Posted in: Disc Reviews by Gino Sassani on March 3rd, 2020
"Over the next two days you little critters will get to experience some of the things that the mighty German army goes through every day, and even though it would appear our country's on the back foot and there really isn't much hope in us winning this war, apparently we're doing just fine."
The book Caging Skies was written in 2000 by Christine Leunens. The book became more the inspiration for the film JoJo Rabbit rather than the source material, as they are very different animals indeed. The book is a rather sober look at the indoctrination of a young generation of boys and girls in Hitler's infamous Hitler's Youth organization. It was pretty much like the Boy Scouts of America, except, you know, for young Nazis. When director Taika Waititi got his hands on the material, it became somewhat a dark or black comedy with entire concepts added to the storytelling that were not a part of the original novel. Waititi is pretty much known as a comic director who has managed to intertwine his particular sense of comedy with other genre films with relative success. A prime example, of course, is his foray into the Marvel Cinematic Universe with Thor: Ragnarok, which became one of the oddest entry in that film franchise. Expect more when we get to see his work again with that old God of Thunder when the next Thor installment Thor: Love And Thunder is released soon.
Posted in: Disc Reviews by Brent Lorentson on February 25th, 2020
You can argue that the teen slasher genre is mostly a cautionary tale about premarital sex and using drugs and alcohol. After all, a majority of the time the “final” girl was typically the “good girl”. In a lot of ways, the horror genre is basically a cautionary tale for the viewers, though many of us fans of the genre seem to take delight in seeing the bad decisions people make and the consequences that follow. Teeth and It Follows are a pair of my favorite cautionary-tale horror films that deal with sex and the consequences in a fun and unique way. Snatchers I was hoping would follow and be a welcome addition to these modern cult favorites, but for me, it didn’t quite stick the landing. Sara (Mary Nepi) is doing what she can to keep up with her popular friends in high school, which means she’s willing to do what she can to hold onto her jock boyfriend, Skyler (Austin Fryberger), even if it means losing her virginity with him. Unfortunately the consequences arrive swiftly as she discovers she is pregnant. Things only get worse when two days later Sara wakes up with a bulging pregnant belly and no one to turn to. Feeling as though she has no other option and no one to talk to, she reaches out to her former best friend, Haley (Gabrielle Elyse). The chemistry between Nepi and Elyse is a big factor as to why this film works, and this chemistry is what will keep many viewers engaged when normally they would have given up on the film.
I like campy, and I enjoy a bit of gore in my horror, so it’s no surprise that Snatchers was able to hold my interest. When Sara goes to have her pregnancy terminated and what follows is one of the more over-the-top alien reveals, I found myself hooked into this film. This subtle injection of social/moral commentary, whether intentional or not, does give the film a little more depth than expected, but unfortunately for me this is where the film peaks. Where it becomes more frustrating is when it makes the attempt to make sense of all that is happening. Is Skyler an alien? What happened on his trip to Mexico? These are questions that are certainly warranted, but rather than give us a detailed account, it simply would have sufficed that less of an answer would have been more. By the time the girls attempt to get answers, we’ve already seen the alien cause havoc in two locations, and when they do finally get answers, if anything it stalls the momentum the film has had building.
Posted in: Disc Reviews by Gino Sassani on February 21st, 2020
"This is a mental institution, Marshal. For the criminally insane. Usual isn't a big part of our day."
When I first saw Shutter Island ten years ago, I thought it was a good movie. I didn't think it was a great movie. Like many Martin Scorsese fans out there, I have developed certain expectations from his films. It isn't at all fair, but as I've said here many times, expectations are killers. I bathed too often in Scorsese's modern mob mythology that I think it took seeing The Irishman and being royally disappointed and then getting to see Shutter Island again thanks to this wonderful new steelbook 10th anniversary release on UHD Blu-ray in 4K. I also never thought Shutter Island could ever improve with age. It's got a wicked twist that occupies the final 40 minutes of the film, and no matter how good the performances might be, how could it possibly get better when you know what's coming? But again, I recall it being a good movie, so I welcomed the opportunity to revisit it after 10 years in 4K. Why not, right? I'm glad I did, and no matter how good you thought it was the first time, it's better the second time through. And I was absolutely wrong in my first evaluation. Shutter Island is not a good movie at all. It actually is a great film, and it's a shame that it's been relatively overlooked among Scorsese's films. And spoiler alert!!!!!!! The twist is even better when you know it's coming. (You thought I was going to spill some beans?)
Posted in: Disc Reviews by Jeremy Butler on February 20th, 2020
“We got twenty-one bridges in and out of Manhattan. Shut them down. Three rivers. Close them. Four tunnels. Block them. Stop every train and loop the subways. Then, we flood the island with blue.”
Chadwick Boseman looks to be trying to bring back the days of Dirty Harry in this film as a cop known to kill cop killers. 21 Bridges is an action-packed film where nothing is really what it seems. Also featuring Sienna Miller, Taylor Kitsch, J.K. Simmons, and Keith David, I have to admit that some of these cast members’ appearances were more like cameos, as the action primarily focused on Boseman as he attempted to hunt down his target by any means necessary. Sorry, I just always wanted to say that, but for the context of this movie it rings true, as from the quote above, you can see the extent he was willing to go to.
Posted in: Disc Reviews by Brent Lorentson on February 19th, 2020
It only took Warner Brothers five days to pull the plug on this series after it debuted the first episode on their streaming service. This was crushing news for fans who had been looking forward to the series that had seemed to be a promising adaptation of the comic material and bringing it to life. I was one of those fans. I’m a fan of Swamp Thing, even the cheesy Wes Craven film from back in the early 80’s to the short lived series in the early 90’s. It’s a character that has struggled to find life and longevity over the years, mostly because the finances and the technology were never really there to make it as good as it could be, but when James Wan came along with his lofty idea to bring this series to life and keep it true to the comics and keep it geared to adults, well, I had hope. Already the Warner Brothers/ DC Universe streaming service has delivered with their iterations of Titans and Doom Patrol, and if Swamp Thing was to follow in their footsteps, then this was going to be a show to get excited about. Now that I’ve seen Season 1 and all the plot threads that had been set up to extend the series for future seasons, all I can think is that the cancellation of this series is an undeserved gut punch to fans of the comic and those that will watch this first season, because it builds something that could have been so great but will not be brought to fruition.
Was the first episode “bad”? Could it be the reason for the shows swift demise? Not at all; in fact, when it comes to first episodes, this is an awesome fun ride that is helmed by Len Wiseman (Underworld). One of the first things that stood out about the show is how striking it looked, not in the sense of being bright and filled with color, but instead it’s with the muddy, foggy look of the swamp that instantly visually sets a tone for the show. The show was uniquely shot in Cinemascope (basically that means its width is about twice as wide as its height), so this helps in creating a sense of atmosphere and depth to the locations and just allows for this world to seem almost bigger than life. The opening sequence has us witness a trio of men on a boat suffer a vicious attack from what appears to be the plant life of the swamp that has come to life. My only slight complaint is that the blood looks too CGI, but with the exception of that gripe, I dug what the show had to offer right out the gate.
Posted in: Disc Reviews by Michael Durr on February 12th, 2020
A common thread in fairy tales and stories of long ago is for there to be a perfect female that is amazingly romanced by a not-so perfect male. In fact, he is usually average, clueless, and clumsy beyond belief. During the narrative, we realize that the female is only perfect on the outside and is somehow flawed on the inside. In the end, they live happily ever after. The story changes sometimes in details, genders, and other minor pieces of information, but is overall the same in theme. Today, we explore White Snake, which is a prequel to the Chinese fable, Legend of the White Snake. Let's take a look.
Feathers fall to the earth and sea; a giant snake slithers along the ground below. The reptile goes behind a rock, and out the other side comes a beautiful girl named Blanca. She starts to float and then chants magic words as she falls into white nothingness. Strings with hands reach out to grab her from all sides and she struggles to break free.
Posted in: Disc Reviews by Brent Lorentson on February 6th, 2020
I’ve gotten used to the cinematic disasters Bruce Willis has attached himself to over the past few years. I’ll admit, I was surprised to see him in Motherless Brooklyn, and after his impressive performance in Glass, I had hoped he was going to attempt to get himself in to some higher caliber films. Willis has stayed in shape, especially for an action icon who is getting up there in his years, and he still manages to have a presence when he appears on screen. Sure, I get that we can’t expect him to keep throwing himself out of exploding buildings and having elaborate fight scenes. In a perfect world, I’d love to see him be able to revisit the role of Joe Hallenbeck in a The Last Boy Scout sequel. Heck, while staying on the nostalgia train, I’d be on board with a Hudson Hawk sequel over some of these direct-to-video films he’s been doing. Getting back to Trauma Center, we have a new direct-to-video action film that features Willis attempting to save a young girl’s life who happened to be at the wrong place at the wrong time. Is the film worth checking out, or is it one you should simply pull the plug on and avoid?
Madison (Nicky Whelan) and her little sister, Emily (Catherine Davis) have relocated to Puerto Rico after their family has been struck with tragedy. Madison is struggling to do what she can to take care of her sister, but it’s been a bumpy road for the two of them. Emily also has asthma, which means in cinema terms, at any moment she can die if she’s overly excited. As it turns out, it’s an asthma attack that lands Emily in the hospital where she needs to stay the night so she can be monitored. While this family drama is going on, there are a pair of corrupt vice cops who are trying to locate a snitch who has evidence on him that could put the two away. This introduces Lt. Wakes (Willis), who is asked to check in on the informant and ends up discovering the dead body of the informant.
Posted in: Disc Reviews by Brent Lorentson on January 20th, 2020
Back in the 80’s and 90’s it was a glorious time for crazy, over-the-top action films. The names that most notably come to mind when I think of this time in action cinema are Don Simpson and Jerry Bruckheimer. They were the guys who knew how to make a popcorn action film: Beverly Hills Cop, Days of Thunder, Bad Boys, and many more. While Line of Duty isn’t quite in the same league of these films, it definitely has its roots in these films, and for a VOD action film, well, this film is all kinds of absurd fun. Director Steven C. Miller has had some duds over the span of his career, though I did enjoy his take on Silent Night, but Line of Duty shows that the man is capable of helming a white-knuckle action film if given a proper budget and script to work with. When it comes to Aaron Eckhart, I’m kind of surprised we don’t see him as the lead in more tent pole action films. Sure, many of us know him for his turn as Harvey Dent in The Dark Knight, but he’s a guy with so much untapped talent. It was nice to see it on display in this film. Frank Penny (Eckhart) is a disgraced cop who is responsible for getting a kid killed and is now stuck working as a beat cop. It doesn’t take long for the film to ramp up as Frank is caught up in a foot chase with a suspect involved with the kidnapping of the chief of police’s daughter. There is a lot of running in this opening act, and things go bad to worse for Penny when he’s put in a situation where he kills the only lead to finding the kidnapped daughter.
Miller does a good job at sucking us into Penny’s world and sympathizing with him, but the film unfortunately takes a miserable turn with the introduction of millennial, social media reporter Ava (Courtney Eaton). Maybe I’m showing my age, but geez, was I annoyed by the introduction of this character. Even worse is the character Clover who runs the site Ava reports for. I know it’s only January, but I’m quite certain the character Clover will be the worst character of the year, from her actions and dialog in the film, she’s basically the millennial character everyone rolls their eyes in annoyance over.
Posted in: Disc Reviews by Brent Lorentson on January 15th, 2020
This is yet another war film that is “based on true events”. Considering how long troops have been over in Afghanistan, it’s no surprise how many films seem to be coming out about the subject. I’ll admit going into this film I didn’t exactly have high hopes, but I’m pleased to say not only did the film not disappoint; I found myself actually enjoying it. Granted this is no 1917, but it’s definitely better than the dumpster fire film that I reviewed about a month ago called D-Day. The Kill Team follows new recruit Andrew Briggman (Nat Wolff), who is wide-eyed and ready to see combat, but once he is confronted with the very human side of the war that the troops are facing, well, his conscience begins to weigh him down, and things only get more complicated for him as his time in Afghanistan stretches on. From the start, the film seems to have a very idealistic view on how the soldiers can and should act, and it’s this “moral compass” that gets in the way of telling the story. When it comes to war films that delve into the cruelty that occurs, you can’t let morals dictate the story. It’s the equivalent of doing a western where the bad guy wears the black hat and the good guy wears white. Sure, you’re spelling it out for your audience, but when depicting real life, it’s never quite that easy to tell wrong from right.
The film wastes no time in getting us into the story, as we see Briggman on his last day being a civilian to him being in Afghanistan. He seems disappointed that instead of seeing combat he’s stuck with his team travelling to villages attempting to build relationships with them, but things quickly go sideways after an explosive takes out his Staff Sergeant. It doesn’t take long before a replacement comes in, and it’s Staff Sergeant Deeks (Alexander Skarsgard) who comes in to make some changes to the unit. He’s not about being friendly with villagers; instead, he’s ready to hunt down some bad guys responsible for making bombs that have killed numerous soldiers over the year. Here’s the thing: I was onboard for this being about a military unit simply out for blood killing potential terrorists. If you’re going to do a film about morally corrupt soldiers, I figure you just go all in and make them a ragtag team of anti-heroes. Well, writer and director Dan Krauss had other plans, and instead focuses on the inner termoil Briggman is going through about his unit murdering “innocent” people. Because Krauss previously directed a documentary about soldiers that were involved with the same situation, he uses his insight to deliver a very grounded take on the subject matter.
Posted in: Disc Reviews by Brent Lorentson on January 8th, 2020
When it comes to B action films, there is a threshold for what your expectations should be for the film. In the grindhouse era there were some pretty good quality action films, but as the sub-genre stretched into the 80’s and 90’s, the quality just got worse, though they’d always find some star whose celebrity was on the verge of fading. Dolph Lundgren has managed to hang in there and continue to get roles even though it’s been more than a couple decades since he last had the top billing for a Hollywood blockbuster. Personally I’ve always liked the guy; he can still be a charming badass or also play the heavy when need be for a film. Sure, he’s aged, but I can still believe he’d have no trouble kicking some onscreen ass. The one thing that the filmmakers of Acceleration got right was to cast Lundgren in their film where we get to see him play the good guy as well as the bad guy. As for the rest of the film, well, they had a good idea and a nice lineup of B-movie action stars as well as former UFC fighters, but the result falls well short of its potential.
One of the biggest mistakes this film makes is having an opening that makes little to no sense to the viewer as we are seeing Vladik (Lundgren) and Rhona (Natalie Burn) gearing up to kick some ass. The film then backpedals eight hours to where Rhona is having to go on these five mini-missions while Vladik is watches her from the privacy of a room filled with monitors; to watch Rhona, he has a camera in her car. Basically this film has no concept of three-act structure and has decided viewers don’t need to have characters set up or plot set up; they just throw us into the action. It takes a while till we learn Rhona’s son has been kidnapped, and the only way to get him back alive is to complete these five tasks in the span of eight hours. Then there is the side plot of Kane (Sean Patrick Flanery), who is the big crime boss who is trying to figure out who has stolen from him. The threads connecting all this together are thin, and despite how hard they try to make Kane seem like a menacing threat, it’s just hard to take him seriously because of his actions. An example of his menacing actions … sexual innuendo involving pie at a café where he randomly runs into Rhona … then there is a terrible scene that seems to want to recreate the tension of the Russian roulette game in The Deer Hunter. I don’t blame Flanery for this, because his performance is one of the things that saves this character, but it’s the situations the character is put into where I could never believe he was a successful crime boss.
