Posted in: Disc Reviews by Brent Lorentson on January 16th, 2017
It would seem as though Ben Affleck is finally starting to shed the stigma of doing bad films. He’s been on a roll since he took on the role of George Reeves in Hollywoodland and has also in the process become an accomplished director. When the trailer first dropped for The Accountant, I wasn’t sure what to expect, but as you look at the laundry list of talent that fills the cast, it quickly became a film I had my eye on. What is surprising is despite there being franchises that seem to cover the same territory i.e.: Jack Reacher and the Jason Bourne films, is there room for another lone-wolf killing machine film? Before going into this it was a question that bothered me; heck, I’m already burnt out of the Jason Bourne films, and with a new Jack Reacher film on the horizon, the saturation is noticeable. But thankfully, The Accountant doesn’t just come out swinging but exceeded all expectations and has raised the bar for this brand of action film.
Christian Wolff (Ben Affleck) is, as the title would lead you to believe, an accountant. He runs his own firm and is exceedingly good at what he does when it comes to solving accounting problems people may have. He’s exceptional at solving problems, and what makes this all the more impressive is he does all of this as a high-functioning autistic. This may be one of the first times I’ve seen a character with a disability on screen, but not once is it ever played as a way to sway sympathy; instead, it’s just another layer to this character. We see the everyday hell Wolff goes through, but we also see how far he’s come from his childhood after his mother gives up hope and abandons her family.
Posted in: Disc Reviews by Brent Lorentson on January 10th, 2017
In 1999 The Blair Witch Project was released, and it was a horror film that created a stir like I had never seen before. I remember going to Tampa Theatre to see it opening week. The line was wrapped around the building for the sold-out screening. Discussions were going on in the line about the film actually being real, some even talking about how they heard the bodies of the three filmmakers were never found. It’s this kind of mindset going into the film that made it such an impact as I walked out of that first showing. At the time I knew I had seen something unique, but I never would have expected it to spawn an entire style of genre filmmaking that would be copied over and over again. Now nearly two decades later, director Adam Wingard (You’re Next) attempts to inject new life in the found-footage genre and into the film franchise that started it all.
The film picks up years after the disappearance of the film students in the first film. James (James Allen McCune) has been looking for evidence since his sister first disappeared. A digital video has surfaced that may have more clues as to what happened to his missing sister. It’s this hope that takes James and his friends to the woods where is sister vanished and where the legend of the Blair Witch continues to flourish. Lisa (Callie Hernandez) makes plans to document the trip to the woods as they hope to acquire this new evidence, and she comes armed with an array of high-tech gadgets to document the journey.
Posted in: Disc Reviews by Brent Lorentson on January 9th, 2017
There is something about a Rob Zombie film that will always be a draw, and it is always the realism that he brings to the screen. Whether it’s The Devil’s Rejects or his version of Halloween, he always presents it in a way that I feel is grounded in reality. Perhaps it’s also because I live in Florida, and there are some small towns that you don’t want to break down in at night for fear of crossing some crazed backwoods types. To put it out there, I was a fan of Rob Zombie before he was putting out movies, and I have all of his albums; he’s just a guy who does stuff that I really dig. That being said, I can be objective in saying his films have been a bit all over the place, but Lords of Salem was a piece of work that I simply loved, and I felt it showed a lot of growth from his previous films and worked well as a slow burn. Now he’s released 31 upon the masses, a Kickstarter film that was initially (if not mostly) financed by fans. Is it worth the investment? Well, it depends on what you were hoping for.
The film opens in a static shot with Doom-Head (Richard Brake) approaching the camera and unloading a menacing monologue. This is the kind of opening that should get any horror fan excited and anxious for the kind of violence that is about to be unleashed in the film, yet sadly the film never quite lives up to this scene. This doesn’t mean the film is bad; I just mean that the opening is just THAT good, and it just leaves you with anticipation to see so much more with this character.
Posted in: No Huddle Reviews by Brent Lorentson on January 2nd, 2017
Since we are knee-deep into the holidays, it would only be fitting to discuss the independent horror film Never Open the Door; after all it takes place on Thanksgiving Day. It’s a shame we don’t have more horror films to watch during turkey day, but for some this new title may be a nice fit to change all that. When I picked up the title I hadn’t heard a peep about it, but I’m a sucker for horror, and seeing that it was shot in B&W just made it all the more enticing. Now, when I watch a title like this, one thing has to work. It has to have a story that engages me; story is what matters with these smaller films, because the budgets tend to not have room for big makeup FX or big-name actors. The limitations placed upon the filmmakers seem to force their hand and have them get more creative with the execution of scenes, whether this means creative camera work or unique storytelling. Many of my favorite directors came from shoestring budget beginnings: Peter Jackson, Sam Raimi, and Kevin Smith, to name a few. So is the next up-and-coming directing star putting his goods on display here?
It’s Thanksgiving, and a group of friends have gotten together to celebrate by making a trip to a secluded cabin in the woods. While the dinner is going on, we get a perspective from outside of a man running through the woods. Most of this is through his POV, so there is plenty of shaky camera footage here; thankfully it’s not too bad. The dinner is interrupted by a knock on the door, Tess (Jessica Sonneborn) gets up to answer it and as a result has blood spat upon her from a stranger that falls to the ground giving an ominous warning about answering the door. There’s nothing new here, and we can pretty much telegraph what happens next; the problem is most viewers are not going to care.
Posted in: Disc Reviews by Brent Lorentson on December 30th, 2016
It’s been just about four years since Savages (2012) hit the big screen. For me Savages was Oliver Stone simply having a blast, shooting an over-the-top action film fueled by sex, drugs, and violence. Now it seems Stone has stepped back into the paranoid, government-conspiracy form that he seems to be best known for with Snowden. Whether you view him as a traitor to the United States or a self-sacrificing lamb to expose the government and its illegal wiretapping, it’s a choice that is up to you going into this film. Personally, while I feel his intentions were good, still, he did betray his government and committed treason. What I had hoped with this film is that Oliver Stone would capture both sides of the coin, but as the title would suggest, Edward Snowden (Joseph Gordon-Levitt) is front and center on this ride, and that’s not my only problem here.
When we first meet Snowden, he’s locked away in a Hong Kong hotel room getting ready to give an interview to two journalists, Glenn Greenwald (Zachary Quinto) and Ewan McAskill (Tom Wilkinson) along with documentarian Laura Poitras (Melissa Leo) to film the event. It’s this interview that sets up the rest of the film that is told mostly in flashback form. The dynamic of this opening sequence works so well simply because of the elevated bar of talent on the screen; it sets up for what one could only expect will be filled with snappy dialog exchanges as these figures discuss what Snowden is about to unleash to the world. Instead we get a whimper of what could have been.
Posted in: The Reel World by Brent Lorentson on December 28th, 2016
When the closing credits rolled the first time I saw this, I was stuck in my seat paying some attention to members of the cast and crew, but mostly I was sitting there in awe. I’m honestly struggling to think of a film that has affected me on the screen so deeply, and the closest I can get is The Shawshank Redemption. While I’ve certainly seen many good films over the years, and I’ve seen some I would even call great, La La Land is something more, something special that came along that achieved what few would even dare to believe. It is an achievement that writer and director Damien Chazelle deserves the many accolades that he will soon be showered with as we enter into the award season as 2016 comes to a close. Just what is it that he managed to capture? In my most humble opinion, he captured all that was and is great from the Golden Age of Hollywood. This is a film that opens the door to the past, to when greats like Humphrey Bogart, Gene Kelly, Ginger Rogers, and Fred Astaire were the giants of the silver screen, a time that it seems Hollywood has all but turned its back on and become an industry of making CGI cash-making franchises and neglecting what brought us to the theaters to begin with: to show us how to dream, and to not be afraid to dream big.
Our introduction into the film (proudly boasts to be shot in Cinemascope), brings us into gridlock Los Angeles traffic and without warning passengers exit their cars to perform the film’s opening number, “Another Day of Sun”. It’s a big number filled with dozens of performers singing and jumping from car to car as the camera moves beautifully between the performers. The color in all the costumes simply pops across the screen, and this is simply a taste of what’s to come.
Posted in: Disc Reviews by Brent Lorentson on December 28th, 2016
Writer/director Paul Schrader (Taxi Driver and Auto Focus) has been a guy I can’t help but root for. His films are filled with the kind of raw grit that I like to see in films. His knack for shining a light onto the outlaws of society is something I don’t feel anyone does as well. Usually we see these characters celebrated, or simply put, they get the Hollywood treatment. Schrader seems to always go the other direction and depict them with an unflinching eye that captures the character with honesty and dignity, even as their lives tailspin into darkness. Dog Eat Dog may not be an original work by Schrader, but the film certainly carries many of the staples that embrace his celebration of the anti-hero while filming the manic insanity of the reality they live in.
The film opens up with our introduction to Mad Dog (Willem Dafoe) as he is nursing a drug binge at a girlfriend’s house. He’s begging for her help, and she reluctantly allows him to stay at least till morning. It’s not long after that the girlfriend regrets this decision, and as a result she and her daughter are brutally murdered by Mad Dog. The kinetic energy of this opening sequence is just a peek at the insane, dark, and brutal violence that is to follow.
Posted in: The Reel World by Brent Lorentson on December 23rd, 2016
With talks going on about setting up colonies on Mars, long distance space travel is quickly moving away from the pages of science fiction to the next step in space exploration. Passengers is a film that taps into the possibilities of what this could mean for us as a species but also takes a look at the great risk that we would be facing. At a glance it would seem like a surefire Hollywood blockbuster to end the year, but I wouldn’t go so far as to say that is a sure thing. Despite the great effects and set designs, two bankable stars, and a more than capable director, Morten Tyldum (The Imitation Game and Headhunters), what you still need is a story that will not only fill those seats but keep people wanting to come back for more. Sadly, what we have here is so much potential that caves into telling a safe and unfortunately predictable story that we have seen time and time again. Strap in, folks, you’re in for a bit of a bumpy ride.
Welcome aboard starship Avalon, a ship filled with 5000 passengers and a crew of 258. The ship is on its way to Homestead 2, a planet that the people of Earth are planning to colonize. The trouble is, to get to Homestead 2 it’s going to take 120 years, so the passengers and crew need to use sleep chambers to keep them in a cryogenic state until they arrive. Unfortunately for Jim Preston (Pratt), his chamber malfunctions and he wakes up 90 years too soon without any way to fix his chamber and get back to sleep.
Posted in: Disc Reviews by Brent Lorentson on December 21st, 2016
Coming out of Norway we have In Order of Disappearance, a film I knew nothing about aside from the cover art. To be , it pretty much reminded me of any of the numerous revenge films we’ve seen Liam Neeson in. Stellan Skarsgard instead stars in this revenge romp that I feel got lost in translation with me. It’s not that I couldn’t understand the base of the film being a revenge tale; this is very much clear as day, but it is the film’s sense of humor that borders on being dry and black, to other points I feel it’s just a Norwegian thing. Usually one of the first things I do with a foreign film is I make sure everything is set to the original language track and use the subtitles to follow along (never been a fan of dubbing). As it would turn out, whoever decided to subtitle this film decided to use white lettering. Normally that wouldn’t be a problem, only for this film most of the backgrounds are filled with snow, so the white on white forced me to listen to the dubbed track, and the actors doing the dubbing are really bad at times and ruin the experience.
Nils (Skarsgard) is just your average guy who has been awarded an honorary citizen of the year award; he’s humbled by this but continues on with his day-to-day life as a snow blower. His life gets thrown into chaos when he discovers his son has been murdered, and over drugs. It’s the kind of news no parent wants to hear, and just when Nils is ready to take his own life, he comes across a drug addict who knew his son and has the answers to what “really” happened to him. Not to throw you any curve balls, but Nils decides he wants blood and is going to go after anyone and everyone who was involved with his son dying. As you can imagine, there is a lot of bloodshed to follow.
Posted in: No Huddle Reviews by Brent Lorentson on December 21st, 2016
It’s hard to believe it, but Duck Dynasty has made it to ten seasons, and it seems to be still going strong. When seeing the trailers for the first season, I found it hard to believe this was even going to be a show, much less garner the attention that it has over the years. I’ll admit it I surprised myself by how much I actually enjoyed the show, even if it was being a bit liberal by crediting itself as reality television. Even if most of the show seems pre-scripted, it’s continued to be entertaining, which is rather impressive for me, considering I feel I don’t even fit the show’s demographic. For those who have been viewers from day one, you’ve gotten to watch the Robertson family not only grow older but expand as well. Willie (the head of Duck Commander) and his wife Korie attempt to celebrate their 25th wedding anniversary, only there is a big catch that is rather amusing. We also get to meet their new adopted son, Rowdy, as well as see their daughter, Sadie, finally graduate high school as she struggles to decide on what she’d like to do next with her life. For the most part these are all situations that most families can relate to in one way or another, only the Robertson clan of course feels the need to ramp it up and take it over the top.
Personally my favorite character on the show is Willie’s brother Jase, and to a point he seems to have more focus put on him this season more than in seasons past. One of the more entertaining episodes has Jase and his younger brother Jep in competition with each other over who is the rightful owner of their grandfather’s rifle. Unless you are a stranger to the show, you know this dispute can only be settled by a competition; this time the boys go head to head in a marksmanship competition. Also as competitions go, the Robertson boys have a competition for which of their wives makes the best cornbread, a fun reminder that you’re watching a good ol’ southern family reality show.
