Posted in: Disc Reviews by Gino Sassani on July 22nd, 2014
It happens all the time. It's just as common on large-budget films as it is on the small films. Someone comes up with a great hook. It's a clever idea with all of the potential to be very good. It might even start off that way. Too many times the road traveled is a road to nowhere, and potential was lost somewhere along the path. That's exactly the issue with Open Grave. The opening sequence is one of those scenes that really sticks with you. A guy wakes up in a huge pit filled with dead and rotting human beings. He has no memory of who he is or how he got into this mess. It's a terrifying thought. It's a visceral nightmare that can touch those hidden fears in even the most stoic among us. What a promising start. Soon our character is given a rope and helped out of the pit. It's all downhill from here. It's bad... really bad... when your film peaks at two minutes in.
We eventually find out the guy who woke up in the mass grave is Jonah, and he's played quite well by Sharlto Copley. With not much dialog to work from (he is among dead people, after all) he manages to do a perfect job of portraying the emotions we would expect from this terrifying situation. When he's rescued from the pit, he's led to a house where there are several characters suffering from the same limited amnesia. They maintain knowledge and skills from their lives. ID cards even provide them with their names. The rest is the proverbial blank slate. There are some clues, however. A date circled on a calendar portends some ominous event. There is also an Asian girl, played by Josie Ho, who knows what's going on. Unfortunately, she can't speak and doesn't understand English.
Posted in: Disc Reviews by J C on July 22nd, 2014
- “Are you some kind of big deal?”
- “Yeah, I’ve been around.”
Posted in: Disc Reviews by Brent Lorentson on July 21st, 2014
"Maybe it was all inevitable. An unavoidable collision between mankind and technology."
Just about any project that Christopher Nolan has any attachment to is going to get my attention. And from the first glimpses of the film in the early teasers, Transcendence always felt like a film Nolan would seem right at home making. Instead, taking the helm for the first time as director is Wally Pfister. Though this may be his first time in the director’s chair, Pfister is no stranger to working on pictures of large scale; after all, he’s been Nolan’s director of photography since Memento back in 2000. So how does Pfister do with his first at bat? Well, it could be a lot worse…
Posted in: Disc Reviews by Gino Sassani on July 15th, 2014
There is nothing wrong with your monitor. Jonathan Glazer controls all that you see and hear. That tiny speck of light you see is just the beginning. The beginning of an experience you will not soon forget. The light appears distant...cold... foreboding. It's coming closer to us, or we are coming closer to it. The distant star grows while you are assaulted with some of the most bizarre sounds you have ever heard. It's somewhat uncomfortable. You squirm in your seat. The light grows; its alien forms finally settles into an unexpected familiar form. Still, it's all rather unsettling. Jonathan Glazer controls more than all you see and hear. For the next two hours he controls your sanity... your very humanity.
Your introduction to Under The Skin explains little. There are some general ideas you'll begin to assemble. You'll figure out rather quickly that Scarlett Johansson is an alien. The characters you'll encounter have no names. Many of them will not speak. After the first sensory experience, the film fools you into believing you're back on solid ground. Scarlett Johansson drives about the streets of Scotland talking to strange men. She asks directions and inquires about any family or friends they might have. It doesn't take us long to understand that she's hunting, attempting to separate a single prey from the pack. Before she snares her first victim, we know exactly what she's doing, even if we never understand completely why.
Posted in: Disc Reviews by Brent Lorentson on July 14th, 2014
"Isn’t it wrong to sing and dance when someone has just died?"
When I first hear a film is going to attempt to be a horror musical, all I can do is simply shake my head at the thought of how bad this may be. But that’s not to say that I couldn’t be very wrong. Repo! The Genetic Opera was a rock opera that I had a blast with, and I’m not ashamed to admit I even purchased the soundtrack after the release. Where my concern usually rests with the idea of horror musicals is that I’m worried it will turn out to be no better and possibly worse than The Rocky Horror Picture Show. I’ve never liked the film, and it’s just something I’ll never be able to understand, how it’s gotten such a ravenous cult following, though I can appreciate that Rocky does have an audience, and week after week fans turn out in costume to sing along and in some locations even perform along with the film. Stage Fright is a film that aims to attract that same audience that embraces Rocky, but goes a step further by delivering a solid slasher film as well.
Posted in: Disc Reviews by Archive Authors on July 14th, 2014
Nymphomaniac I and II are 117 and 124 minutes, respectively. There is a longer cut that may be released next year closer to 5 and ½ hours. The story is simple. It chronicles a conversation between two people. Joe (Charlotte Gainsbourg) is found bloody and beaten in an alley by an older man, Seligman (Stellan Skarsgard). He takes her to his sparse flat to care for her and help her. What takes place is a long conversation full of intellectual digressions about Joe. It slowly reveals what led to her downfall. Seligman is a sheltered bookworm who has a detached curiosity about her story.
The cast is impressive including Shia LeBeouf, Uma Thurman, Christian Slater, Jamie Bell, Willem Dafoe, Connie Nielsen, Udo Kier among others. The director is Lars von Trier, the famed Danish auteur and provocateur. Von Trier has always tried to find hidden and shameful areas of human behaviors in his films. Many of his films are rigorous exercises in the depths of human pain. They attempt to push expectations. They explore behaviors that seem too absurd to be real, but that is because most of us refuse to acknowledge certain parts of ourselves.
Posted in: Disc Reviews by Archive Authors on July 14th, 2014
Nymphomaniac I and II are 117 and 124 minutes, respectively. There is a longer cut that may be released next year closer to 5 and ½ hours. The story is simple. It chronicles a conversation between two people. Joe (Charlotte Gainsbourg) is found bloody and beaten in an alley by an older man, Seligman (Stellan Skarsgard). He takes her to his sparse flat to care for her and help her. What takes place is a long conversation full of intellectual digressions about Joe. It slowly reveals what led to her downfall. Seligman is a sheltered bookworm who has a detached curiosity about her story.
The cast is impressive including Shia LeBeouf, Uma Thurman, Christian Slater, Jamie Bell, Willem Dafoe, Connie Nielsen, Udo Kier among others. The director is Lars von Trier, the famed Danish auteur and provocateur. Von Trier has always tried to find hidden and shameful areas of human behaviors in his films. Many of his films are rigorous exercises in the depths of human pain. They attempt to push expectations. They explore behaviors that seem too absurd to be real, but that is because most of us refuse to acknowledge certain parts of ourselves.
Posted in: Disc Reviews by Gino Sassani on July 9th, 2014
Few musicians have enjoyed the career that Elton John has enjoyed. From the release of Your Song in 1969, he hasn't seen many years without hit records. He's had number one songs in every decade since that day, and the hits continue to roll in. When the music industry changed, Elton managed to change enough to keep up with the times, yet hold on to the poignant songwriting that has made his songs stand out. I've been a fan since the Goodbye Yellow Brick Road days of 1973. When I was a kid and listening to candy pop, that's what Elton was delivering. As I got older, it appeared Elton's music aged with me. It was the time of classic melodies and thoughtful ballads. As I grow older, I find Elton is still keeping up.
Elton always found ways to reinvent himself. He was introduced to a whole new generation of children with his award-winning songs on The Lion King. He's brought his music to the stage on Broadway and dabbled in the film industry. With a catalog that brings in over $6 million a year without lifting a finger, Elton remains one of the hardest working entertainers in the industry. Now in his 60's, Elton's taken the stage in Vegas. Unlike many of the performers before him who semi-retired in Sin City, Elton continues to deliver the same energy and passion he has for decades brought on the road. I've been to somewhere between 30 and 40 performances, and I've never been disappointed in the performance. His last show at USF had an uncharacteristically bad sound mix, but I know the songs well enough to keep up.
Posted in: Disc Reviews by J C on July 8th, 2014
Anyone who ever sat through an elementary school science class knows that about 70 percent of the Earth's surface is covered in water. We've all heard the spiel, but I don't imagine most of us spend much time contemplating how truly staggering that figure really is. Watermark seeks to convey the many different ways humans and the planet's water supply affect one another. The documentary is maddeningly scattered, but it also manages to capture and convey a small part of the world's awe-inspiring bigness.
Watermark is co-directed by documentary filmmaker Jennifer Baichwal and visual artist/photographer Ed Burtynsky. Baichwal previously directed 2006's Manufactured Landscapes, which starred Burtynsky and his large-format photographs. For Watermark, the filmmaker and her former subject have teamed up for a globe-spanning, bird's eye view at H2O.
Posted in: Disc Reviews by Gino Sassani on June 30th, 2014
It's a sad state of affairs. The road that Blood Ties has taken to get to this Blu-ray release is far more interesting than the film itself. It all starts with a French film Les liens du sang that was itself a reflection on the American cop drams genre. One of the original French screenwriters collaborated to bring the idea full circle to become an American cop drama. The film made the film festival circuit with mixed reviews and results. For some reason Director Guilaume Canet decided to go back to the editing room and remove nearly a half hour of the original film's running time. I didn't see the movie in its original form, but it seems to me Canet gutted the film for its American home video release. The result is a story that is difficult to follow, contains numerous plot holes and hanging plot threads and displays an uneasy pacing at best. I wish I could see what is missing. I can't help but feel that this could have been and in fact once was a better movie than it is now.
This is essentially the tale of two brothers. Chris (Owen) is coming home after spending years behind bars. He's on a furlough and keeps his freedom only if he can maintain steady employment and a place to live. Frank (Crudup) is an NYPD police officer who has taken some heat for his criminal brother. There's a lot of bad blood between them, but family is family, and Frank is allowing Chris to live with him and their father (Caan). Chris's attempts to go straight literally go up in smoke, which takes us to that oldest of crime drama cliché's, the "one last job".
