No Huddle Reviews

“Let’s just cut the crap and get on with it, shall we?”

You shouldn’t need a primer on the NCIS franchise by now. Unless you’ve been living under a rock for the last decade or longer, you’re up to speed on these guys. If not, you still could have some fun and enjoy the CBS DVD release of NCIS: L.A., but NCIS has been around for nearly 20 years, and this particular version has been around for 12 seasons now. That’s a lot of characterizations under the bridge and a ton of character evolution and stories that can’t help but give you maximum mileage out of the release. If you aren’t up to speed, you can check out over 30 seasons of various NCIS reviews by just banging it here: NCIS Reviews.
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It was 1975, and cop shows were all the rage. The only way a crime show might be able to distance itself from the crowd was to introduce the audience to a group of cops that were not quite so known and show off special-unit kinds of skills and equipment. The solution in 1975 was the L.A. SWAT team. Most folks didn’t know what SWAT was. It stands for Special Weapons And Tactics. They are the guys who have the cool armored trucks and go where the serious action can be found. Hostage situations and severe firepower that overwhelms the typical cops on the beat are no match for these elite forces. So Steve Forrest and Robert Urich took our televisions by storm. The amazing thing is that the series was a mid-season replacement in its first year and only really lasted one complete season.
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Have you ever wondered what the Jurassic Park franchise would have looked like if instead of a amusement park, it was a hunting preserve? Yeah, me either, but someone must have, because that is essentially the embodiment of the film Jurassic Hunt. After watching the film, I’ve come to the conclusion that some films just don’t need to be made. Especially if they are going to be done with cheesy special effects and sub-par storytelling. To put it mildly, this was not a movie for me, and if you are a fan of high-quality content, I’m pretty sure you will feel the same. I suppose the film reaches the level of a sci-fi made-for-TV movie, but other than that, I can see no higher aspirations for it. The film kind of puts you right into the thick of things; no real back story or anything like that. We are just kind of launched right into the hunt. On this type of film, I would have expected background information to be paramount.
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“By 2014, hundreds of young women had left Europe to join ISIS. Their journeys began on social media platforms where they found new friends and chose new names.”

Based on the non-fiction novel, In The Skin of a Jihadist, this film tells the story about one reporters journey to create a groundbreaking story and how she nearly lost herself in the process. Valene Kane (The Fall) plays Amy Whittaker, a freelance reporter struggling to make ends meet when she decides to investigate the recruitment of young European women by ISIS. As part of her investigation, Amy creates a fake Facebook profile of a young woman who has recently converted to Islam. Before long, she is contacted by Bilel (Shazad Latif, Star Trek: Discovery), an ISIS fighter from Syria. On the surface, he is charming and he speaks of his chosen cause with great passion and conviction.
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Not bad for a B-movie alien invasion dystopian film. That was a nice surprise, as I was all prepared to endure a bunch of cliches and basic character archetypes. However Occupation: Rainfall delivers a moderately decent movie experience. There were some obvious timing issues towards the film’s conclusion, but we’ll get into that later. Speaking of surprises, I was surprised to discover that this film is actually a direct sequel of a film that was released in 2018. Granted, there were some changes, such as Jet Tranter replacing Stephanie Jacobson as Amelia Chambers, or Amelia the human as she is referred to more frequently than by her real name. The film also features the addition of The Originals’ Daniel Gilles and Jason Isaac as a hilarious character. All in all, minus that timing issue I mentioned earlier, Occupation Rainfall delivered a surprising and overall enjoyable experience.
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What a great time it was to be a teen in the late 1970’s. No, I’m not referring to disco music. It was a great time to go to the movies. It was the culmination of the perfect date, and Hollywood was riding the beginning of a trend that remains alive and healthy today. I’m talking, of course, about the slasher film. You could argue that Hitchcock started the ball rolling in 1961 with Psycho, but it would be decades before that film would find its true audience and plethora of imitators. Although The Texas Chainsaw Massacre and Halloween came before Friday The 13^th, can it be argued that any horror film franchise is as widely known? The truth is that even the man behind the film, Sean Cunningham, never really knew what it was that he had. It was never his intent to follow the film with a barrage of sequels. He also scoffed at the idea that Jason could become the centerpiece for future films.
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When I first saw Nashville, it was back in my days of working at a video store in the 90’s, and I was consuming a ridiculous amount of films a week. For many, it’s considered a classic and one of the better films that Robert Altman put out. Before re-watching the film for this review, I couldn’t remember all that much about the film aside from it having a lot of music in it and there being something involving a political campaign. I’m a fan of Robert Altman. Personally, Short Cuts and The Player are my favorite films by him, but I can appreciate that his way of storytelling paved the way for one of my favorite writer/directors Paul Thomas Anderson. Just watching Boogie Nights and Magnolia you can see the influence of Altman’s work from the script to the way they are filmed.  Now that I’m older, perhaps it was time that I revisited this film. After all, for many it’s considered a classic. Perhaps this time it could make a greater impression on me.
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“The time for apologies is behind us.”

While the dubbing of this film leaves something to be desired at times, all in all I’d categorize this as a moderately entertaining thriller. Tailgate can serve as a cautionary tale for us all regarding being careful who you cut off in traffic. You never know; that person could very well be a homicidal maniac with a penchant for using pesticide on his victims. Or at least that is what the killer in this film was all about. Granted, this antagonist doesn’t quite rise to the level of Michael Myers or say Candyman (you got me, I chose those two characters because they both have movies due out in the immediate future), there is something to be said for a killer who believes that he has the moral high ground. And to think all of this could have been resolved with a simple and well-timed apology.
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“Once the world was full of wonders, but it belongs to the humans now. We, creatures, have all but disappeared. Daemons … vampires … witches … hiding in plain sight. Ill at ease even with each other. But, as my father used to say, in every ending, there is a new beginning. It begins with absence and desire. It begins with blood and fear. It begins with A Discovery Of Witches.”

And that’s how it all starts. The ambitious series from Sky is based upon The All Souls Trilogy novels by Deborah Harkness. In the first season of eight episodes, we are introduced to Diana Bishop, played by Teresa Palmer. She a witch who is living in a world where there are three species of creatures: witches, vampires, and daemons (Demons). Diana ‘s parents were killed when she was young because of their witchcraft, at least that’s what she’s been brought up to believe by her Aunt Sarah (Kingston) and her lover “Auntie” Em (Pettiford). No, we’re not in Kansas anymore. Notice no one is singing Carry On Wayward Son. This isn’t Supernatural, after all.
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1951 was a year that spawned some major classic films. There was An American In Paris, A Streetcar Named Desire, The African Queen, and A Place In The Sun. Of the four mentioned, the one I hadn’t seen and honestly was oblivious to was A Place In The Sun. While I do appreciate many classic films, I don’t have an answer for my ignorance of the film, and with a stacked cast of Montgomery Clift, Elizabeth Taylor, Shelly Winters, and Raymond Burr, I was more than happy to check out this film and review it on its 70^th anniversary. I went into this film knowing as little as possible, only knowing about the cast and the director George Stevens, a man with an impressive resume as a director as well as a cinematographer. This only flummoxed me further about how this film had managed to escape me for so long.
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“By 2014, hundreds of young women had left Europe to join ISIS. Their journeys began on social media platforms where they found new friends and chose new names.”

Based on the non-fiction novel, In The Skin of a Jihadist, this film tells the story about one reporters journey to create a groundbreaking story and how she nearly lost herself in the process. Valene Kane (The Fall) plays Amy Whittaker, a freelance reporter struggling to make ends meet when she decides to investigate the recruitment of young European women by ISIS. As part of her investigation, Amy creates a fake Facebook profile of a young woman who has recently converted to Islam. Before long, she is contacted by Bilel (Shazad Latif, Star Trek: Discovery), an ISIS fighter from Syria.
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“I saw this movie.”

When the film Stargate was released in 1994, I had very high hopes for the movie. The concept was rather brilliant, and I anticipated a kind of Star Trek without the ship. Roland Emmerich and Dean Devlin hit it out of the park with Independence Day two years later, but I was sadly very disappointed in Stargate. I loved the wonderful mythology that combined ancient history and aliens. The concept had so much promise but was bogged down in awkward pacing and some of the worst storytelling I’ve seen in a big-budget science fiction film. So when the television series debuted on Showtime in 1997, I didn’t even bother to check it out. I didn’t pay any attention. If I had, I might have given it a try because of the involvement of Richard Dean Anderson, because I loved him in MacGyver, but I intentionally avoided watching the show.
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“How many friends did you have growing up? I just had one.”

A member of the cast has described this film as Mean Girls meets Final Destination. I don’t think I could come up with a better summation of the film if I tried. As I watched, I toyed with the idea that the film evoked Kevin Williamson-like nostalgia, but that was the best I came up with. The film is billed as a horror film, but of course there are elements that cause me to see it as more of a black comedy slasher film, like Happy Death Day. OK, that’s enough comparing it to other films; let’s talk about what Séance is. In a nutshell, Séance was a surprise for me.
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“Creeks lead to rivers. Rivers lead to towns.”

With a little more character development, Those Who Wish Me Dead would have been a really intriguing story. The film had a winning recipe: a script written by the man who gave us Hell Or High Water/Sicario (Taylor Sheridan), a cast that include talent like Angelina Jolie, Jon Bernthal, Nicholas Hoult, and Aidan Gillen, as well as a rifle-toting pregnant woman on horseback. What more could you ask for? If only adequate time had been spent fleshing the characters out and answering some of the questions that were posed during the film’s runtime. As it stands, the film never gets past the initial intrigue phase, because despite all the things the film did have, it’s what the film was missing that defines it.
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“Finn Wallace. He believed in people. He believed in giving opportunities to the disadvantaged. He gave. He supported. He did so much for all of us. All of you. My father was taken from us on the streets of London. And now London will deliver to us those who took him. Finn Wallace. He’s still here. He’s in me.”

Except that Finn Wallace was a crime lord, and he ruled the other criminal gangs in London with an iron hand. He may indeed be dead, but with Gangs Of London created by Gareth Evans, that’s really just the beginning of the story. It’s a complex story with only 10 episodes to deliver for a first season. Just how well are those stories told? That’s also a complicated question.
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“In a very real sense, we are all aliens on a strange planet. We spend most of our lives reaching out and trying to communicate. If during our whole lifetime, we could reach out and really communicate with just two people. We are all indeed very fortunate.”

– Gene Roddenberry 

I should confess from the beginning that I am a very dedicated Star Trek fan.
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“Friends, The Los Angeles County Sheriff’s Office Department are pleased to cooperate in the production of Code 3 in the interest of crime prevention and rehabilitation. During the production of the Code 3 films a deputy sheriff is present at all times to assure you of the authenticity in our stories.” 

That was the postscript offered by L.A. County Sheriff Eugene W. Biscailuz at the end of each of the 39 half-our episodes of Hal Roach, Jr.’s Code 3. The series only lasted a season and has become somewhat of an obscure production that wasn’t even mentioned in several early publications of books dedicated to prime time history. I have to say I had never heard of it before it was offered for review.
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A story about a man so desperate to prove his importance and rub elbows with the elite that he’s willing to kill for the privilege. I can see why Christoph Waltz made this film his directorial debut. Of course, it is also great that he also chooses to act in it as well, because as this film proves, Waltz is not only a tremendous actor, but he is quite capable in as a director as well. Based on the New York Times Magazine article, “The Worst Marriage in Georgetown,” Waltz stars as Ulrich Mott, an ambitious social climber that is willing to go to great lengths to obtain the status that he believes himself deserving of.  Too bad nobody else seems to see him in the same light, that is until Vanessa Redgrave’s Elsa Brecht, his wife as well as his subsequent murder victim. Brecht, who is a quite a few years older than Mott, helps him to discover his confidence and thanks to her own standing in the political community, manages to put him in the orbit of several powerbrokers.
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I like it when films limit themselves to one or two locations. I feel like it puts more emphasis on the acting. Of course when you limit yourself in such a fashion, it is important that the acting is of great quality. Thankfully, the actors of Wildcat are up to the task and deliver sound performances, especially lead actress Georgina Campbell of Krypton fame. Wildcat is a psychological thriller that follows Khadija Young (Campbell), an ambitious journalist stationed in the Middle East who is taken captive after her convoy is ambushed. With her and a young marine the only survivors of the convoy attacked, they find themselves at the mercy of militants led by a cold and calculating leader. The film does not shy away from the ugliness of captivity, establishing the use of torture against enemy combatants from the very first scene. Our protagonist finds herself locked away in a secure room, and the first thing that happens is that her captors remove one of her fingernails. That’s how the film opened up, so you could only imagine what other horrors she was forced to face. However, the trauma is not only of the body, but of the psyche.
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I have often found foreign comedy films a bit dry. Comedy can be so specific to culture that it rarely translates the way it might be understood or perceived in its native language and culture. The same is often true of poetry. Something gets lost in either the translation or the lack of a common experience. There are exceptions to these films. I’ve found that the most successful way to make sure your comedy jumps language and cultural boundaries is to avoid the jokes. Let the comedy come through in the situations, actions, and body language of the performers. Because the one thing that crosses all human experiences is the human experience itself. Don’t try so much to be funny. It doesn’t even have to be foreign. Don’t you hate it when you watch a movie that the cast and crew obviously thought was rolling on the floor funny and you just didn’t get it?
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“Welcome to the unlimited possibilities of the Quantum.”

It’s a somewhat near future, and airport baggage handler Ray (Imperial) is in need of more money. He doesn’t have the new Quantum computer, and he discovers that he isn’t able to access accurate data on the net because everyone is now using the new format. He also has a brother Jamie (Howard) who is suffering from Omnia, which is a disease that makes you tired all of the time. It’s considered by many to be fake, and “clinics” have popped up to treat the disease with odd … and very expensive treatments. It’s a scam, and Ray has bought into it. So he’s going to need money.
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“Months from now, if you’re ever asked where you were, what you were doing, on October 9, you’ll have the muscle memory of what you did. You won’t have to construct the lie, because you lived it.”

We all live that day in somewhat excruciating detail. I’m talking about the opening 20 minutes of Showtime’s limited series Your Honor, starring everyone’s favorite high school chemistry teacher, Bryan Cranston. The ten-episode crime thriller/drama was developed by British television wunderkind Peter Moffat and took a rather long route to this American release. It’s based on an Israeli series called Kvodo and was originally remade in India before finally taking a shot in America via a British writer. I have not had the opportunity to see either of the earlier incarnations, so I can’t really comment on how faithful this version might have been. Beyond a strictly academic purpose, what’s important is how this series stands on its own. And that analysis is just as complicated as the path the material has taken around the world to your television … or, God help us, your phone.
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“You see this bulls*%t right here? This is exactly like him … just like Ghost.”

The first sequel series in the Power universe, starring quite possibly one of the most hated characters in the original series, and that’s a long list. Fans of the original series are likely still bearing a grudge against Michael Rainey Jr.’s Tariq St. Patrick for his murder of his father, James St. Patrick, aka Ghost, at the end of the original series. However, I heard tell when it comes to his actions in this sequel series, those are the least of Tariq’s transgressions. Picking up just a few days after the conclusion of the original series, Tariq adjusts to his new life at Stansfield University, where he immediately finds his way back into the drug game in hopes of financing his mother’s trial for the murder of his father, a rap she took for him. This Starz series shows Tariq’s descent from the world of privilege into the gritty street world
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Nothing like being framed for murder to revitalize a dying relationship. Or least that is the premise that fueled this Issa Rae and Kumail Nanjiani-led romantic comedy. Now in recent years, both Rae’s and Nanjiani’s star powers have been on the rise, interestingly enough as a result of stellar performances in television series (Rai on Insecure, which she also produces, and Nanjiani on Silicon Valley). This has led to more theatrical roles, which have also been moderately successful. I anticipate that their stock will continue to rise, especially given Nanijiani’s induction into the MCU with his casting in the upcoming Eternals movie, and Rae is not slouching, either, with a whopping 17 projects that her name has been attached to produce. As glad as I am that these two are doing great professionally, I don’t see this Netflix-turned-home-media release doing much for either one of them.
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