Posted in: Disc Reviews by Brent Lorentson on August 12th, 2016
What if you were given the chance to step back in time; would you take this opportunity to change the world, even if it meant having to kill someone for the “greater good”? This is the question that kicks off the story that is 11.22.63, from the novel written by Stephen King. Sure, merely mention Stephen King and many automatically people think of the man as the master of contemporary horror. Yet some of his prolific works that have made their way to the big screen and have gone on to be classic pieces of cinema are less about horror and more about friendship and the deepest bonds we can share with another. Stand By Me, The Shawshank Redemption, and The Green Mile are just a couple examples of King’s more profound works, and for a moment 11.22.63 could have stood right alongside these titles.
Hulu is the streaming company that set out to adapt 11.22.63 as their way to take their streaming service to the next level and begin to stream original content. When I first heard there was going to be adaptation of the book, I was far from excited; after all, most of the mini-series that had come before just turned out to be lackluster executions of the stories I loved. (Yes, even IT I felt missed the mark in several ways that had me hoping this next attempt will be better.) What gave me a little hope, though, was hearing about the involvement J.J. Abrams would have with the project, how his name alone would elevate this past Mick Garris mini-series we got throughout the 90’s. With eight episodes, would Hulu and Abrams be able to step up to the plate and deliver?
Posted in: The Reel World by Brent Lorentson on August 8th, 2016
In the days leading up to the release of Suicide Squad, over the internet there has been one of the most vicious attacks on a film before its release that I can remember. Sure, we had all the negative talk about Ghostbusters,but that was before anyone had ever seen the film, and as screenings came along, opinions seemed to sway. Now I was lucky enough to attend a screening Monday for Suicide Squad, and there were up to 150 people turned away at the door because the auditorium was filled to capacity. I mean, the buzz for this was high, and we DC fans were giddy, because this film was our hope that WB would be turning things around. I mention all this because now this has managed to become one of the worst-reviewed films of the year, and I’m just sitting here like WTF happened, did they see some other cut of the film? I’ve held off on writing this, because I’ve struggled with the direction I wished to write this. There’s the comic fan in me that has so much to say, then there is the more critical side, and usually I fall somewhere in between. Then I decided the hell with it, I’m just going to come at this full film geek. My reasoning, it seems 90% of critics out there have forgotten how to have fun at the movies, and it’s a shame, because I know at some point all of them were film lovers, but at some point they decided to turn their noses up at the trashy and the cool popcorn flicks. So strap yourself in, and let me give you the real rundown on the film.
After the events of Man of Steel and Dawn of Justice, a government official, Amanda Waller, (Viola Davis) has a plan to get a team of the world’s most dangerous villains to fight the battles the government may find too dangerous to openly confront. Among these villains are “meta-humans” who have special gifts that can be used as weapons against the “Supermans” of the world. It’s a dangerous prospect, but as she is pitching this idea, you can’t help but agree with where she is coming from. This leads us to our roll call to our soon-to-be anti-heroes.
Posted in: Disc Reviews by Brent Lorentson on August 8th, 2016
When I first saw the trailer for Keanu I wasn’t sure if what I was watching was a real trailer or simply a sketch from the Key and Peele Show. Thankfully this turned out to their first starring foray in taking their talents to the big screen. With one look at the trailer, I felt they were attempting to capture the over-the-top stylish action we got in most 90’s action films, Face/Off is the first that comes to mind, but really there are countless examples. But the real star of the film is little Keanu himself, the ball of feline cuteness that will either have you embracing the film from the start or have you rolling your eyes (yeah, I’m talking about those cat haters out there). Grab your Glock, and don’t forget the catnip, as we scratch a little deeper into Keanu.
Two ruthless assassins come into town, hired to take down members of a gang. In the midst of the gunfight, a little kitten manages to make an escape. The kitten finds his way to the doorstep of Rell’s apartment. Rell (Jordan Peele) has hit some rough times after a breakup, and Keanu (adorable kitten) seems to be what has brought Rell out of his rut. But things turn for the worse when Rell’s home is broken into and he discovers that Keanu has been catnapped. Rell’s cousin Clarence (Keegan-Michael Key) tags along to help Rell find his lost cat. Unfortunately it takes them deep into the street gang underground where they are mistaken for the two assassins. To rescue Keanu and to ensure they both don’t get killed, Rell and Clarence go ahead and pretend to play the role of the assassins.
Posted in: Disc Reviews by Brent Lorentson on August 1st, 2016
Don’t let the artwork scare you off. Yes, the cover design for this disc may be the worst I’ve seen this year, but the movie actually isn’t half bad. John Travolta has hit a bump in his career, and it seems the big blockbuster projects just don’t seem to want to reach out to him. Sure, he has a habit of going over the top in roles, but for the most part he’s still one of the few personalities I still enjoy seeing on the screen who’s been around since before I was a kid. Then you’ve got Chuck Russell (Nightmare on Elm Street: The Dream Warriors and The Blob remake) dusting off his director’s chair to helm a film again, and, well, I Am Wrath quickly starts to become a film I can be excited about.
I Am Wrath makes a very conscious decision to open the film with images of violent acts caught on security cameras. Lately you can’t even watch the news without hearing about a shooting or some sort of violent attack that has been caught on film. Though it’s an effective way to start the film, the problem is it doesn’t really tie into the rest of the film except to point out from the beginning that there is a lot of violence occurring in the world. So if you were worried or hoping for some sort of social commentary, well, that isn’t here. Instead what we’ve got here is a by the numbers revenge film. It’s nothing to complain about, but if you were hoping for a story with a little more meat, sorry, but this comes up short in that department.
Posted in: Disc Reviews by Brent Lorentson on July 29th, 2016
It seems there have been a lot of horror films involving dinner parties that have gone wrong. You’re Next may be the best example to take on this idea, and I have to admit to being a fan of the film. It was a fun hipster horror film that kept the story moving forward and delivered more than a fair share of violence and gore. Then there was last year’s creepy gem The Gift, a film that captured the horror of the past coming back to haunt you. When it comes to The Invitation, it’s a film that seems like a hodgepodge of both You’re Next and The Gift, but also a handful of other films. It’s a film that feels so familiar, but as you watch it manages to avoid many of the stereotypical film tropes viewers have grown used to over the years. The trouble is, although it may lift material from several horror films, I have a hard time considering this a horror film or even a thriller; instead at times I feel this is an execution of tedium that teases horror but never quite delivers.
The film starts off ominous enough with Will (Logan Marshall-Green) accidently hitting a coyote while on his way to a dinner party. It’s a sad and semi-violent scene; you may be thinking that perhaps this is a red herring for what is to come, or as the filmmakers would have you believe that it’s a simple glimpse into Will’s life. Instead I found the scene bothersome, simply because I don’t believe this character would continue on, to go to a party he doesn’t want to be at, when there is already so much emotional baggage awaiting him.
Posted in: Disc Reviews by Brent Lorentson on July 27th, 2016
If there was a show I could recommend to someone who is looking for a smart thriller that doesn’t talk down to its audience, I couldn’t point to Person of Interest fast enough. It’s a show that may be labeled sci-fi for some, yet its science and technology may not be so far off. The idea of our government or private agencies using security cameras or our phones to monitor us is no longer just a rumor muttered around in circles of conspiracy theorists, but is quickly becoming a reality of day-to-day life. I kind of saw the show as a riff on the Batman story, subtract the cape and cowl and exchange it for a suit, then throw in a dash of George Orwell’s 1984, and you can see where the show got its start. For those who have never seen the show, you are doing yourself a great disservice by not watching the show, and to step in during its fifth and final season, I believe it’s safe to say you’d be more than a little lost. So what does creator Jonathan Nolan have to offer us in these final 13 episodes? To get straight to the point, this might be one of the best final seasons for a show (at least since Justified) that I can recall seeing.
When we last saw John Reese (Jim Caviezel) and Harold Finch (Michael Emerson), they were struggling to compress and protect The Machine that they were able to code into a briefcase and onto several drives. All this is while Samaritan has become fully functional as an artificially intelligent program that seems to be able to track anyone, anywhere with the aid of a secret government task force. Not only does our team have to go underground, but now they are constantly in danger with targets on their back; their only protection is their manufactured identities The Machine created for them. (Still with me?)
Posted in: Disc Reviews by Brent Lorentson on July 15th, 2016
Ever since writer/director Jeremy Saulnier came out with his gripping revenge film Blue Ruin, fans have been patiently waiting to see what he’d do next. If you have not had the chance to see Blue Ruin and you are a fan of the revenge genre, it’s a film that is certainly a must see and is one of the few films that lives up to the hype that surrounds it. The problem with doing such a strong and powerful film so early in your career is that expectations seem to just skyrocket, and it seems there is just no way you can make everyone happy. As a fan first and critic second, I know I’ve been guilty of doing this in the past, and it’s almost impossible to not get excited, and at the screening for this film, I know I was not the only one with high expectations.
On top of the high expectations, the group I viewed the film with was restless after having the film delayed as well, so this only seems to be another strike against the film before it’s even had a chance to play. I mention all this for the simple reason that this film reminded me of the importance of shutting out all expectations and simply letting the film stand on its own merit. This is important because I feel Saulnier knew the expectations he had, and instead of playing it safe, he did something that very few filmmakers are willing to do anymore; he simply made a movie that is not just gripping and intense, but most importantly, it was fun.
Posted in: Disc Reviews by Brent Lorentson on July 12th, 2016
For the Gasparilla International Film Festival, to nab the latest film from writer/director Richard Linklater is kind of a big deal. GIFF was the second festival to show Everybody Wants Some after its debut at the acclaimed South by Southwest festival. With the film being lauded as a spiritual sequel to Linklater’s cult hit Dazed and Confused, I had to admit I was a bit skeptical about this film and its ability to even match up to its predecessor, after all it was the indie darling that helped launched the careers of Matthew McConaughey, Ben Affleck, Milla Jovovich, and many others. This ensemble of talented up-and-comers managed to capture this cinematic lightning in a bottle about high school, that for me is a film I manage to watch at least once a year when I come across someone who hasn’t yet seen the film. So how does the film hold up in the face of such expectations? For me this isn’t just a fun film, but I’m taking a stand and calling this the best party film to date (and yes, I’m daring to say it’s better than Animal House).
It’s time to take a trip back to 1980, a time before social media was ever a thing, and when cars came with tape decks filled with cassettes and people who had record collections were not hit with being called hipsters. The star of this film for me is the music that is beautifully strung through the film, whether we’re listening to Van Halen, Sugar Hill Gang, or The Knack, what we have is a great assortment of music to set the tone of the film, and we get a musical bag of ear candy to indulge.
Posted in: Disc Reviews by Brent Lorentson on July 5th, 2016
We’ve all heard and seen the story before; a family loses a loved one and consumed with grief they meddle with unknown forces to see their loved ones again. The Monkey’s Paw is one of my favorite stories that cover the topic. I’m sure everyone at some point had to read this short story in school. Having read the story and seen the numerous films that have covered the topic, you’d think by now people would have learned to not mess with forces they don’t understand. The Other Side of the Door is the new paranormal horror film to cover the subject, and it seems people still just haven’t learned. Is the film worth taking a look to see what lies beyond the door, or is this one better left alone?
After taking a trip to India, Maria (Sarah Wayne Callies) and Michael (Jeremy Sisto) love the country so much that they decide to move and raise a family there. The family seems to be doing well; they eventually have a son, Oliver (Logan Creran) and a daughter Lucy (Sofia Rosinsky). Everything seems to be great till there is a tragic car accident where Maria is faced with losing Oliver after being unable to free him from the car as it becomes submerged in a river. Of course grief and guilt overwhelm her, and with good intentions a maid at their home refers Maria to a temple where she can perform a ritual and say a proper goodbye to her son. Only there is a rule: don’t open the door no matter what you hear. Well, we wouldn’t have much of a movie if she’d followed the rules. Besides, in these films the characters do nothing but make terrible decisions while we look on from the comfort of our seat shaking our heads about their foolish choices.
Posted in: No Huddle Reviews by Brent Lorentson on July 5th, 2016
With the summer in full swing it’s time dust off those swimsuits and enjoy getting some sun with friends and family. For those of you who want to avoid the bugs and heat, well, you can always crank up the AC and enjoy a film or two. But if you’re staying inside with your Corona or whatever your drink of choice is, you’ll be sadly missing out on all the bikini-clad babes who will be lying out by the pool or beaches. No need to fret, because I think I have just about the next best thing, All American Bikini Car Wash. Sure, go ahead, roll your eyes and think I’m nuts, but if you’re looking for a fun little movie to watch alone, or with friends while throwing back some drinks, this is the film for you. And even better, this is a film you don’t have to feel weird about or hide from your girlfriend while watching, because it actually has a charming little story to go along with it.
Jack (Jack Cullison) is your average college guy who’s been enjoying the college life too much, and as a result he’s lost his job and is failing his business class. To make ends meet he’s having his friends stay at the house with him and having them pay rent, though his father believes Jack is doing nothing more than making the home a frat house. As a favor to Jack’s father Professor Dugan (Tom McLaren) Jack runs his carwash as a way to make extra credit and get some business experience as well. But what does Jack know about running a car wash? It’s Vex (Jason Lockhart), the less business-savvy and sex-crazed friend crashing at the house who comes up with the plan to utilize their beautiful friends to strap on bikinis and wash the cars.
