Posted in: Disc Reviews by Michael Durr on August 3rd, 2011
Dave “The Animal” Bautista has had a fairly interesting life. Most people know him for his wrestling accolades even though his career only lasted about ten years. It is hard to believe that at one time, he was passed on by WCW and said he would never make it in the wrestling business. He would go on to be the six-time World Champion and a four-time Tag Team champion as a part of WWE. However, he departed with the company in 2010 to pursue other avenues including an acting career which made its way to my review door. Let’s explore: House of the Rising Sun.
Ray (played by Dave Bautista) takes a long drag on his cigarette. Sometimes he is not sure how his life got to be like this. He used to be a Vice cop who ended up getting jailed for being on the take. Now, trying to live a normal decent life he takes on a job as head of security for a strip joint called “House of the Rising Sun”. Unfortunately, Ray looks the other way a lot here too since this joint also runs prostitution and illegal gambling.
Posted in: Disc Reviews by M. W. Phillips on July 25th, 2011
“Give me a head with hair, long beautiful hair, shining gleaming steaming flaxen waxen. Give me it down to there, hair, shoulder length or longer, here, baby, there, mamma, everywhere, daddy, daddy hair! Flow it, show it, long as God can grow it, my hair!”
Born in the late 50s, I was a child of 60s and a teen in the 70s. I believed in the revolution. The Beatles and The Stones would lead the charge against the establishment. I grew my hair to mid back, stayed perpetually high, experimented sexually and washed infrequently. I used my selective service draft card to clean the seeds out of my pot. I was hippy and Hair was our manifesto. Now, I speak of the cult Broadway musical, Hair. The songs were prophecy of the future when the flower power movement finally conquered the squares. The lockstep Nixon youth, Wall Street plutocrats and pickled religious zealots would fall under the spell of free thinking and free love. Jupiter aligned with Mars. Peace would guide the planet and love would steer the stars. It was the dawning Age of Aquarius, man.
Posted in: Disc Reviews by Gino Sassani on July 14th, 2011
"The Dead should never be woken."
Of course, we've learned that lesson countless times before. Stephen King might have been our best teacher with his chilling book Pet Sematary along with its not-as-successful films. Who can ever forget Fred Gwynne, beloved Herman Munster himself, uttering the line: "Sometimes dead is better"? We soon learn that while you might be able to return the dead from their graves, what comes back is usually not quite right somehow. In the end, instead of bringing life to the dead, these journeys usually bring a lot of dead to the living.
Posted in: Disc Reviews by Archive Authors on July 6th, 2011
Happythankyoumoreplease is centered on a group of twenty something New Yorkers at various levels of transition: love, career, and growing up. The film is written, directed, and also stars Josh Radnor (How I Met Your Mother). Radnor’s directorial debut showcases a colorful side of New York and a variety of colorful characters. The group of young actors all put together solid performances which is essential for an ensemble cast. This is another festival friendly film with a solid group of actors that is definitely worth a look.
All too frequently independent films are stymied by previous failures and clichés. It’s refreshing when a film utilizes prior missteps to shape its story. The multiple narrative is difficult to pull off if the characters are flat. The integral part is that the characters need to be interesting. I found myself drawn to Sam Wexler (Josh Radnor) he’s an aspiring writer that finds himself taking care of a foster child. Sam is the lead of the ensemble cast as well as the character experiences the most development. Radnor’s performance is more than just a guffaw or two. He actually demonstrates some range with his ability to show compassion as well as have some comedic timing. He is undeniably charismatic and had some chemistry with Mississippi (Kate Mara). I found Annie (Malin Akerman) to be the weakest of the cast. Throughout the film, I found myself having to get through her scenes to the more interesting storylines. Most people would chalk that disinterest up to writing. However, I feel like good actors will command the viewer’s attention whenever they are on camera and she just does not do it. As an up and coming actress, she just needs to be better.
Posted in: Disc Reviews by Gino Sassani on June 10th, 2011
"My father said the army makes all men one, but you never know which one."
There have been a lot of movies about Vietnam over the years. Some are quite political, while others try to capture the sheer horror of war...any war. It's been long enough now that there are even lighter works about the conflict. But this might just be the smartest film about the war ever made, because it never actually goes to Vietnam.
Posted in: Disc Reviews by Archive Authors on May 25th, 2011
I’m kicking myself. Martin Scorcese’s The Color of Money has long been a favorite of mine, but for some reason I never knew it was a sequel to The Hustler, a film 25 years older and three times better.
Starring a young Paul Newman (Road to Perdition) in a role that earned him his second Oscar nomination, The Hustler is about a cocky pool player hustling his way to the top. When “Fast Eddie” Felson (Newman) challenges undefeated straight-pool champ Minnesota Fats (Jackie Gleason,…Requiem for a Heavyweight) to a high stakes game, the talented young hustler shows he has the skills to be the best, but self-destructs toward the end of the 25-hour marathon match. Left near-penniless and without the managing partner who helped him get started in the seedy world of pool hustling, Eddie faces an uphill struggle to regain his confidence. Shacking up with smart, attractive and similarly self-destructive Sarah (Piper Laurie, Carrie) proves to be a decent diversion while Eddie wallows in misery, but while he uses her as a crutch, he becomes the cause of her destruction when he agrees to play for Bert Gordon (George C. Scott, Patton), a ruthless, greedy manager, and brings her along when they hit the road.
Posted in: Disc Reviews by Michael Durr on January 11th, 2011
Musically, I've been told before that I'm not that broad. I primarily like my hard rock and it doesn’t matter whether it is a flashy piece from the 80's or a grungy alternative piece from the 90's. But there is something that a lot of the music I listen to has in common with each other. A great guitar track. From the brilliance of an Andy Timmons to the soothing energetic sound of a Tom Cochrane. It is only fitting that a blu-ray capturing the guitar god simply known as Jeff Beck graces my door step. Furthermore, he is having a party honoring the late Les Paul. This ought to be a treat.
There is a concert inside the Iridium Jazz Club in New York City tonight. Let’s see who is playing. Well, there is Darrel Higham on guitar and vocals. He’s been a lead guitar with rockabilly bands since the late 80’s. Then there is Darrel’s wife: Imelda May, a fairly established Irish singer who has sang with many greats and loved the world over. Then there is Al Gare on bass who has often played with the husband and wife combination.
Posted in: Disc Reviews by William O'Donnell on December 12th, 2010
Bryce and Juli first meet in the second grade. Juli is convinced that Bryce is walking around with her first kiss, while Bryce is not returning any sense of being similarly infatuated with Juli. As the years pass by, Bryce manages to keep her at bay, until things “flip” (as it were) and it is Juli who may be veering away from Bryce.
This will-they won't-they (probably will) romance is told by trading the point-of-view and narrator between Bryce and Juli. This tactic makes the story more interesting to take in, despite the potential tedium of having the entire story essentially being told twice. The audience is privy to the continuous compare and contrast happening between Bryce and Juli's thoughts and feelings and so we get a more immediate understand of who they are, and what they are motivated by.
Posted in: Disc Reviews by Archive Authors on November 1st, 2010
WELCOME! TO THE MOULIN ROUGE! *tips her purple satin top hat with an amethyst topped cane* Come in, come in! Take off your cloaks and have a drink of Absinthe! So many lonely women here tonight that need a partner... to dance with of course! Hope you brought lots of cash, your dancing shows, and perhaps a nice big diamond for one of our infamous Diamond Dogs! What's that? Oh! Yes of course! I know, you came to see a show, and of course to see our lovely Satine! Well take a look see, here she comes! *cues "Diamonds Are A Girl's Best Friend" and the curtains pull open!*
The year is 1899, meet Christian (Ewan McGregor)a young, handsome, man who intends to be a writer. He moves from England to the Montmartre district in France to write about love. One problem, he has never been in love before, so how can he write about something he has never experienced? -crash!- A man falls through the ceiling of his room (Jacek Koman) and Henri de Toulouse-Lautrec (John Leguizamo) comes in through the door. A few heads pop around the hole in the floor, and they are discussing what to do about their narcoleptic friend who can't stay awake during the rehearsal for a play they are working on. Oh how they need a replacement, but where oh where are they going to find one? Christian is upstairs rehearsing with the group, and he comes up with some lines that blow their minds. They talk about introducing him to Satine, but decide that will wait till after they have some Absinthe!
Posted in: Disc Reviews by Gino Sassani on September 22nd, 2010
In 1993, three of the most influential executives in the entertainment industry decided to pool their talent, resources, and connections into the power company called Dreamworks. It was Steven Spielberg, Jeffrey Katzenberg, and music mogul David Geffen who formed the studio, at first to contribute to other films in production by other studios. It's no surprise that the studio's first impact was in contributing special effects. In 1997, the studio decided to begin creating their own brand of films. The first of those efforts was the Nicole Kidman/George Clooney post-Cold-War thriller, The Peacemaker.
In many ways the film itself became a victim of the milestone that it represented. It wouldn't be long before Dreamworks would start to live up to those expectations and in a huge way. But in 1997, films like Shrek, Gladiator, and Saving Private Ryan were still a couple of years away. So all of the massive expectations that came with such a powerhouse venture fell on The Peacemaker. And those expectations fell hard. The movie cost over $50 million to make and pulled in only $41 million in its domestic box office run. A mere speed bump in the upwardly mobile future of Dreamworks; a disaster for a film that deserved more attention for its own merits.
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