No Huddle Reviews

“You know, things change. Sometimes not so much …”

Someone at CBS must have eaten a lot of alphabet soup as a kid. Today the longest running show is NCIS, about to enter it’s 20th season along with a couple of sibling shows, one of which is also in double-digit seasons. It also happens to be their highest rated show over many of those 20 years. Before NCIS was crowned champ it, was another assortment of letters that reigned supreme at the eye network. That was CSI. It was the show that never looked like it had a chance. The series substituted lab work montages for car chases and explosions and featured a lot of talking heads that delivered some of televisions deepest techno-babble. Didn’t stand a chance. The flagship series lasted 15 years
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When watching this 1980 classic, it’s impossible to not notice its influence on films that would come later, most notably American Beauty (which would also win Best Picture in 1999). I bring this up not because Hollywood has a habit of recycling ideas, but more to point out that sometimes all it takes to make a great movie is to keep it simple, focus on issues that everyone deals with, and give it one hell of a cast that is willing to pour their hearts out onto the screen. The film is about 42 years old, and you could release it today, and it would still resonate with audiences; that’s what I feel makes a film great and where it merits the term classic. Paramount is dusting this title off from its catalog to release it under its Paramount Presents umbrella, and it’s definitely one of the standout releases they’ve put out. If it’s a film you haven’t seen yet, this is one that I consider a bucket list film everyone should see before dying.
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“If you expect disappointment, you will never be disappointed.”

That’s the trouble with sequels. The filmmakers feel this great responsibility to give us more than they’ve given us before with no thought to the idea that more is often less. There has never been a truly great comic book hero film that had extra villains. It just doesn’t work. You can’t give enough time and back story to everybody, so you have to cheat somewhere and cut a few corners. Those corners are things like characterization and heart. But what if you could? I mean, seriously. What if it were possible to do a multi-villain comic book movie that was really good? Until just now
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This month Kino Lorber and their Studio Classics line are releasing a pair of romantic comedies starring the late Rock Hudson. With 76 acting credits to his name, he made a name for himself by starring in westerns and comedies. What pop culture seems to remember most is that he was one of the most prolific actors playing the straight male that was always getting the girl when, in fact, the actor was gay. Now with these two titles, one I feel is a forgettable mess, while the other I had a good time with. Sometimes I’d say having two bedroom comedies could equal a fun double feature, but regarding these films, that is not the case
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Here at Upcomingdiscs we have worked to bring you a large variety of reviews. Of course, we cover the big blockbuster films that hit the box-office and get us out to the multiplexes. We’re known for our television series coverage and have brought you the best in both television and streaming material. We also like to think that we introduce the world to some of the films out there that don’t have big budgets or advertisement campaigns. Tucked within these smaller releases you can find diamonds in the rough that showcase the kind of talent and storytelling you might get from a big studio but from artists who have visions that might not attract that kind of attention. The true fan of film is always on the lookout for these kinds of films and this monthly roundup is our way of bringing some of what we find to your attention. So do a little mining here and you might just find a diamond of your own
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 “And away we go!”

In 2013 when Rick and Morty first appeared on the Adult Swim block on the Cartoon Network, I don’t think anyone was ready for just how much of a pop-culture impact the show would have. Five seasons and 52 episodes later, the animated series about Rick, a half-drunk scientist, his grandson Morty, and their over-the-top adventures have continued to entertain us. Now you can get all five seasons in one excellent little package. If that doesn’t make you go, “Wubba Lubba Dub Dub!” I don’t know what will. Over the years, I’ve been lucky enough to review the show; you can go search the site and find out my thoughts on the seasons, but here I’m going to give a quick overview of the show and why if you haven’t checked the show out before, going ahead and buying this set is one of the best things you can do for yourself. The show, for those who may be unfamiliar, is a fun concoction between Back to the Future and more than a sprinkle of Futurama. If that sounds like a fun ride, well, then this may be the animated series for you.
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“Where there’s life … there’s hope. Bob Hope, that is.”

Few American entertainers have had a career to match that of Bob Hope. He lived 100 years and spent over 80 of those years in the entertainment industry. He appeared in over 70 films, wrote various books, and has over 300 appearance credits to his name on television and radio. He cut out a niche for himself during World War II that carried him through the Korean War and the war in Vietnam. He conducted literally hundreds of appearances for GI’s out in the field, performing sometimes for audiences at the front. He brought a ton of his celebrity friends and was Mr. USO for decades. An honest look at his career is impossible here. Thanks to the folks over at Kino, we have the opportunity to explore a couple of his films from the 1940’s. You can pick up each of them on Blu-ray now, and we’ll give you an idea of what you’re going to get for your money
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I’m going to go ahead and say that this limited series is only meant for the diehard fans of the original series. Those are the only people that I can see enjoying the show, based on the lack of context provided for newcomers. You are kind of just thrown into the mix without a real frame of reference for the characters or the central premise unless you already have some familiarity with the universe. Given that Adventure Time: Distant Lands was intended as a continuation of said series, that is fine. In fact, it is completely understandable. Barring extreme circumstances, there would be no reason for you jump to this four-episode limited series unless you were fond of the original format. However, I find myself in that said extreme circumstance, and as such without familiarity with the other series, I was pretty lost coming out of the gate. I am also not the intended audience for the show, but even my daughter failed to resonate with the series, as she walked out during the first episode.
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Who would have thought that a movie that features the apocalypse and mass suicide would have moments of charm and levity? I mean, when you think of those type of themes, you don’t expect that you are going to have some laughs. And yet somehow Silent Night pulls it off. Part of that probably had to do with high-class talent that took part of the film, which featured Matthew Goode, Keira Knightly, Annabelle Wallis, Lily Rose Depp, and Lucy Punch. The film lulls you into a bit of a false sense of security; I initially thought that Goode’s and Knightly’s characters were going to turn homicidal and murder all their dear friends. I figured that was the central premise of the film. All in all I think I prefer the film as it is instead of that idea. While that might have been interesting to see, it would have made the film more of a one-trick pony. As it is, Silent Night is witty, funny, and still manages to tackle complex philosophical views in an easily comprehensible manner. That is a feat not easily accomplished.
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This 1974 film has previously been regarded as an Italian version of the widely successful American supernatural film, The Exorcist. It’s been suggesting that The Antichrist was an attempt to cash in on some of the success that the American film experienced a year earlier. After watching it, I don’t see why the two films can’t coexist. Whether or not the American film had any bearing on this one will never be determined, but it stands to reason that if you enjoyed that one, there is no reason that you won’t enjoy this as well. I suppose there is the risk of it feeling redundant, but a little redundancy has never bothered me. Besides, if you can’t deal with films with similar premises and themes, your lists of viewing pleasure is going to shrink exponentially. I won’t spend a lot of time comparing the two films for couple of reasons: one, I believe that would be doing this film a disservice, given that I found it mildly entertaining; and two, it’s quite some time since I watched to The Exorcist, so my memory of it is slightly foggy. That said, I believe that will give me an objective view of The Antichrist, because I won’t waste undue time with comparisons.
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Remakes are nothing new. They’ve been around for as long as there have been films. Today we appear to be dominated by the remake, but they’ve been around forever. There are many reasons to do a remake. Often, like the case of Peter Jackson’s King Kong and the recent Kong/Godzilla movies, it’s because technology has taken us to a place where we can do things on the screen that the original filmmakers couldn’t have dreamed of. Other times it’s merely a classic story that stands the test of time, and every once in a while someone wants to attach themselves to that history. Yet other times there’s more that can be added to the story, or there is a fresh perspective to what came before. While many of these types lead to sequels and reboots, they still lead to the remake. Then there are those remakes that are almost a shot-for-shot imitation of the original with no apparent reason to exist other than to capitalize on the name. I really don’t want to put the 1997 made-for-television remake of 12 Angry Men in that category.
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“At present your home is not safe, even when you are there. So protect yourselves. Be sure to have good locks, good security systems.  I’m addition, you might consider getting a watchdog. And I’m not necessarily talking about a large dog. Any dog that can bark will make a good watchdog.”

Well, this dog does a lot more than bark in this 1979 family-friendly comedy. Standing for “Canine HOMe Protection System,” C.H.O.M.P.S. is the story of a young inventor who creates a revolutionary home security system that is as cute as it is effective: a robotic dog that is virtually indistinguishable from the real thing. Given that he modeled the robot after his actual pet, that creates a couple of funny hijinks later on in the film, but we are getting ahead of ourselves. The film stars Wesley Eure, an actor popular for his starring roles in family-friendly entertainment that includes Land of the Lost, Finders Keepers, and the educational television series, Dragon Tales.
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It’s amazing how a pretty face can get you act against your better instincts. Letting someone you just met, a complete stranger, move into your house and giving access to your top-of-the-line security system. Yeah, that is not something that happens unless the person is breathtakingly beautiful. Incidentally, Lily Krug fits that description to a tee. She is a knockout beauty without question. However, looks alone wouldn’t have been enough, given the dark turn her character was destined to take; there had to be some malice behind those eyes. She had to have the eyes of a heartless and calculating sociopath. Did she deliver? Let’s just say, whenever I see her in future roles, even if she is playing a protagonist, it’s going to be hard not to see the predator that I know is lurking behind her eyes.
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Wondering what happen to Stephen Amell and Alexander Ludwig after wrapping up their separately widely popular television series? I mean, what is there to do after playing a superhero and a king? Apparently, the answer is to star in a series about a local independent wrestling league, as the two bring us Heels. Amell and Ludwig play brothers, Jack and Ace Spade, sons of a local legendary wrestler (played by David James Elliot), carrying on their family business, the Duffy Wrestling League (DWL), of playing out scripted wrestling matches in a small town in Georgia. Amell plays the heel, or villain, while Ludwig acts as the face, or hero of the promotion. Despite their bond, the brothers find themselves at odds over the direction of the wrestling promotion, as they vie for national attention. Outside their ring, their lives are just as messy, as their personal relationships also face scrutiny by their very public personas. Rounding out the cast are Alison Luff as Jack’s wife, Staci, Mary McCormack as Willie Day, Jack’s business partner, Allen Maldonado as Rooster, a star performer for the DWL, and Chris Bauer, a former member of the DWL who went on to find national success.
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The hunted vs. the hunters. Now here is a premise that has seen its fair share of movies. Ever since Jean Claude Van Dame’s rendition in Hard Target, filmmakers have been coming up with new and sometimes cliches version of the idea of a man being hunted for sport. Personally, I’d rather just get my fix of this idea by reading Richard Connell’s The Most Dangerous Game. It’s just hard to imagine that there is any unique way left to come at this idea. Apex tries, but it falls short of the desired effect. In the case of this film, they bring in action veteran Bruce Willis to serve as the prey. Given his pedigree, you’d expect him to deliver one-liners while dispatching folks in creative manners. He delivers on the one-liners, but as far as the creative kills, he actually isn’t the person doing the most of the damage. In fact, Willis barely rates above a bystander in this film. I suppose it was ambitious to expect Willis to be duking it out like he did back in his Die Hard days; I mean, the man is in his mid-sixties now. However, if he wasn’t going to be the agent of chaos, why even bother putting him in the movie at all?
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“This wasn’t a game of cops and robbers. We were playing for keeps. It boiled down to a duel between me and an unknown fellow waiting up in the rocks or struggling on ahead of me. I never had the slightest doubt that he was there and that I would find him. But I didn’t like it. It was all wrong somehow.”

John Sturges has directed some of the biggest classics of his era. He became known as a huge action director and knew how to put to together large and powerful ensemble casts. Among his classic films you’d find The Magnificent Seven  (1960) with Yule Brynner, Steve McQueen, Charles Bronson, Eli Wallach, and Robert Vaughn.
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Superhost is a not-so-flattering social commentary on the youth of today who seem to be driven more by the amount of likes and subscribers they have than the actual human interactions they encounter in the course of a day. Whether it’s Tik Tok, Facebook, Instagram, YouTube, or any number of platforms you can think of, it seems people have just become obsessed with seeking the approval of “followers” instead of taking stock in the friends they have in their “real” social structure. The pandemic, of course, doesn’t help any of this, as it seems every week there is some new dance or challenge people are doing in the name of clicks. Also recently it seems suicides and murder-suicides have been occurring more with these “social media influencers”. Maybe it is just the old man in me coming out, but I look at the social media culture and wonder if man has reached his peak and we are all simply on a steady decline from this point forward.
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When it comes to Amityville Uprising, it felt like I spent the film’s entire runtime waiting for it to start. I mean, the film literally spent ninety percent of the time building towards the action, which basically took place at the very end of the film. There are sporadic events that occur earlier, but even those don’t start until halfway in. I expect for zombie movies to get the action rolling much sooner than that, but in the case of this film, the plot moves at the pace of a walker in the Walking Dead. That paired with the low production quality, nonexistent character development, and subpar acting makes for a less than enjoyable experience. Granted, I was not expecting box office quality from this production, but I at least hoped that there would be one or two tidbits for me to be able to point to and say that the experience had some good parts. Sadly, that wasn’t the case with this film.
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Twenty years ago, he left his hometown of Kiewarra, a farming town in Australia, under a black cloud. His girlfriend was found dead under suspicious circumstances, and all the evidence pointed to him. If it wasn’t for a friend willing to lie for him, he would have ended up in jail. When that same friend’s family is killed in a murder-suicide with all the evidence suggesting that said friend was responsible, he will return to investigate. However, time has not improved the community’s feelings about him, as the people have long memories. Eric Bana stars as  federal police detective Aaron Falk in The Dry, a film based on Jane Harper’s 2017 book of the same name. Having been a fan of Eric Bana for some years, I looked for this this opportunity to watch him play detective. While the story does drag at times, I will say that overall, the quality of the storytelling made the experience worthwhile.
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Every era has their Hollywood good guys and their Hollywood bad guys. Back in the early days, we had Nazis to pit against our heroes. When they didn’t quite fit the bill, we had the Japanese. For much of the Cold War, we had great Russian villains to test the mettle of our heroes. Terrorists fit the bill a lot today, but perhaps the only group hated by large segments of American audiences more are the 1%ers. Anyone who makes an obscene amount of money must have cheated to get there. It doesn’t hurt that financial power companies have been immersed in the last couple of economic disasters. Michael Douglas taught us that greed is good, and while every single one of us wants to be at the top, it’s not quite the politically correct thing to express … at least out loud. Billions gives us the kind of power broker who is just too much fun to hate.
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This appears to be the time of Resident Evil, it would seem. Fresh on the heels of a live-action reboot to the franchise (Resident Evil: Welcome to Racoon City) comes the home media release of this CGI miniseries based on the popular Capcom video game. If you want to be technical, the miniseries preceded the reboot, as it was originally released on Netflix back in July of 2021. Set between the events of Resident Evil 4 and Resident Evil 5, the miniseries follows Leon S. Kennedy as he attempts to uncover a conspiracy that reaches all the way up to the White House. Now, in reference to that time period, I should mention that it is the video game continuity, not the film’s, that is an important distinction, as Milla Jovovich was only loosely based on the source material. While the story does take some time to develop, by the final episode, I was fully vested in its outcome.
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This film was a new experience for me. As you all know, movies like this afford me the opportunity to share my passion for film with my daughter. However, as I put the movie on, she turns to me and says, “Daddy, you know what’s funny? I’ve already seen this.” I found that to be a confusing statement, as I was operating under the impression that this was a newly released title. However, as it turns out, though it is a new release for home media, the film was actually released on Netflix back in April 2021. At this point, I expected that she would attempt to excuse herself and occupy herself with one of her many new Christmas acquisitions. But no, she didn’t do that. Instead, she sat back and prepared herself to watch it again. That’s when I knew it had to be good, because my daughter doesn’t usually do repeats. Lo and behold, it was far better than good. I dare say that The Mitchells vs. The Machines was the best animated film that I saw all year.
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“In February 2021 Eric Clapton’s live shows at The Royal Albert Hall are cancelled due to the global pandemic. Determined to play, he brings his band together in the English countryside. In the absence of a live audience, he decides to record the performances. This film is the culmination of their sessions together.”

You’ve heard the old expression that when life gives you lemons, you make lemonade. That’s what Eric Clapton did when he was unable to give a few concerts he was ready to do. If you’re a performer, you know what it’s like to get all ready to go. There’s just no letting off that energy any other way than to do what you came here to do.
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