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.
Posted in: Disc Reviews by Brent Lorentson on February 11th, 2020
It would seem like audiences are suffering from a bit of Stephen King fatigue, as 2019 saw three theatrical releases of his films and each of them seemed to under-perform at the box office. Pet Sematary was a lackluster adaptation, and It Chapter 2 was fun, but still disappointing when considering how good the first was, and then there was Doctor Sleep, the long awaited sequel (depending who you ask) to The Shining. When it comes to The Shining, I’m a fan of both King’s book but also of Stanley Kubrick’s take on the material. King has always had his problems with the Kubrick version due to the many liberties taken with the material, and many people tend to forget how personal that story was for King and how it dealt with his own personal struggles with alcohol and addiction. Because of all this, I believe it’s why the announcement of Doctor Sleep as a book and eventually a film was so shocking and even polarizing for some. When I read the book, it was a fun and unexpected journey that eventually leads back to the Overlook, but most enjoyable was the journey on getting there as King created a sequel that delved more into what “the shining” is rather than simply return to a haunted hotel. So how was the film, and how does the director’s cut differ from the theatrical cut?
Posted in: Disc Reviews by Brent Lorentson on February 11th, 2020
John Cena is following in the footsteps of many wrestlers making the transition to be film actors. Previously we’ve seen him in Bumblebee and in the comedy Blockers. It’s a good move to attempt to show he’s more than a just wrestler with beefy muscles, but comedy is a tough nut to crack even for the seasoned veterans. With Playing With Fire, we get to see Cena in the role of a smokejumper who leads his team of ragtag misfits into fires by leaping out of helicopters and into the middle of the blaze. Unfortunately, having “Uptown Funk” by Bruno Mars does nothing but take away all the tension of the scene despite all the heroics and danger on display. But really, the opening simply sets the tone for what’s ahead in this film, and it is not necessarily a good thing. When the story gets back to the station, most of the smoke-jumping crew is bailing on Jake Carson (Cena) so they can go fight fires with another crew. This basically leaves Carson with Mark (Keegan-Michael Key), Rodrigo (John Leguizamo), and Axe (Tyler Mane).
Posted in: Disc Reviews by Brent Lorentson on February 6th, 2020
I’ve gotten used to the cinematic disasters Bruce Willis has attached himself to over the past few years. I’ll admit, I was surprised to see him in Motherless Brooklyn, and after his impressive performance in Glass, I had hoped he was going to attempt to get himself in to some higher caliber films. Willis has stayed in shape, especially for an action icon who is getting up there in his years, and he still manages to have a presence when he appears on screen. Sure, I get that we can’t expect him to keep throwing himself out of exploding buildings and having elaborate fight scenes. In a perfect world, I’d love to see him be able to revisit the role of Joe Hallenbeck in a The Last Boy Scout sequel. Heck, while staying on the nostalgia train, I’d be on board with a Hudson Hawk sequel over some of these direct-to-video films he’s been doing. Getting back to Trauma Center, we have a new direct-to-video action film that features Willis attempting to save a young girl’s life who happened to be at the wrong place at the wrong time. Is the film worth checking out, or is it one you should simply pull the plug on and avoid?
Posted in: Disc Reviews by Brent Lorentson on January 20th, 2020
Back in the 80’s and 90’s it was a glorious time for crazy, over-the-top action films. The names that most notably come to mind when I think of this time in action cinema are Don Simpson and Jerry Bruckheimer. They were the guys who knew how to make a popcorn action film: Beverly Hills Cop, Days of Thunder, Bad Boys, and many more. While Line of Duty isn’t quite in the same league of these films, it definitely has its roots in these films, and for a VOD action film, well, this film is all kinds of absurd fun. Director Steven C. Miller has had some duds over the span of his career, though I did enjoy his take on Silent Night, but Line of Duty shows that the man is capable of helming a white-knuckle action film if given a proper budget and script to work with. When it comes to Aaron Eckhart, I’m kind of surprised we don’t see him as the lead in more tent pole action films. Sure, many of us know him for his turn as Harvey Dent in The Dark Knight, but he’s a guy with so much untapped talent. It was nice to see it on display in this film. Frank Penny (Eckhart) is a disgraced cop who is responsible for getting a kid killed and is now stuck working as a beat cop. It doesn’t take long for the film to ramp up as Frank is caught up in a foot chase with a suspect involved with the kidnapping of the chief of police’s daughter. There is a lot of running in this opening act, and things go bad to worse for Penny when he’s put in a situation where he kills the only lead to finding the kidnapped daughter.
Posted in: Disc Reviews by Brent Lorentson on January 15th, 2020
This is yet another war film that is “based on true events”. Considering how long troops have been over in Afghanistan, it’s no surprise how many films seem to be coming out about the subject. I’ll admit going into this film I didn’t exactly have high hopes, but I’m pleased to say not only did the film not disappoint; I found myself actually enjoying it. Granted this is no 1917, but it’s definitely better than the dumpster fire film that I reviewed about a month ago called D-Day. The Kill Team follows new recruit Andrew Briggman (Nat Wolff), who is wide-eyed and ready to see combat, but once he is confronted with the very human side of the war that the troops are facing, well, his conscience begins to weigh him down, and things only get more complicated for him as his time in Afghanistan stretches on. From the start, the film seems to have a very idealistic view on how the soldiers can and should act, and it’s this “moral compass” that gets in the way of telling the story. When it comes to war films that delve into the cruelty that occurs, you can’t let morals dictate the story. It’s the equivalent of doing a western where the bad guy wears the black hat and the good guy wears white. Sure, you’re spelling it out for your audience, but when depicting real life, it’s never quite that easy to tell wrong from right.
Posted in: Disc Reviews by Brent Lorentson on January 9th, 2020
“Art is dangerous.” It’s a quote that has been passed around over the decades, and it’s something I tend to agree with. Over the weeks building up to the release of the film, there seems to be a manufactured panic about what could happen when Joker releases onto the big screen. In Aurora, Colorado they’ve elected to not show the film as a way to not trigger local residents that were involved in the 2012 shooting. This I can understand considering the shooter did indeed dress as the Joker when he committed his act of violence. As for other parts of the US, the local police and military have been placed on high alert, all because people are worried about the gun violence and how it may motivate deranged fans to go on shooting sprees. This obviously is not what the studios or filmmakers ever intended, but it is unfortunately a sign of the times that we are living in. No one should have to fear going to the movies. The theater for many is the place for audiences to escape for two hours and forget the troubles and the horrors of the real world, and my hope is audiences will be able to do so without violent incidents.
Posted in: Disc Reviews by Brent Lorentson on January 8th, 2020
When it comes to B action films, there is a threshold for what your expectations should be for the film. In the grindhouse era there were some pretty good quality action films, but as the sub-genre stretched into the 80’s and 90’s, the quality just got worse, though they’d always find some star whose celebrity was on the verge of fading. Dolph Lundgren has managed to hang in there and continue to get roles even though it’s been more than a couple decades since he last had the top billing for a Hollywood blockbuster. Personally I’ve always liked the guy; he can still be a charming badass or also play the heavy when need be for a film. Sure, he’s aged, but I can still believe he’d have no trouble kicking some onscreen ass. The one thing that the filmmakers of Acceleration got right was to cast Lundgren in their film where we get to see him play the good guy as well as the bad guy. As for the rest of the film, well, they had a good idea and a nice lineup of B-movie action stars as well as former UFC fighters, but the result falls well short of its potential.
Posted in: No Huddle Reviews by Brent Lorentson on January 8th, 2020
Family Guy has reached a level of impact upon the American pop culture where I believe the characters need little to no introduction. Is there anyone, really, who doesn’t recognize Stewie? After all, he’s reached the status of icon and has even become a fixture of the Thanksgiving parade as one of the many floats. Where The Flintstones, then later The Simpsons, were at one time the dominating animated family on television tackling day to day struggles of the modern American (each in their own and unique way), Family Guy (love it or hate it) now seems to be the go-to animated family. In this collection of 20 episodes, the creative force, Seth Macfarlane, and his team continue to deliver the laughs along with their twisted moral messages. In today’s culture, it seems like it is harder and harder to be a comedian and manage to not offend anyone, and for the first time I feel the show is restraining itself too much, and it’s hurting the product. Family Guy has always been a show that was self-aware and would break the fourth wall, so it was not a big surprise when a character mentions how they’ve eased up on their jokes against the gay community. Is this a move brought on because Disney now is writing the checks for those involved, or is this decision made by the writing team?
Posted in: No Huddle Reviews by Brent Lorentson on December 29th, 2019
Family Guy has reached a level of impact upon the American pop culture where I believe the characters need little to no introduction. Is there anyone, really, who doesn’t recognize Stewie? After all, he’s reached the status of icon and has even become a fixture of the Thanksgiving parade as one of the many floats. Where The Flintstones, then later The Simpsons, were at one time the dominating animated family on television tackling day to day struggles of the modern American (each in their own and unique way), Family Guy (love it or hate it) now seems to be the go-to animated family. In this collection of 20 episodes, the creative force, Seth Macfarlane, and his team continue to deliver the laughs along with their twisted moral messages. In today’s culture, it seems like it is harder and harder to be a comedian and manage to not offend anyone, and for the first time I feel the show is restraining itself too much, and it’s hurting the product. Family Guy has always been a show that was self-aware and would break the fourth wall, so it was not a big surprise when a character mentions how they’ve eased up on their jokes against the gay community. Is this a move brought on because Disney now is writing the checks for those involved, or is this decision made by the writing team?
