Posted in: Disc Reviews by David Annandale on August 10th, 2010
Jody Balaban (Leelee Sobieski) is a newly minted film school grad who, heady with the success her student film has brought her (an award presented by Garry Marshall!), heads off to Hollywood to find fame and fortune. Instead, she finds doors shut to the newcomer, the closest she can get to a major studio job being a stint directing traffic. But then she is offered a job as an editor. The only problem is, the studio in question is a porn outfit. Her dismay is all the greater since she has been put off sex due to the enormous childhood traumas of having been spanked for asking what a blow job was, and not being able to kiss the boy she had a crush on while playing Spin the Bottle. She takes the job, though, her plan being to shoot her own dream film, a romantic comedy called “On the Virge” (ouch!) on the sly, using the company's resources at night. Romance, meanwhile, might bloom in her real life, as she finds herself working with porn-director-who-once-aspired-to-something-more-and-is-devastatingly-handsome Jeff Drake (Matt Davis).
Writer/director Julie Davis's film is, apparently, rather autobiographical, drawing on her own early experiences in the industry. One hopes that she has maintained a healthy artistic distance from her protagonist, because Jody is hard to like. Her naiveté approaches a diagnosable condition, and it is coupled with a prodigious sense of entitlement, artistic self-regard, and snobbery. Though we see her learn to see the porn stars she works with as people and friends, she is so off-putting that it is hard to care enough to be interested in her emotional education. As well, the film itself presents the porn stars as lovable idiots, and so its own point of view doesn't seem far removed from Jody's. Furthermore, the look of Finding Bliss is simply not that interesting, making it hard to believe that Jody and Jeff are themselves unsung cinematic geniuses. On the other hand, Kristen Johnston as the porn studio's upbeat executive is good fun, and brings some snap to every scene she's in. Overall, though, the piece is simply too smug for its own good.
Posted in: Disc Reviews by Michael Durr on August 10th, 2010
After watching plenty of terrible horror movies in my life, I start to wonder if this is easiest thing in Hollywood to produce. Work with a small budget, come up with a scare and hire some shapely actors to play the ones in peril. Oh, and make sure you have plenty of fake blood. Our example today is Open House, a recent horror movie directed by Andrew Paquin.
We open to a couple being shown a house by Carl (played by Gabriel Olds). During the showing, a stranger comes into the house and then hides in the basement. When Carl leaves, he has a strange feeling that somebody is there. However after looking in the basement and garage, he doesn’t find anything. EXCEPT DEATH. Okay, not really just we know what’s coming. We are soon introduced to Alice (played by Rachel Blanchard) who owns the house.
Posted in: Disc Reviews by Gino Sassani on August 9th, 2010
"There is a place, a mystical nexus, where this unholy relic can be destroyed. I only hope we can get there before Vellich."
When you think of Edward Douglas, you really do not think about him as a film director or writer. He's made a name for himself mostly in the music business. No, you aren't going to see his videos on MTV, and it's not likely that you'll find his name on the charts. He's become somewhat the poster child for specialized Halloween music. So, I guess it isn't that large a leap to find him writing and helming his first film, obviously a horror film. In case you're not familiar with his music or band, Midnight Syndicate, Douglas won't let you forget them in his first film. Their music and name can be found splattered, if you'll excuse the pun, all over The Dead Matter.
Posted in: Disc Reviews by Michael Durr on August 9th, 2010
A good thriller is something that has been absent from my recent viewing experience. One of my favorite thrillers of all time is a movie named Ninth Gate. This movie is directed by Roman Polanski. As luck would have it, Roman Polanski also directed the thriller I am bringing you today, The Ghost Writer. My fingers are crossed and I can only hope that this film is just as good.
When the movie opens, we learn that Ghost (real name never revealed) (played by Ewan McGregor) is made aware of a ghostwriting venture by his agent Rick Ricardelli (played by Jon Bernthal). It involves writing the memoirs of Adam Lang (played by Pierce Brosnan), the former British Prime Minister. Ghost also learns that his predecessor before him was unfortunately found dead, drowned aboard a local ferry.
Posted in: Disc Reviews by Gino Sassani on August 2nd, 2010
One of the most difficult types of films to pull off is the black comedy. By its very nature the film has to be somewhat morbid and exist in a world of the absurd. As much as I am often drawn to this kind of movie, I haven't found more than a handful that were able to pull it off. The black comedy usually involves someone's death, often by some bizarre means, and almost always in a world of moral ambiguity, where such things fail to affect the emotions or consciences of those involved. The death has to appear almost matter-of-fact. Probably the best example of a good black comedy is Michael Caine's A Shock To The System. Bad examples include the Weekend At Bernie's films. Now you can add The Job to one of the better examples of the genre.
Meet Bubba (Flueger). He's a typical down-on-his-luck kind of guy. He can't hold a job and has been in these dire straits for over a decade. He spends most of his time hanging out at the diner where his girlfriend Joy (Manning) works the counter. Usually all he can afford is a cup of coffee. He whiles away the time listening to Joy talk about her acting career. As a child she was in a popular show, but hasn't found a part since that time. It doesn't help that she possesses an exaggerated limp, dragging one of her legs as she walks. Apparently, it's a lifetime disability. When we see footage of her as a child on her series, the kid is dragging the same leg. Enter Jim (Perlman). He's dressed in an urban cowboy outfit and sits next to Bubba and asks what's good. Bubba recommends the trucker's special, which Jim quickly orders. But suddenly Jim doesn't feel so hungry and offers the food to the obviously very hungry Bubba. The two talk a spell, and eventually Bubba offers to let Jim park his car to sleep in at his spot next to his apartment. Feeling obliged for the favor, Jim offers him a sheet of paper given to him by a man he helped in Baltimore. The slip is for a job interview at someplace called Be Your Own Boss. Bubba figures “why not”, and goes to the office.
Posted in: Disc Reviews by Gino Sassani on August 2nd, 2010
Everybody is always looking to find a new angle or a fresh way of looking at the typical horror film. That is, when they're not trying to recycle/reboot/remake/reimagine something that's already been done, often more than once. Credit writer Glenn B Hopper III and director Neil H. Weiss for at least coming up with a new spin on some old ideas. The Hanged Man doesn't venture very far from its traditional horror roots, but it does offer you a little more thoughtful motivations and insights into its characters and situations. I have to admit that while I didn't exactly see the end coming, it wasn't a terrible surprise or shock either. These guys didn't exactly telegraph their punches. In fact you could say that they took the long way around to their conclusion ... maybe too long.
A group of depressed folks who have become chat room buddies meet on an isolated farm, once the homestead of one of them. They've come here to carry out a very simple plan. Life, for one reason or another, has gotten out of control for each of them. They've reached the conclusion, perhaps with the help of their leader Dwarfstar, that the only option left to them is to end it all. So they've gathered to kill themselves in this lonely place. Each of them arrives one at a time. They bring their real-life baggage with them, often in sharp contrast to the internet side of them, which is all they have, until now, known of each other. SoCo (Hatley) has a lot of aggression and is the most eager to get done with their business there. Miles (Jones) is a bit of a yuppie throwback in his pink Izod shirt and faux calmness. Flash (Gibson) is an urban cowboy full of booze and totin' a six-gun. He's as loud as his clothes. X-Factor (Hampton) is the quiet one. LT56 (Weissman) is a middle-aged loser who claims to be a rich stockbroker but arrives in a stolen Porsche. Finally, there is Spaceshot (Leigh) who grew up on this now abandoned farm. They are all waiting for Dwarfstar to arrive with his "magic potion" that will release them from their miserable lives.
Posted in: Disc Reviews by Michael Durr on August 1st, 2010
Since I get to review a lot of sitcoms, I tend to see the gambit of shows designed for only purpose. That purpose is for me to laugh. But there is another word in sitcom which can restrict how funny the comedy will be to a given person. Situational. The situation I present here involves a female sports columnist and her male friends. One can only wonder if this formula created by Betsy Thomas will be what I'm looking for.
P.J. Franklin (played by Jordana Spiro is a sports-writer for the Chicago Sun-Times and she works and lives with a whole lot of males. She rooms with a radio DJ named Brendan Dorff (played by Reid Scott). They have two close friends named Mike Callahan and Kenny Moritorri (played by Jamie Kaler and Michael Bunin) who run a sports memorabilia store. Mike and Kenny are also single and spend their times trying to get the ladies.
Posted in: Disc Reviews by Archive Authors on August 1st, 2010
Extraordinary Measures is a moving story about family and a father’s perseverance to find a cure for his children. John Crowley (Brendan Fraser) seeks out the help of an irritable medical researcher (Harrison Ford) whose theory cannot be fully developed without extensive funding. As the time ticks away, so does the probability of finding a cure. This film requires an emotional investment and audiences will be surprised at how invested they become.
Coming from emotionally charged source material, the filmmaker (Tom Vaughn) was given the difficult task of conveying personal emotion to a mass audience. Too often stories similar to this are made into low budget made for TV films which are downtrodden for their ineptitude. It is difficult for audiences to shed that stigma from the marketing of this film. However, on a positive note, Extraordinary Measures is executed quite well. The momentum of the film is driven from the story and less on aesthetics. The shot selection, editing and score of the film are all pedestrian at best. However, there is something to be said for a film that has an arbitrary execution and still manages to maintain the audience’s attention.
Posted in: Disc Reviews by Archive Authors on July 28th, 2010
Timer is an innovative concept. In the film, people can choose to be fitted with a timer which counts down until that person meets their soul mate. The timer will tell you precisely how long you will have to wait to find true love. Oona (Emma Caulfield) is in the rare situation of having a blank timer. Her soul mate has not had one implanted yet and the suspense is getting to her. Oona decides to go out of her comfort zone and begin dating a considerably younger man named Mikey (John Patrick Amedori). The only problem is that Mikey is not slated to meet his soul mate for another four months.
This film has a strong and imaginative concept. The writer/director Jac Schaeffer takes an ambitious approach at the romantic comedy genre and the result is a muddled film. The performances are mediocre and the characters are not fleshed out enough. I found myself struggling to identify with any of the characters. The concept needed to be further examined with more confrontation and a grittier approach. When attempting to make profound statements about our culture in the happy-go-lucky genre of romantic comedy it becomes difficult. By viewing this film as a critique of the popularization of internet matchmaking and dating, it asks the audience to enjoy more of the present and worry less of the future. The statement is sound, but the vision is never fully realized.
Posted in: Disc Reviews by David Annandale on July 28th, 2010
Woody Harrelson is Arthur Poppington, a child-like adult who fights crime by night in the guise of Defendor. His costume and weapons are DIY: a helmet that records his adventures on VHS, a duct tape “D” on his black turtleneck, a trench club, a slingshot, marbles, lime juice. He is obsessed with tracking down “Captain Industry,” a mythical figure whom he blames for the death of his drug-addicted mother. He runs afoul of corrupt cop Dooney (Elias Koteas at his scuzziest best), beating him and “rescuing” prostitute Kat (Kat Dennings), and the latter convinces him that the crime boss Dooney works for is, in fact, Captain Industry. Arthur sets out on his crusade, and the question is whether his naiveté will triumph, or get him killed.
A quirky, charming take on the super-hero genre, Defendor deftly mixes pathos and laughs. There is enormous fun in seeing Koteas taking one improbable beating after another, but there is also real sadness and drama in Arthur and Kat's stories. For all its “real world” patina, Defendor is ultimately no more realistic than The Dark Knight, but that in no way detracts from the deeply human, deeply moving, character-driven tale that unfolds. Quite the wonderful little movie.
