Posted in: Disc Reviews by Brent Lorentson on February 9th, 2018
The notion of having one of comics’ famous costumed detectives face Jack the Ripper is simply one of those ideas I can’t help but smile with geeky joy thinking about. Batman: Gotham by Gaslight, takes the caped crusader back to the early turn of the 19th century, a time when Gotham City was in its early days, before skyscrapers flooded its landscape. This unique take does offer up some fun twists on the legend of the character ,but also takes many liberties of historical events that actually took place. This kind of revisionist history can be fun; take Inglorious Basterds for instance, but how much should you really play with actual history and set character mythology? This is definitely a new playground for the creators to play with, so how does the animated film shake out?
At the start of the film we meet (Poison) Ivy, who has taken a different career path than most may be used to. It is followed by her confrontation with the Ripper, and it doesn’t go so well. It’s an opening like this that lets the viewer know that the familiar cast of heroes and rogues are not safe in this world, so forget what you think you know, and try to sit back, relax, and try to enjoy the story that unfolds.
Posted in: Disc Reviews by Brent Lorentson on February 4th, 2018
When coming into this film you need to put aside any expectations of seeing your typical Pixar or Dreamworks animated film. This is arthouse animation that is filled with originality while attacking the clichés we see in big-budget disaster films. I didn’t really know what to expect from this film, but with a voice cast that includes Jason Schwartzman, Lena Dunham, Reggie Watts, Maya Rudolf, and Susan Sarandon it was such an odd mix that my curiosity couldn’t resist. So is the trippy animated film a success, or is it a dud destined to sink into obscurity?
The film runs at 77 minutes which leaves the film little time to set up characters and plot, but somehow the film still manages to give us a group of fully-fleshed-out characters; though they are a bit exaggerated, they remain relatable. Dash (Schwartzman) and his best friend Assaf (Watts) are returning to school with hopes of being more accepted and respected than they were the previous year. The friends work together on the student newspaper where Dash enjoys writing exaggerated pieces while his friend prefers to stick to the facts and not blow the story out of proportion. It’s because of Dash’s flare for exaggeration that it’s difficult to find students to believe him when he discovers the school is in danger of falling into the ocean.
Posted in: Disc Reviews by Brent Lorentson on February 2nd, 2018
Bad Robot, in my eyes, is simply the best at keeping things a secret. In this day and age, to be able to surprise audiences is just about an impossible task. When the first Cloverfield trailer was released in 2007 in front of Transformers, it was a trailer that had us all guessing up until its release. In my opinion Cloverfield was one of the best found-footage films to come out and was a grand achievement, considering it was a monster film that had been pretty much been kept under wraps until its actual release. Bad Robot managed to surprise us again, releasing a trailer for 10 Cloverfield Lane that set the internet on fire with theories and hopes for this to be a long-awaited sequel. But is that what this really is?
What I want to go ahead and get out of the way is, if you’re hoping for spoilers, there will be none, other than to say if you are expecting a big-budget extravaganza filled with monsters destroying cities, this is not that film. You will feel cheated. Instead, what 10 Cloverfield Lane delivers is something more intimate than I would have expected, and it takes the thriller genre back to its basics.
Posted in: No Huddle Reviews by Brent Lorentson on January 25th, 2018
With a solid title and appealing DVD cover, No Solicitors is a film that looks to attract horror fans looking to make an impulse buy or a late-night viewing when in the mood for something to get the heart racing. Unfortunately, the film doesn’t hold up to its potential, and to be honest this might be one of the more disappointing titles I’ve had the privilege to review. The film has a strong premise, one that not only teases plenty of horror, but the potential for what could result in numerous sequels if the film was successful and the creative parties involved were inclined to go that direction. Instead the film seemed to aim more towards laughs than scares, and the result is at times a painful experience to watch, and not for the graphic gore that is sprinkled throughout.
If you’re like me, you’re not a fan of unexpected houseguests, and even worse being interrupted by solicitors who are trying to sell you something or convince you to check out their church. The notion of a horror film about a family that takes pleasure in preying upon these door-to-door salesmen (and women) seems like it would be entertaining. Getting a little deeper into the family’s motives, they keep the solicitors locked away and restrained to hospital gurneys after removing an arm and a leg to help prevent any chance of escape. You can’t just simply toss away a good and arm and a leg, so not to waste any good meat, the family has the body parts cooked up for dinner. Yes, this is a family of cannibals who also use their victims to harvest organs for the black market. All this solid horror material and still this film manages to not just disappoint, but simply struggled to hold my interest.
Posted in: The Reel World by Brent Lorentson on January 19th, 2018
The film Phantom Thread may be flying under the radar for most cinema-goers, but this little gem is a nice distraction from the big-budget fare that floods the theaters. While I’m a fan of director Paul Thomas Anderson’s earlier work (Boogie Nights and Magnolia), the big draw for this film is the perhaps last cinematic performance we may see from Daniel Day-Lewis, who last collaborated with Anderson in the 2007 film There Will Be Blood. While I have to admit the trailers for this film didn’t inspire much excitement from me, it’s the pairing of Anderson and Day-Lewis I was more curious about. The result is one of the more unexpected film experiences I’ve had in sometime.
In 1950’s London, Reynolds Woodcock (Day-Lewis) is one of the most renowned dressmakers whom the social elite and royalty seek out. From the start of the film we get a glimpse into Woodcock’s meticulous nature as we see him go about his morning ritual of getting dressed for the day. He’s an introvert, and at his side he has his sister, Cyril (Lesley Manville) to help attend to his needs and handle the staff and get rid of girlfriends when the time calls for it. There isn’t much warmth between the brother and sister, but the two certainly work well together as Cyril seems to anticipate her brother’s needs at all times.
Posted in: Disc Reviews by Brent Lorentson on January 17th, 2018
In case you’ve been living beneath a rock and out of contact with any and all social media, this weekend the long-awaited film adaption of Stephen King’s It releases. Some of my friends look at the trailer for the new film and instantly reject what they see; they immediately cling to their memories of how the original mini-series scared them. One thing you’ll hear them all saying is how Tim Curry made such an impact on their lives and to this day gave them reason to fear clowns. While I respect their opinions, when you revisit the film, you can’t help but notice how dated the film is, and really, if you’re over the age of 10, it just isn’t scary. I grew up on reading Stephen King, and as a fan, I’ve always been frustrated that it seems no one could ever get his horror stories right. Sure, there is Misery and Carrie, but there are many more miserable failed attempts of his material. The Mist (especially the black and white version) is perhaps my favorite adaption of his work, that is to say, up until now.
When the film starts up, those of you familiar with the mini-series will perhaps have a sense of déjà vu at first. Without a doubt our first introduction to Pennywise, the dancing clown, is at first a little off-putting, but if you hang in there, you’re going to be happily terrified by this performance. Bill Skarsgard fills the clown shoes this time around, and there is no doubt a new generation of kids are going to be terrified of clowns because of this performance. There is nothing friendly in this performance, and after our introduction and we get a glimpse at what he’s capable of doing to children, that’s when the unease sets in, and as an audience member you realize from the start that no one in the film is safe.
Posted in: Disc Reviews by Brent Lorentson on January 3rd, 2018
When it comes to ranking the top 10 cool movies of the past five years, Kingsman:The Secret Service would easily make the list. From the opening sequence to the final credits, the movie was simply a fun ride with so many kick-ass moments. I mean, the fight in the church alone is worth the price of admission. The moment I heard Matthew Vaughn was returning to helm the sequel, I instantly got giddy with excitement. Heck, ever since his first film Layer Cake, the guy has managed to produce a stream of cool films that I’ve enjoyed. It’s when the trailer for the sequel first dropped that something didn’t feel right; it still looked like a fun movie, but it just didn’t suck me in like the previous film’s trailer did. I ignored my doubts, because after all, Vaughn has proven himself again and again, so when it came time to see the screening for the film, I had forgotten about my doubts, and I was just ready to have a good time.
Now that we know how the Kingsman organization works, the film wastes no time throwing Eggsy (Taron Egerton) into the heat of action. We watch Eggsy engage in a fight/car chase as Prince’s “Let’s Go Crazy” plays in the back of a cab. It’s a fun and flashy fight with the camera moving around in impossible angles as the fight literally does some off-the-wall stuff. It’s great for an intro, but this is what we get hit with again and again as the film goes on, and it quickly loses its flair.
Posted in: Disc Reviews by Brent Lorentson on December 21st, 2017
When Christopher Nolan has a new release, it’s an event to get excited about. There are few directors I can say this about. Sure, there are directors that I like, but still there are few who manage to capture what makes going to the cinema an experience. Dunkirk is his latest cinematic opus. Despite it being his shortest film, with the exception of The Following, this is the first time he has shot a film almost entirely in IMAX form. What’s the big deal? Well, aside from the picture being twice the size of the regular format, what he does with these cameras is deliver a beautifully striking picture of destruction and survival. There’s a lot of buzz going around with this film, and already it’s being looked at as the first real Oscar contender of the year. Is the film worth the hype? Is it really Nolan’s best picture?
Christopher Nolan is widely known for his Dark Knight Trilogy, as well as Inception and Interstellar. While I’m a fan of these films, it’s his film Memento that has always stuck with me as his most inspired work, a film that plays with a timeline to serve the overall experience of the film. Dunkirk is yet another film that unfolds over the course of three timelines to tell its story of heroism and survival. While I appreciate Nolan’s attempt to be innovative with this storytelling technique, it’s definitely something I feel harms the overall film, because as the film unfolds we jump from one scene in the afternoon to another scene at night, and the sequences are edited to in such a way that tonally they coincide, but visually it’s jarring. But still that’s not the greatest fault I find in the film; instead, it’s that I feel we are missing the entire first act of the film.
Posted in: Disc Reviews by Brent Lorentson on December 7th, 2017
There is a sense of dread that unintentionally comes along with an independent science fiction film. Despite how far technology has come, it seems that for a science fiction film to really be impressive they need a reasonably decent VFX budget or suffer with a look that often times appears cartoonish by comparison of the larger-budget films. The Osiris Child somehow manages to not just create a grounded realistic futuristic world, but even manages to use practical effects to create some nasty-looking monsters and not pull its punches with the scope of its story. In a film that seems to be parts Elysium and parts Pitch Black; this might be the most ambitious effort I’ve seen in the genre that manages to succeed in many ways.
Kane (Daniel MacPherson) is an officer who works in a space station over a planet and discovers that the planet is about to be wiped out. Unfortunately his daughter is visiting him from Earth, has travelled through space to visit him, and is staying at the planet her father is looking over. Kane goes against orders to rescue his daughter and get her to a bunker to protect her, but in the process his ship is shot down and he crash-lands miles away from where he needs to be. As luck would have it, Kane is rescued by a mysterious figure, Sy (Kellan Lutz) who happens to be an escaped prisoner who reluctantly helps Kane get him to the city where his daughter is supposed to be.
Posted in: Disc Reviews by Brent Lorentson on December 4th, 2017
Coming along the heels of Straight Outta Compton, the new HBO documentary series The Defiant Ones takes a more in depth at the life and career of Dr. Dre as well as famed musical producer Jimmy Iovine. The 4-part series comes out to over four hours of interviews and stock footage that spans over the course of both of their careers, and as a result we get a comprehensive look at the music industry like we’ve never seen before. Whether you are a fan of hip-hop or rock, there is something here for everyone, but for those who seem to have zero tolerance for rap, it’s the story about these two and where they came from to their joint venture in a 3.2 billion-dollar deal with Apple that transcends all taste in music. This is a rags-to-riches story about a Brooklyn boy and a kid straight out of Compton who had a passion to create music, and in the process they changed the industry forever.
Part 1 is our introduction to Jimmy Iovine and Dr. Dre, where we get their birth stories and how they were as kids. What stands out the most here is seeing how much this pulls back the curtain to the myth about gangster rappers, and we see how Dre was simply a kid with a passion for music and how he had a unique ear to create something different. As for Iovine, we see how he did all he could to not have to work the boat docks and went from creating a failed band to eventually getting a job working at a recording studio. Personally, the highlights of this part were seeing old studio footage of Jimmy being an engineer for the Bruce Springsteen album “Born to Run” and how he got a song Springsteen decided not to use and Jimmy ends up giving it to Patti Smith to create the son “Because the Night”. Follow this by seeing old footage of Dr. Dre working with Easy E for the song “Boys N the Hood”, well, it is incredible that someone thought to bring a VHS camcorder to document these moments that would become part of music history.
