season. The story is relatively simple, about a boy whose father is going through some changes as a result of a beer he’s been drinking. I really don’t want to spoil much about this episode, but considering it stars horror icons Adrienne Barbeau and Tobin Bell, the talent elevates this tale all the more, and what’s more impressive is seeing Greg Nicotero directing something that isn’t The Walking Dead. The pacing of this story is excellent, and sure, I wish it were longer; it’s always a pleasure to see Barbeau in a horror setting, and Tobin Bell has nice albeit brief on-screen chemistry with Giancarlo Esposito. There isn’t much time to absorb what we’ve just seen before the second story starts up, which has its own unique creepy tone about it. The House of the Head is a story about a little girl and her dollhouse. Everything seems nice till something very unpleasant seems to be stalking the toys in the dollhouse. It’s the detail that went into the creation of the toys that sells the horror with this story as well as the performance from the young girl. For those eagle-eyed viewers, you’ll catch some cool Easter eggs hidden in the dollhouse.
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.
Let me just get out of the way that in my eyes Winona Ryder in the 1994 Little Women is the perfect Jo, but Saoirse Ronan does an admirable job with how she handles the role while injecting a bit of a modern twist on the character. Honestly, all the ladies in the cast gave wonderful performances while making the characters uniquely their own, but the performance I didn’t see coming was from Florence Pugh, who is simply captivating as Amy. 2019 was a pretty good year for Pugh between Midsommer and having Fighting With My Family, but it’s her performance in Little Women that made it clear this woman is a star in the making (we’ll be seeing her again soon in Black Widow). As for Emma Watson, it should come as no surprise that she is enchanting as Meg. Gerwig did a great job with casting the March sisters; the chemistry between them is one of the crucial pieces she got right. If anything, my only major complaint with the casting is Timothee Chalamet as Laurie. This is all a matter of preference, and though I understand how Laurie and Jo are very similar to the point where they even wear the same clothes, he’s almost too feminine, and it makes his transition later in the film feel more forced than something done out of genuine emotion. In previous films we’ve seen the character simply transition from a boy to a man, and in this version we just don’t see that. Really, all the male characters are anecdotal at best, which is fine, because it allows for more attention to be placed on the sisters.
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.
The film’s setup is relatively simple. Lance Corporal Blake (Dean-Charles Chapman) and Lance Corporal Schofield (George MacKay) are tasked with the mission to cross into enemy territory to deliver a message to prevent an attack that will lead 1,600 men into a trap. The pair must complete their mission before daybreak the next day; failure will pretty much mean certain death for Blake’s brother and most of the troops. No time is wasted in getting the story in motion, and once the two men set off on their journey, the film simply doesn’t slow down. The film takes us along their journey from deep into the trenches, to across a blood-soaked, corpse-riddled battlefield, to booby trapped dugouts, and cities in ruin from the war. I couldn’t help but think to myself the second time around how the journey of Blake and Schofield isn’t all that different from the journey the Frodo and Sam took on their adventure to destroy the ring by taking it to Mordor, only the distinct difference is 1917 is set during WWI.
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.
A Hidden Life follows Franz Jagerstatter (August Diehl), an Austrian farmer who is called upon to fight with the Nazis in World War 2. We get to go along with Franz as he goes into training to be a soldier, but quickly we see how he wants to be no part of it; he’d rather be back at home on his farm with his wife and three kids. It doesn’t take long at all to get that Franz is a good guy who holds firmly to his beliefs, but is he willing to make the sacrifice of remaining true to himself and his nature by continuing to refuse to fight and not pledge loyalty to Hitler? Franz understands the consequences of his actions, and the film follows Franz and his family as it stretches over four years till he is finally faced with the ultimate decision of life or death. The plot is so simple, but Malick isn’t trying to tell a compelling story but rather film the experience of making such a difficult decision. We see the pain and turmoil that Franz and his family endures over the years, from Franz and his physical and emotional confrontations with Nazi officers at the prison, to the struggles Fani (Valerie Pachner) encounters at the farmhouse.
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. What’s a little disappointing is how easily this villain is taken out, but of course it doesn’t take long before a new villain to be introduced. For those who are familiar with the DC comics and for those who are fans of Arrow, the big bad is a familiar masked villain as Deathstroke is brought into the show. Considering the number of characters in the DC rogues gallery, it is a bit annoying how we are given a character that we’ve seen before, but thankfully this live-action version is different enough from the Arrow-verse version that the storyline feels somewhat fresh.
This season not only does it head west to make San Francisco the team headquarters, Season 2 also takes place over two separate timelines, one being present day as they facing Deathstroke for the second time, while the other timeline takes us five years into the past where we see the original Titans in their prime when they first confronted Deathstroke. Seeing the dynamic of the old and new Titans is certainly one of the season’s high points. It’s not just about seeing a bunch of superheroes together, but seeing their chemistry as well as their feuds offers up plenty of drama. At times the drama is absurd and is like watching a superhero version of The Real World.
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?
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 does. 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 towards the story that will follow.
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.
I like campy, and I enjoy a bit of gore in my horror, so it’s no surprise that Snatchers was able to hold my interest. When Sara goes to have her pregnancy terminated and what follows is one of the more over-the-top alien reveals, I found myself hooked into this film. This subtle injection of social/moral commentary, whether intentional or not, does give the film a little more depth than expected, but unfortunately for me this is where the film peaks. Where it becomes more frustrating is when it makes the attempt to make sense of all that is happening. Is Skyler an alien? What happened on his trip to Mexico? These are questions that are certainly warranted, but rather than give us a detailed account, it simply would have sufficed that less of an answer would have been more. By the time the girls attempt to get answers, we’ve already seen the alien cause havoc in two locations, and when they do finally get answers, if anything it stalls the momentum the film has had building.
Posted in: Disc Reviews by Brent Lorentson on February 19th, 2020
It only took Warner Brothers five days to pull the plug on this series after it debuted the first episode on their streaming service. This was crushing news for fans who had been looking forward to the series that had seemed to be a promising adaptation of the comic material and bringing it to life. I was one of those fans. I’m a fan of Swamp Thing, even the cheesy Wes Craven film from back in the early 80’s to the short lived series in the early 90’s. It’s a character that has struggled to find life and longevity over the years, mostly because the finances and the technology were never really there to make it as good as it could be, but when James Wan came along with his lofty idea to bring this series to life and keep it true to the comics and keep it geared to adults, well, I had hope. Already the Warner Brothers/ DC Universe streaming service has delivered with their iterations of Titans and Doom Patrol, and if Swamp Thing was to follow in their footsteps, then this was going to be a show to get excited about. Now that I’ve seen Season 1 and all the plot threads that had been set up to extend the series for future seasons, all I can think is that the cancellation of this series is an undeserved gut punch to fans of the comic and those that will watch this first season, because it builds something that could have been so great but will not be brought to fruition.
Was the first episode “bad”? Could it be the reason for the shows swift demise? Not at all; in fact, when it comes to first episodes, this is an awesome fun ride that is helmed by Len Wiseman (Underworld). One of the first things that stood out about the show is how striking it looked, not in the sense of being bright and filled with color, but instead it’s with the muddy, foggy look of the swamp that instantly visually sets a tone for the show. The show was uniquely shot in Cinemascope (basically that means its width is about twice as wide as its height), so this helps in creating a sense of atmosphere and depth to the locations and just allows for this world to seem almost bigger than life. The opening sequence has us witness a trio of men on a boat suffer a vicious attack from what appears to be the plant life of the swamp that has come to life. My only slight complaint is that the blood looks too CGI, but with the exception of that gripe, I dug what the show had to offer right out the gate.
