Brent Lorentson

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?
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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?
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When it comes to movies that come from the The Asylum film company, you need to go into the film with the bar set pretty low. When I say low, a Troma film is nearly high art by comparison.  By some miracle their film Sharknado has found an audience, but for all the wrong reasons.  I can appreciate a cheesy B monster film; even a no-budget horror or action film can hold my interest. All I ask for is a decent story and I can forgive a film’s low budget or amateurish quality. But sometimes a movie comes along that is so bad it’s hard to find its redeeming qualities. D-Day: Battle of Omaha Beach is that film, and I can say with certainty that this is the worst film that I’ve seen this year.  It’s one thing to be a bad film, but what bothered me most about this film is how shameless it is about simply making a buck off of the lives of soldiers who actually fought in WWII.  You don’t need the budget of Saving Private Ryan to tell a good story about the war; all you need is a good story, a decent script, and some creativity, and you can make a good film.
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Blumhouse Productions has been the go-to company when it comes to horror and suspense films being marketed for the more mainstream audiences. The Purge films, Happy Death Day, and most recently Halloween (2018) have been some of their successful releases, though they’ve had several other films that didn’t fare so well that you can catch on Netflix. Now there is Prey. I knew going in this would be a Blumhouse film; I just wasn’t sure if I’d be watching a potential genre gem, or if it would be a dud.  As it turns out, it’s somewhere in between, and I’m a little surprised that there seems to be little to no marketing campaign for this one. The film starts off innocently enough with Toby (Logan Miller) at home and on his cell phone. While Toby is immersed in his social media, outside his father is being attacked by a couple of robbers and is killed. This sequence is a bit of a bummer; it’s lacking anything that resembles tension, and while it’s attempting to insert this message about today’s youth being disconnected from the real world, it just falls flat. We don’t get to see Toby deal with loss or guilt, instead the film has us follow Toby as he in enrolled in a “Lost and Found” program that has people spending three days and three nights alone on a tropical island. It seems like it would almost be paradise, but all they are left with is a backpack filled with some supplies, and in case of emergency, you get a flare.  OK, I was in scouts for 12 years, and there was never a time where they would just abandon us for three days. On our own and with our troop we had extensive wilderness survival training, so to see this was not only reckless but unbelievable.
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The folks over at Shout have done it again, finding a forgotten title and polishing it up for a nice Blu-ray under their Scream Factory release.  This time they have pulled out the 1998 western/horror mash-up that is John Carpenter’s Vampires.  It only seems fitting that a John Carpenter film gets covered for the 31 Nights of Terror, though this is definitely a title not many would expect to hear about.  When I say this film wouldn’t even crack my top five Carpenter films, it may at first seem like a jab, but you’ve got to remember John Carpenter has one of the most impressive bodies of work, not just for a horror director, but for a director, period.  Big Trouble in Little China, The Fog, The Thing,  They Live, The Assault on Precinct 13, In The Mouth of Madness, oh, and then there was that little film everyone forgets about, Halloween…and seriously, there are numerous other films I didn’t even mention.  I love the filmography Carpenter has given us, but I’m still hoping he’ll release at least one more classic before he hangs up his directing duties for good.
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