Posted in: Disc Reviews by Jeremy Butler on January 21st, 2022
“A great man doesn’t seek to lead, he’s called to it. But if your answer is no, you’ll still be the only thing I need you to be. My son.”
Given that this was most likely the most anticipated movie of 2020, I must say that I expected much more from it. Especially given the who’s who list of Hollywood stars who were brought together for this production. Names like Timothee Chalamet, Zendaya, Jason Momoa, Oscar Isaac, Rebecca Ferguson, Josh Brolin, and the list goes on. I suppose another thing that somewhat worked against the film was the long wait, as this was a movie that was slated for a year earlier, and then the pandemic complicated that, so anticipation for this film was high. Not to mention that this is a reboot of a beloved series that has already been adapted and garnered a large cult following. It is also my understanding that previous adaptation had the benefit of having the creator of the franchise on set to help guide it. That sounds like a recipe for success, if you ask me. Here we have the re-imagining of an idea with a very loyal fan base, which is always a dangerous undertaking. However, Denis Villeneuve’s proven resume with thrillers such as Prisoners and Sicario, as well as his work in the science fiction genre with Arrival and Blade Runner 2049 (which also was based on another classic film) suggested that he was uniquely up for the task of taking on a film such as this. While I did enjoy what Villeneuve created visually, my big issue was with the story, specifically, the fact that it was clearly incomplete.
Posted in: Disc Reviews by Brent Lorentson on December 24th, 2021
In 1999 when The Sopranos first premiered on HBO, I don’t think anyone was expecting just how much it would change the television landscape. In its run it made cable TV a main contender for the Emmys, but it also changed the way we see TV, as it took the gangster movie dynamic and stretched it out into a series that ran successfully for 86 episodes. Then there was the way the series came to a close that has had fans and critics talking nearly 15 years after it last aired. It’s the show that raised the bar for what television can be and has been the standard since which only a handful of shows have been able to match in quality. Personally (and I know this is a controversial take), I’m only a fan of the first three seasons, but even a bad episode of The Sopranos is better than most television shows out there. There was talk for a while about spin-off shows and possible movies. This kind of talk would of course get fans excited, but the question always was, where can you go with the story? Then in 2013 when James Gandolfini died, it seemed like any possible revival was squashed.
Whenever I hear about a show or film wanting to do a prequel, I immediately think of what happened with the prequel trilogy with Star Wars. We all got excited; it was Lucas in full control, and he’d be telling us the story of how Vader became the big bad Sith in the galaxy far, far away. How did that work out for us fans? Now, granted, a film talking about how Tony Soprano became the gangster he would evolve to be is a very tempting idea. Then when you see how much his son Michael Gandolfini looks like his dad, man, it seems like a sure thing. Sometimes things should be left alone. Heck, we all expected the spin-off film El Comino following Jesse from Breaking Bad would be good, and how did that turn out? How about that Entourage film? I mean, there are so many examples that should have prepared us for this, but we all just wanted to believe that David Chase could surprise us all and deliver us just one more serving of the crime family we all love. The problem is he teased us all with the promise of one story, and instead he threw in so much more that no one wanted or cared about that he practically pissed all over a sure hit in the process.
Posted in: Disc Reviews by Gino Sassani on December 23rd, 2021
"80 billion light years of hive knowledge across universes would explode your tiny little brain."
Sony released two films from their corner of the Marvel universe in 2021. On October 1st we got Venom: Let There Be Carnage. October was a good spot for the film that taps into the horror film vein as much as it does the comic book superhero world. The first film did pretty well, and Sony really wants to expand their little corner of Marvel. The film did quite well in this post-COVID reality and pulled in $500 million in 11 weeks. That was impressive, to be sure. Spider-Man No Way Home was the other Sony/Marvel film. It had the unfortunate timing of releasing just as the Omicron variant of the virus hit, and as some states are going back to various restrictions there was some question if audiences would venture out into the cinemas in enough numbers to give the film any kind of return at all. After all, we've seen big-budget films fall to the wayside enough to understand this is risky business. That question has been answered. Yes, Let There Be Carnage pulled in a great haul in these uncertain times, but Spider-Man just pulled in more in three days than Carnage pulled in over 11 weeks. People are coming back to the cinemas, and is it any wonder at all that Sony is trying to position themselves to cash in on that trend with more than their cooperative films featuring everyone's Friendly Neighborhood webslinger? As far as live-action films go, the Venom series appears their best chance to do just that.
Posted in: Disc Reviews by Jeremy Butler on December 22nd, 2021
“As long as we are looking over our shoulder, the past is not dead.”
When it comes to Daniel Craig’s Bond movies, I’ve found them to be hit-or-miss. There are those I love, such as Casino Royale and Skyfall, and then there are those that I wasn’t that into, such as Quantum of Solace and Spectre. However, when it comes to No Time to Die, there is no question that it is my favorite of all the Craig-led Bond movies. Maybe it was how long I’ve been waiting to experience it given that the onset of COVID resulted in the film’s release being delayed multiple times, so by the time it was finally here, I could barely contain my excitement. However, I think it is more likely that the reason is the knowledge that this will be Craig’s final portrayal as the suave secret agent with a penchant for shaken martinis. Either way, Craig’s swan-song film was without question great, despite certain elements not delivering on the hype. Craig leaves the franchise with is head held high, as I cannot imagine a more dignified exit for his portrayal.
Posted in: Disc Reviews by Jeremy Butler on November 25th, 2021
This was actually the first movie I ever saw on a date. Nearly twenty years ago. The most interesting thing being that I can tell all sorts of things about that experience, but for the life of me, I can’t tell you a thing about the movie. Prior to re-watching it, that is, and having done so, I now understand why it faded from memory, because it isn’t a movie that really makes a lasting impression. This is surprising given that the film is credited as the first photorealistic computer animated film, as well the most expensive video-game inspired film up until 2010. The thing is, it’s a film that if you ask me, never really should have been. The story is not compelling, and it does not accurately depict the source material by which it was inspired. They share the same name, but none of the characters or the plot of the film originated from the video game franchise. Talk about a bait and switch.
I will preface this by saying that I am not an authority on the popular video game franchise. However, based on my own experience, when you think of Final Fantasy, you think about Cloud Strife, the blonde warrior carrying a sword with a blade the size of a tree trunk. Or at least I do. In contrast to characters established in canon and the video game series, the film follows Dr. Aki Ross, a woman attempting to gather eight spirits in order to invigorate the Earth’s Gaia Spirit following a alien invasion. Lost yet? Don’t worry, you are not alone. I don’t know where they pulled this story line from, but it did not play well with me, as for me, it in no way represented what the game series was about, which explains why I purged it from memory.
Posted in: Disc Reviews by Brent Lorentson on November 17th, 2021
From Bride of Frankenstein to Night of the Living Dead and even Godzilla, horror has been a platform filmmakers have used for decades to handle larger societal issues. In 1992 when the first Candyman released, it was a film that tackled issues of class and race, but it did so in a manner that didn’t feel forced, and in doing so it added an extra level to what I’d consider one of the best horror films of the 90’s. I love the story of Candyman, and the performance Tony Todd gave this tragic character was an equal blend of horror, menace, and sympathy. The way the first film builds its impending doom for Helen Lyle has rarely been matched in films since. Watching as her life crumbles around her up until the moment she finally surrenders herself to Candyman and accepts her awful fate is an impactful moment. The sequels just never lived up to the first film, and it’s a shame, because I simply loved the idea of this modern urban legend that haunted the projects of black America. Candyman and the tragedy of Daniel Robitaille deserves better. As much as I love Friday the 13th and several other franchises in the horror genre, Candyman has always been the character ripe with so much untapped potential that I’m surprised it’s taken this long to get the reboot/sequel it rightfully deserves. Though the moment I saw that Jordan Peele was involved, I started to worry.
I’m being upfront and saying I just don’t like Jordan Peele when it comes to horror. It’s like when Michael Bay started up his horror company and churned out The Texas Chainsaw Massacre. Horror just isn’t for everyone to dip their toes into, and I don’t care about what awards films may get or what box office it may gross; I’m not going to cave to the bandwagon. That being said, I’m more than willing to give a film a chance if the trailer can hook me or if I care about the property, so with Candyman this was one I was on the fence with. I was ecstatic about seeing this character back on the screen, but I was still cautious, because it was being helmed by Nia DaCosta, a director with no experience in the horror genre. As it would turn out, she’s a director who shows plenty of talent and promise, but can’t build a moment of tension even with all the tricks and tools of the industry at her disposal.
Posted in: Disc Reviews by Jeremy Butler on November 9th, 2021
"You're going on a journey. A journey through memory. Your destination? A place and time you've been before. To reach it, all you have to do is follow my voice."
So, an interesting factoid that I learned about the film’s director Lisa Joy: she is the sister-in-law of director Christopher Nolan. This doesn’t really add anything to the review, just an interesting fact that I thought I’d share. Then again, I do remember thinking when the film first opened up that it felt very shades-of-Nolan. Not to say that Nolan had any influence over the film, but just the idea of a movie based off a construct is very much in his wheelhouse. Memory is the construct that is explored in this film, and I must admit that the addictive nature with which the film portrays this construct did have some appeal; however, the film tries to bring too many different themes and elements together, and it results in not enough attention being paid to any of them. Hugh Jackman and Rebecca Ferguson are the film’s big draws, and while their electricity helps to make the film decent, it cannot make it great.
Posted in: Disc Reviews by Jeremy Butler on November 5th, 2021
Well, this is an interesting plot twist. From antagonist to protagonist. When we last saw Gulf War veteran Norman Nordstrom, he was recovering in the hospital from a gunshot wound, having just spent the previous night protecting his home against intruders. Before you start painting him with a hero brush, it's worth mentioning that Norman isn’t exactly squeaky clean, given that he was holding a woman hostage after artificially inseminating her to provide with a child to replace the one that said woman accidently killed. It’s also worth mentioning that he also attempted to impregnate one of the home invaders following the inadvertent death of the woman carrying his child. The first Don’t Breathe was an interesting and unique horror thriller film that premiered at South by Southwest festival back in 2016 before going on to become a theatrical commercial success.
Hence the need for a sequel. Initially, I had a great deal of reservation about continuing the story, as I figured it was like trying to get lightning to strike the same place twice. Which it did. That said, I was intrigued to see the character to take on more of an anti-hero role, as he wasn’t technically a villain in the previous film, making this transition easy to accept and believable. Don’t get me wrong, he did some depraved things, but these were clearly the acts of a man driven deranged by grief. I’m not saying that he is deserving of redemption; I mean, between this film and last one, he chalked up a body count. And without question, he is somewhat self-serving, especially since his relationship with Phoenix is all about filling a hole left in his life following the death of his daughter. However, he does manage to show great protective instincts and a willingness to put his own life on the line to save an innocent, so he isn’t exactly a monster, either, despite what the character may believe about himself.
Posted in: Disc Reviews by Brent Lorentson on October 29th, 2021
It doesn’t seem all that long ago that Disney/ Marvel decided to fire James Gunn over a couple of tweets and Warner Brothers decided to scoop up the talented director to helm a reboot of The Suicide Squad. Personally, I feel this was the best move WB has done with their DC film projects since the Christopher Nolan Batman films. I’ll come out and say it; I haven’t been a fan of the DC cinematic universe. Wonder Woman and Shazam were decent, but they simply don’t hold up to what Marvel has been able to produce. While I’m fine with attempting to tell more mature storylines and appeal to an older audience, my biggest problem with the DC films is that they just weren’t fun. (Shazam is perhaps the only exception to this.) I’m not part of the “Release the Snyder cut” crowd; instead I just want to see a comic book film that can be entertaining and not take itself too seriously, and that brings me back to James Gunn. I’m a fan of Gunn. I absolutely adore what he’s done with The Guardians of the Galaxy. Those are both in my top five of the Marvel films, because I love how he handles the group of misfit heroes. I even like Gunn’s earlier work, like Super and especially Slither; his cinematic story of coming out of Troma I view as one of the best underdog stories in Hollywood and how he’s become an A-list director. The moment he signed on for The Suicide Squad, I was excited; in my mind I felt this was what WB/DC and movie fans in general needed. Giving Gunn the freedom to make the film he wanted to make could seem like a risk, but I think Gunn had something to prove after being released by Disney, and the result is cinematic bliss that is the injection of gory comic book mayhem that fans have been waiting for.
While this take on The Suicide Squad does have characters and actors returning in the same roles from the previous attempt at Suicide Squad by director David Ayer, do yourself a favor and just pretend that film doesn’t exist. Heck, I even reviewed the film just about five years ago to the day, and while the film does have some fun moments, it just doesn’t hold up after further viewings, though I’d still love to see a Joker and Harley Quinn date night movie, but that’s a whole other discussion.
Posted in: Disc Reviews by Jeremy Butler on October 29th, 2021
I really liked the film, but I don’t expect that it will be the savior that revitalizes the franchise. Without question it is the best of the three films that were adapted from the popular toy line, but even so I just didn’t find it compelling enough to serve as the launch point for a franchise reboot. I just don’t think it’s in the cards for G.I. Joe to become a movie powerhouse. Snake Eyes is without question one of the most popular characters from the television incarnation, and he was also the biggest draw for the film adaptation as well. Anticipation for a live-action telling of his origins has been in the works for years, with many hoping to see Ray Park, who played the character in the first two films (though we never see his face), reprise the role. However, much time passed between G.I. Joe Retaliation and this film, making that an impossibility. Stepping in to take over the role is Henry Golding, who you most likely recognize from Crazy Rich Asians, but who I recognize from The Gentlemen. The film is his first foray into the action film world, which was quite a risk for the film, but good thing for them, they got him some backup in the form of Andrew Koji, who we all should recognize from Cinemax’s (now to be reborn on HBO Max) Warrior.
When I heard about Henry Golding’s casting, I had some reservation. In my opinion, he had the look unquestionably, but discovering his lack of a fighting or action resume prior to this outing made me somewhat skeptical of his ability to give a convincing performance. However, after watching him, I give his performance a B plus; he was convincing, but there was room for improvement. Ironically, it wasn’t his fighting where the improvement was needed, as I found his skill on par with what you would expect. As previously stated, he is also surrounded by actors whose fighting resumes speak for themselves. Take Andrew Koji. Firstly, if you haven’t watched this man technical skill in the first two seasons of Warrior, you have no idea what you are missing, and I recommend that you correct this error immediately. Koji brings that same technical skill to this film, making his fight sequences without question my favorite, particularly in the fish market, where he takes on essentially an entire army all by himself, and is more than convincing doing so, especially when he gets his hands on two swords.
