Posted in: The Reel World by Brent Lorentson on September 6th, 2019
“This meeting of the Losers’ Club has officially begun.”
I don’t think I’d be exaggerating by saying It Chapter 2 might be the most highly anticipated horror film in quite some time. Two years ago when the first It hit the cinemas, sure, I expected it to be a hit, but the film went on to be a pop culture sensation. Pennywise was already well known because of the books by Stephen King but also because of the loyal fan base of the 90’s mini-series. Debates were heated about which Pennywise was better and more terrifying, while other debates went on about which adaptation was better. I always felt it was unfair to compare this new version to the mini-series simply because we only had half a film, and now finally this weekend we have the conclusion to the story about our favorite Losers’ Club, only instead of teenagers they are all grown up. Now that the wait is over, how does this film stack up alongside the first half and the mini-series? Well, I’ll say it’s better than the mini-series but doesn’t quite have the magic of the 2017 film.
Posted in: No Huddle Reviews by Brent Lorentson on September 5th, 2019
Here we go again, another revenge film. Despite my love for the “revenge” sub-genre, it is getting to the point where there just seem to be too many uninspired films flooding the market. Blue Ruin is perhaps the best revenge film I’ve seen in the past ten years, and it seems several other filmmakers feel the same way because of the amount of films that have been churned out, all attempting to emulate its gritty realistic style, but just fail in the process. Into the Ashes could have been something different; we get some glimpses at what could have steered this film into some interesting territory, but before it gets to take any chances, the film is quickly reeled back to the overbeaten path so many have tread upon before. In a small Alabama town, Nick (Luke Grimes) is trying his best to live a quiet, peaceful life. He’s married to the sheriff’s daughter and has a decent job that pays the bills; the trouble is he has a violent past, and it’s catching up with him in the form of Sloan (Frank Grillo), who has just been released from prison. Before Nick was living the quiet life, he used to run with a violent crew, and Nick took off with their money after things went bad. Nick’s used the money to start a new life, but as you would expect, his former criminal partners don’t care that Nick has started a new life, and they are out for some payback. Things go from bad to worse when the old gang goes to pay Nick a visit but instead find his wife home alone, and they kill her. Like I said, it’s familiar territory, though in many ways this film plays it safer than other films. Usually there are beatings, rapes, and then burning homes down, but these guys seem content with just shooting the wife (something we don’t even get to see). One of the films biggest mistakes is they don’t do much for us to hate the bad guys. I mean, in many ways they have every right to come after Nick, and if we believe what Sloan says occurred with the wife, well, it was sort of a fair shooting. So when Sloan and his crew leave Nick for dead with only two bullets in him, one could almost argue they let him off lightly (in relation to other revenge films).
The film then fumbles again by allowing Nick to live and puts him in the driver’s seat for revenge, while the sheriff (Robert Taylor) really does nothing but follow Nick’s trail. Sure, the sheriff always had a bad feeling about Nick and resents his daughter being killed because of Nick, but we never get to see the rage that should have been injected into this character. Because he believes in this code of justice, he seems to do very little to find justice for his daughter. If he was overly distraught, I could understand why he does so little, but instead this is all treated as though losing his daughter was just another day on the beat.
Posted in: Disc Reviews by Brent Lorentson on September 4th, 2019
When you have a movie that features Gary Oldman, you’d expect it to be pretty good. I feel Gary Oldman is one of the best actors who is working in the business, and I’ve been a fan since the Romeo is Bleeding and Leon days. So when a movie comes along about killers and government assassins and Oldman is playing a character in the middle of all the drama, you’d think this is going to be something great. After all, the man finally got an Academy Award, which was long overdue. The best way I can describe my experience with this is film is to imagine you’re going to a restaurant, one that is a two star rating in the Michelin Guide. While it may not be the best, it should still be good; yet when you get there, rather than getting a great meal you instead are given a plate of lukewarm Spaghetti-O’s fresh out of the can. From poorly framed shots to insipid plot twists, I can’t help but wonder, what did Gary Oldman do so wrong to be stuck in this film?
For those curious about what Jessica Alba is doing in the film, well, she’s Jade, an assassin we meet in the opening of the film, and one of her scenes is with Gary Oldman, whose character is cleverly named The Man. The way the conversation is shot is jarring, going from an oddly framed wide shot with too much negative space to these close-ups where the characters are talking into the camera. Not even Gary Oldman can save these shots, and when it shifts perspectives it becomes all the more painful. If this was a more personal scene, or simply a long shot with just one character speaking, maybe this could have worked better. The scene then jumps to a strip club where Alba’s character is with a blonde character we got a glimpse of from the previous scene. Apparently no one else is at this strip club where the only dancer is a hologram we can see in the background, but this odd little hook-up scene then turns into the girls fighting for their lives; apparently the blonde was hired to kill Jade. This fight is sloppy and cut with the opening credits that are animated depicting portions of the fight.
Posted in: Disc Reviews by Brent Lorentson on August 28th, 2019
Back in 2014 when Godzilla came out, I had a blast with the film, though one of the major complaints seemed to have been that there were not enough fights or not enough of Godzilla. Personally I didn’t see how this could be a complaint to take too seriously; after all, if you watch some of the older films, we’d only get maybe 15 minutes of screen time, but thankfully this wasn’t always the case. Now with the release of Godzilla: King of the Monsters, the human story is a bit of an afterthought, and it’s the titans that carry this blockbuster bonanza. Is this a good thing? You bet it is, though I’m sure there are plenty of stuffy critics who will complain about there being too many monster fights, and for those critics, this movie wasn’t made for them. This is a movie made for the kid in all of us that wanted to believe in the possibility that giant monsters could exist, and seeing these hulking giants duke it out while destroying cities in the process just made us smile.
Right from the get go we get to see Godzilla in action, though it’s back in 2014, and Mark Russell (Kyle Chandler) is trying to find his son during the chaos of the final fight from the previous film. Then we get a five-year time jump where we meet up with Madison (Millie Bobby Brown) and her mom, Dr. Emma Russell (Vera Farmiga) who are living in a Monarch facility in China. Emma and Mark are clearly having difficulty handling the loss of their son, and Madison is simply doing what she can to maintain a happy balance between the two. But the film doesn’t waste much time with this, as we are immediately introduced to the ORCA device, an invention Emma and Mark created that was originally meant to communicate with whales, but Emma has figured out a way to use it to communicate with the MUTO’s of the world (Massive Unidentified Terrestrial Organisms). And it’s early on where we get to meet one of these new organisms, and it’s none other than Mothra. But just as we’re enjoying getting to see this new incarnation of Mothra, a group of environmental terrorists led by Jonah Allen (Charles Dance) come into the Monarch facility and kidnap Madison and Emma along with the ORCA device. Yeah, basically this film is not messing around when it comes to story, as it keeps things at a nice fast pace so we can get to the monster action.
Posted in: Disc Reviews by Brent Lorentson on August 27th, 2019
When it comes to Batman, he’s a character you can enjoy in just about every visual medium out there, and there is something out there for adults and even the little kids to enjoy. Personally, I think Batman: The Animated Series is the best adaption out there. I cherish those discs, and I dust off those DVDs plenty just to enjoy seeing my favorite caped crusader. When it comes to the LEGO take on the Batman property they are aiming for a much younger demographic, and that’s fine, so when you watch these films, you do have to keep that in mind. So how does LEGO BATMAN: FAMILY MATTERS stack up against the numerous other adaptations out there? To be fair, it’s somewhere in the middle.
With a running time of 79 minutes, there isn’t much time to waste when it comes to story, and the film pretty much jumps into it. Bruce Wayne, aka Batman (Troy Baker) is starting to find it cumbersome to play the part of Bruce Wayne the businessman; it seems to just get in the way of his crime-fighting job. This is despite the fact that Robin, Nightwing, Batgirl, and Batwoman are all playing their part in fighting crime. It’s at a business meeting where scientists at the Wayne Corporation reveal their new project, Brother Eye, an AI super brain that’s able to make decisions on the fly. Once Bruce sees what it can do, he decides to just sell Wayne Enterprises so he can focus on being the caped crusader. It’s a rash and impulsive move that we quickly see the fallout from.
Posted in: No Huddle Reviews by Brent Lorentson on August 24th, 2019
In case you missed it, ever since Disney acquired the Star Wars property they have been milking it for all it is worth. For kids (and some adults), this has been something to be excited about. I’ve seen some pros as well as cons since the acquisition took place, and really, I don’t know if I’ll fully make up my mind any time soon considering we still have another Star Wars film coming out in December as well as the live action series The Mandalorian coming to the Disney streaming service soon. I want to be excited, but after seeing The Last Jedi, I’m a bit nervous. It was a film I was excited about, one helmed by a writer and director I have a lot of respect for, but I hated that film, something I never thought I’d feel towards a franchise that is near and dear to my heart. I bring all this up because the first season of Star Wars: Resistance is geared towards kids but also takes place during the events of The Last Jedi. What I can happily say is that despite a shaky start, the first season of Star Wars: Resistance tickled the kid inside me who first fell in love with the series so many years ago.
When the series opens up we meet a young Resistance pilot, Kazuda “Kaz” Xiono (voiced by Christopher Sean) as he is helping pilot Poe Dameron (Oscar Isaac) get out of a scrap. Poe is impressed and decides to recruit Kaz to be a spy for the Resistance on the ocean planet Castilon. There Kaz will have to blend in as a mechanic on a refueling station known as the Colossus. Basically the Colossus is somewhat of a neutral zone where pilots from all over the galaxy can fuel up and enjoy some races. To be fair, a good portion of the first season is about the pilots and the mechanics on the Colossus; on this planet it seems everyone has the need for speed and claims to be the best pilot in the galaxy. These storylines in the first portion of the series are hit-or-miss, and to be honest, I was worried where this show was going. After all, we already have seen a Star Wars show with mechanics; was there really a demand for another?
Posted in: No Huddle Reviews by Brent Lorentson on August 20th, 2019
In 1975 a group of guys thought it was a good idea to steal $30 million from the mob. Vault just happens to be the “Hollywood” version of how that heist went down. This is the kind of story I’m surprised has taken so long to make it to the big screen. While I’m not familiar with the facts on the heist and how it went down, something tells me there we plenty of liberties taken with this film. Here’s the thing, though; whether the whole story was fiction or a true story, it’s a good idea and should have resulted in a fun heist film. I’m impressed by how this film took such a good idea and turned it into the snooze-fest that we get here. Despite having Chazz Palminteri, Don Johnson, and Vincent Pastore making appearances and a running time of 99 minutes, I can’t understand how this manages to feel like an over-bloated missed opportunity.
The film opens up with Deuce (Theo Rossi) and Chucky (Clive Standen) prepping to rob a pawn shop and then arguing in the car about wearing ski masks, Deuce seems to think no one will be able to ID them; Chucky is nervous about cameras and a variety of things going wrong. The robbery is a mess, but somehow these knuckleheads manage to get away with it. Deuce in the process of the robbery decides to take this moment to flirt with a cashier, and later on when she’s walking home, Deuce pulls up and offers to take her to his house to meet the family and have dinner. Yeah, we’re talking about a guy who really is that stupid, but we’re supposed to believe he and members of his family are successful thieves. Seeing Deuce and Chucky working together and how nothing seems to work out for them is filmed as though maybe these guys just have bad luck. It’s this kind of decision making where the director Tom DiNucci just doesn’t seem to know what he’s doing here. He treats his heroes like a couple of tough guys trying to make the right moves, when really it’s like watching a two-man take on The Three Stooges.
Posted in: The Reel World by Brent Lorentson on August 20th, 2019
When a film comes along directed by Richard Linklater, I’m always going to have a little interest in what he’s up to. He’s one of those directors I’ve followed from the 90’s that every few years he cranks out a film that I can’t help but enjoy. Dazed and Confused, his Before Sunrise series, Boyhood, Everybody Wants Some!!, School of Rock, and several other of his films are proof enough that he has a solid filmography, but he’s never quite been the guy to make a splash at the box office. Because of his track record, I’m a bit surprised to see that his new film Where’d You Go, Bernadette managed to squeeze into the tail end of the summer when the trailers would have me thinking this could be an awards-caliber film. Well, as it turns out, the film is a swing and a miss. While I still enjoyed the film, it’s a bit frustrating, because this film seems like it’s so close to being something great, but it just manages to disappoint throughout.
Bernadette Fox (Cate Blanchett) is a bit of a mess, to put it lightly. She’s more than a little difficult to get along with, she heavily self-medicates, drinks, and seems to hate most people with the exception of her family. From the start it’s a bit difficult to decide if Bernadette is simply a quirky individual or if she is genuinely just an unlikeable person. The problem is the film doesn’t seem to know either, so with each awkward situation we see Bernadette get into, she just becomes a more frustrating and tiresome character. We see she doesn’t get along with her neighbors, and her relationship with her husband, a brilliant computer animator Elgie Branch, played by Billy Crudup, is odd in its own way as well. It’s hard to understand why they’d be on board for a last-minute trip to Antarctica.
Posted in: Disc Reviews by Brent Lorentson on August 13th, 2019
I’ll go ahead and get this out of the way, Batman: Hush is my favorite DC graphic novel; it’s one I’ve read multiple times and one I’ve dreamed to see done as a live action film. The story is just one that offers up so much for the fans to enjoy, and considering it features just about all of the core characters in the Batman rogues gallery, it’s simply a graphic novel that I’m surprised it’s taken this long to tackle. When it comes to DC, though, they’ve been pretty hit-or-miss when it comes to their properties being adapted for the big screen, but for television and their animated films they’ve been successful. Basically when I heard Hush was going to be an animated film, it’s one I got excited about, but in the back of my mind I was worried this could end up being like The Killing Joke, great material that just didn’t connect. So how was this adventure with the caped crusader?
The story for Hush was originally done by writer Jeph Loeb and was a whopping 300 pages of beautifully crafted panels. For the most part the whole story is here, but there have been a few liberties taken (mostly with fleshing out the Batman and Catwoman relationship). The trimming is expected, considering this was only an 82-minute feature. In a perfect world I would have loved to have seen this get the kind of treatment we saw with Spider-Man: Into the Spider-verse. It’s a story certainly geared more towards adults, but with the large assortment of villains is a huge attraction to the project, and going the animated route would save on having to shell out the big bucks for big-name actors to fill these roles.
Posted in: Disc Reviews by Brent Lorentson on August 1st, 2019
When it comes to Body At Brighton Rock, there was an opportunity for this to be something pretty awesome. After all, when you think about it, only a few years ago The Revenant was showing just how great a film can be about surviving in the wilderness and how intense a bear attack can be. Well, to be fair, I don’t believe Body At Brighton Rock was aiming to be in the same ballpark of The Revenant, but as I was watching this, it was difficult to not think about what could have been. Really, the film is a simple little tale about a state park employee who gets lost in the woods and stumbles upon a dead body in the process. It’s a good start for the film, but sadly this turns into a bit of a snooze-fest despite some spurts of promise.
When we meet Wendy (Karina Fontes), she’s already late for work, something she seems to do quite often. She works for the State Park Service, which seems to have more people on duty than I would have guessed. Wendy from the start just doesn’t seem to be right for the job. Even her coworkers can’t help but make jokes at her expense. But to help a friend out, she decides to swap positions with her, so rather than sticking to the indoors, Wendy sets out on the trails to post signs and do whatever it is a Park Service officer does. It doesn’t take long before she gets lost, and in the process of trying to find her way she stumbles across a body. Sure, I can believe anyone can get lost in the woods, but when it comes to Wendy’s abilities in the wild, well, it’s hard to believe she’d ever be hired not knowing simple basic survival skills. Another frustrating aspect: she’s carrying around a pack just for the specific purpose of helping keep her alive in case of emergency, but it seems nothing you would actually need is in this pack.
