No Huddle Reviews

A sure sign that Easter is just around the corner is yet another home video release of perennial seasonal favorite The Ten Commandments. In years past, we got the multi-disc edition, complete with original silent version of the film. This particular version is rather more stripped down, as far as features go, but it does mark the film’s re-release on Blu-ray. It’s a collector’s item kind of package with the discs arriving in a book form that isn’t quite that full of info but looks kind of nice. The set includes the exact same discs and extras as the original Blu-ray release offered. On the surface this looks like one to avoid if you already have the previous release. But they baited the hook with more than fancy packaging. You get the original DeMille 1923 version of the film, and that’s quite a good reason to pick this up. I’m disappointed that there’s no 4K version of the film. It was originally shot in 70mm, and a restored 4K disc could look incredible. Maybe next Easter.
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The notion that there are two sides to every story is at the center of The Affair. Almost every episode depicts the same events related to the titular adulterous relationship from two different perspectives. It’s an ingenious and inclusive storytelling tool, because TV viewers are encouraged to spot the differences in each character’s account of events. (Along with inconsistencies in hairstyles, wardrobe, wallpaper, etc.) That’s why I was somewhat disheartened by the latter portion of the season veering away from what made the show great.

– “Marriage means different things to different people.”

– “What does it mean to you?”

We first meet schoolteacher/struggling author Noah Solloway (Dominic West) as he prepares to head to Montauk, Long Island
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So at what point is enough is enough? The Dragonheart franchise has been around since 1996 when Dennis Quaid and Sean Connery brought the first film to life, becoming a box office success. Since that first film, sequels have continued to tell the tale of how a dragon has the power to share part of its heart with a human if it chooses. This is clearly evidence of the law of diminishing returns, as only the first film made it to the box office, with the others relegated to home media. While home media is a legitimate platform for films, I cannot fathom the reason to keep this franchise going. Dragonheart: Vengeance marks the fifth return to this universe, with the events of this film occurring before the events of the fourth film (Dragonheart: Battle for the Heartfire). Each film exists within the same universe, but with a new crop of characters and sometimes with a new dragon, usually voiced by an acting authority; examples include Patrick Stewart, Ben Kingsley, and of course, Sean Connery. In regards to this universe, I have not ventured back to this world since the events of the first film, and based on what I witnessed in this incarnation, there is little substance to warrant continued trips back.
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“You’re traveling through another dimension. A dimension not only of sight and sound, but of the mind. It is the middle ground between light and shadow, between science and superstition. And it lies between the pit of one’s fears and the summit of one’s knowledge. You are now traveling through a dimension of imagination. You’ve just crossed over into The Twilight Zone.”

It would be very hard, indeed, to argue against the impact that The Twilight Zone has had on television. To say that the series was a milestone in that medium would be an understatement of the worst kind. When Rod Serling brought his landmark series to CBS in October of 1959, television was still very new. No one was quite sure what the future held for that magical box. But that box was part of an invasion. The television set would change the face of the world. It would become the social center of our homes. It would influence who we choose as our leaders. In 1959 those fortunate enough to already have television sets in their homes would become the first to see that future.
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I’m always cautious when I approach a low-budget independent film. It’s not that I don’t expect them to be good. I have found countless gems over the years that not only exceeded my expectations but have been placed on a must-watch-again list. The thing I’m most cautious about is the level of ambition a limited experience director might shoot for. Obviously there has to be a great amount of drive and ambition to even try to make a movie. I know many filmmakers think reviewers are frustrated and failed filmmakers. I’m not one of them. I have a great deal of respect for anyone who puts together a story and a crew and often risks their own resources to make a film. I’m talking about the ambition in the film itself. As I was watching Cicada Song for the first time, I started to worry about just that. This is a very ambitious film that tries to tackle a lot of things at one time. Yet writer/director managed to pull it off and deliver a film far more compelling than I was expecting.
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The setting for Gunsmoke was the by-now-famous Dodge City, circa 1870’s. Phrases like “get out of Dodge” would enter the popular lexicon as a result of this resilient series. Marshall Dillon (Arness) was charged with keeping the peace in Dodge City. The only other character to see the entire 20-year run was kindly Doc Adams (Stone). Star Trek’s own Doc, Leonard McCoy, took many of his traits from Doc Adams. He was the humanitarian of the city, always looking to help someone. Like McCoy, he had a taste for bourbon and a soft heart underneath a rather gruff exterior and was always ready with free advice. Dillon’s love interest throughout most of the series was Miss Kitty Russell (Blake). While there were certainly a few romantic undercurrents, the romance never came to fruition. Miss Kitty was a prostitute on the radio and was likely one here as well, but CBS chose to underplay that aspect of her character as a “saloon girl”. Finally Dillon’s faithful sidekick deputy was Chester (Weaver). Chester often found himself in trouble and was the naïve son figure to Dillon.
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A modern day romantic comedy, as well as a commentary on the co-dependent relationship that society is now engaged in with their phones. I know we all see it, with infinite information at our favorite fingertips and the ease with which we now can conduct their lives, whether it be finding out the name of a song on the radio via an app, getting directions to a place we have ever been, or merely playing music while we conduct other task, our phones have become our conduit to the world, removing a lot of the obstacles that we used to face in everyday life. However, that assistance comes at a cost as we now have come to rely on our phone to accomplish task that we used to go out and do on our own. To top things off, we have decided to connect with people on social media, relying on how many people are following us on Instagram to determine popularity, rather than actually human interaction. JEXI perfectly captures this idea as we observe our lead character Phil played by Adam Devine struggle to engage with the beautiful Cate played by the gorgeous Alexandra Shipp. Thankfully his phone is there to help him; however, what happens when his phone begins to feel neglected?
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“The heat is on…” 

From the bouncing opening music by Glenn Fry to the final frame of Eddie Murphy’s smile, Beverly Hills Cop has established itself as a classic. Now finally out on Blu-ray, the film shows us all over again why we fell in love with it almost 20 years ago. Murphy hasn’t been as funny since, but we’ll always have Beverly Hills and Axel Foley. There have been many attempts to revive the franchise. There was a failed pilot that would have had Axel as a captain and his son as the wise-cracking rookie detective. It never went beyond an as yet unseen pilot. Several attempts have been made at a fourth film, and a new one was recently announced, but that’s now in limbo as Murphy has just announced he is quitting acting and going back to standup. The first film pulled in a impressive (for 1984) $315 million at the box office. The second pulled in almost exactly the same money. Things hit a snag with the third, which barely topped $100 million. Now Paramount has remastered the films in 4K but is only releasing the 4K/HDR version online. They aren’t releasing it on UHD, and that’s a mystery to me that I hope will be corrected soon
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When Star Trek: Discovery was announced, I was quite happy to hear it. There had been a long gap since Star Trek had been on television, and I figured it was long past time to fly through the galaxy on a starship once again. The show finally aired after some real issues getting off the ground, and before I knew it I was back in a starship having a blast once again. Except it wasn’t on Star Trek’s Discovery I was having all of this fun. It was aboard Seth MacFarlane’s Orville that the true spirit of Gene Roddenberry was exploring space once again. Who would have thunk it? Yes, The Orville is considered a comedy, and there are plenty of silly moments and ideas. But even with all of that spoof atmosphere, MacFarlane manages to capture the real spirit that Trek fans have come to feel for that franchise. Honestly, I’m not sure The Orville would have gotten through its first season if not for Alex Kurtzman destroying yet another beloved franchise. Trek fans turned to this show in droves out of frustration and desperation, and MacFarlane welcomed them aboard with a laugh and some alien adventures. It’s a great example of that whole nature-abhors-a-vacuum thing. When Discovery went off the rails, The Orville filled the void left behind. If you missed the first season, you can get them now on DVD from Fox.
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Family Guy has reached a level of impact upon the American pop culture where I believe the characters need little to no introduction.  Is there anyone, really, who doesn’t recognize Stewie? After all, he’s reached the status of icon and has even become a fixture of the Thanksgiving parade as one of the many floats.  Where The Flintstones, then later The Simpsons, were at one time the dominating animated family on television tackling day to day struggles of the modern American (each in their own and unique way), Family Guy (love it or hate it) now seems to be the go-to animated family. In this collection of 20 episodes, the creative force, Seth Macfarlane, and his team continue to deliver the laughs along with their twisted moral messages. In today’s culture, it seems like it is harder and harder to be a comedian and manage to not offend anyone, and for the first time I feel the show is restraining itself too much, and it’s hurting the product.  Family Guy has always been a show that was self-aware and would break the fourth wall, so it was not a big surprise when a character mentions how they’ve eased up on their jokes against the gay community.  Is this a move brought on because Disney now is writing the checks for those involved, or is this decision made by the writing team?
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Family Guy has reached a level of impact upon the American pop culture where I believe the characters need little to no introduction.  Is there anyone, really, who doesn’t recognize Stewie? After all, he’s reached the status of icon and has even become a fixture of the Thanksgiving parade as one of the many floats.  Where The Flintstones, then later The Simpsons, were at one time the dominating animated family on television tackling day to day struggles of the modern American (each in their own and unique way), Family Guy (love it or hate it) now seems to be the go-to animated family. In this collection of 20 episodes, the creative force, Seth Macfarlane, and his team continue to deliver the laughs along with their twisted moral messages. In today’s culture, it seems like it is harder and harder to be a comedian and manage to not offend anyone, and for the first time I feel the show is restraining itself too much, and it’s hurting the product.  Family Guy has always been a show that was self-aware and would break the fourth wall, so it was not a big surprise when a character mentions how they’ve eased up on their jokes against the gay community.  Is this a move brought on because Disney now is writing the checks for those involved, or is this decision made by the writing team?
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They don’t trust one another, but they need one another. One is idealistic and believes in the letter of the law, as well as the principle of there being no shortcuts to justice. The other is disillusioned, immoral, and corrupt, albeit effective and well-connected. Aldis Hodge, who has been having a good run since the end of Leverage back in 2012, and the well-established Kevin Bacon have great chemistry in City on a Hill. Their chemistry is the best thing to come out of the series that can at times become convoluted with all the subplots occurring in every episode. Loosely based on the events of the “Boston Miracle,” (also known as Operation Ceasefire), a police initiative implemented back in 1996 aimed at youth gun violence as a large scale problem, these two join forces to catch a group of armored truck robbers who are not afraid to kill to get what they want. Rounding out the cast are Jonathan Tucker, Mark O’Brien, Jill Hennessy, Sarah Shani, and many more. The show tends to meander and get bogged down with the additional storylines involving the supporting cast, but each episode provides a great interaction between Hodge and Bacon that makes the meandering worth enduring.
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“Get ready for six hours of cartoons.”

Try around six days if you can binge them all. We’re talking about 300 hours of Simpsons cartoons in the can. The longest running show in prime time doesn’t feature cops, doctors, or lawyers. It’s hard to believe that The Simpsons have existed as long as the Fox network. While the series didn’t really begin until Fox’s second year, the characters were part of The Tracey Ullman Show, which did start the first year of Fox. Who could have guessed that an animated short from an otherwise horrible and doomed variety show would explode into such a phenomenon? The Simpsons have not only dominated the pop culture; they have placed everything else into context with their show. Like Doonesbury, it could be said that the only thing worse than being made fun of on The Simpsons is not being made fun of on The Simpsons. With that said, you’ll understand my warm feelings and appreciation for this show.
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Well, I’m not fully sure how to put my experience with Killerman into words, but I will give it my best shot. The feeling that comes to mind is confused. It just seem to be a lot of different things thrown at me at once. Liam Hemsworth is introduced as Moe Diamond, a small-time money launderer partnering with the nephew of a powerful crime boss; the nephew chaffs under the thumb of his uncle, and it is very clear that he is the less intelligent one of the partnership. Moe is level-headed and appears to have an elegant system in place for laundering money through his jewelry business. The nephew, who goes by the name Skunk, played by Emery Cohen, is clearing only involved because of his connection to his uncle. Needless to say, I imagine you can see where this is going, I mean, we have only seen it dozens of times in other movies, but I’ll go ahead and repeat it for posterity: the uncle gives the boys the opportunity at a big-time score; the pair get wind of a too-good-to-be-true drug dealing opportunity, and decide to use the uncle’s cash to front the deal. As expected the deal really does turn out to be too good to be true, leading Moe and Skunk to be on the run from a dirty cop when they escape the deal with both the cash and the money. To the film’s credit, this is the extent of the movie’s predictability, as matters take an unexpected turn.
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When it comes to movies that come from the The Asylum film company, you need to go into the film with the bar set pretty low. When I say low, a Troma film is nearly high art by comparison.  By some miracle their film Sharknado has found an audience, but for all the wrong reasons.  I can appreciate a cheesy B monster film; even a no-budget horror or action film can hold my interest. All I ask for is a decent story and I can forgive a film’s low budget or amateurish quality. But sometimes a movie comes along that is so bad it’s hard to find its redeeming qualities. D-Day: Battle of Omaha Beach is that film, and I can say with certainty that this is the worst film that I’ve seen this year.  It’s one thing to be a bad film, but what bothered me most about this film is how shameless it is about simply making a buck off of the lives of soldiers who actually fought in WWII.  You don’t need the budget of Saving Private Ryan to tell a good story about the war; all you need is a good story, a decent script, and some creativity, and you can make a good film.
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“There is a doorway in the universe. Beyond it is the promise of truth. It demands we question everything we have ever been taught. The evidence is all around us. We are not alone. We have never been alone.”

Ever since Eric von Daniken released his speculative book and its subsequent 1970 film Chariots of the Gods, there has been an entire field of study created around something commonly called Ancient Astronaut Theory, the idea is that extraterrestrials have visited many of our ancient civilizations. The theory continues that these visitors had a hand in shaping our development, whether it be through technology or even manipulation of our very DNA. These believers point to a world of evidence to support their claims. There are tons of images from earlier civilizations that could certainly be interpreted as depicting modern devices, concepts, or even spacemen. There is plenty of speculation that some of the knowledge and accomplishments of these peoples could not have been possible without some outside interference. There are even those who believe that aliens best explain our religious beliefs and that God himself was/is an extraterrestrial being. Whatever your own beliefs on the subject, there are certainly some fascinating points to be made. There is no question that the speculations and observations bring up some interesting queries that deserve our attention. This series attempts to document much of this evidence and the beliefs these findings have inspired.
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Whistleblowing is a difficult decision. You are part of an organization, and you believe in that organization. Speaking out against that organization (yes, I know I’m overusing the word) at times can seem like ratting out family. Not to mention the downside. We all say that there will not be reprisal for whistleblowing, but more often than not, there is. However, that doesn’t mean that if you see wrongdoing that you should sit idly by and do nothing. Most believe that inaction is as bad as committing the act yourself. But when the organization you are speaking out against is the United States government, that is another animal entirely. Official Secrets portrays the real-life actions of Katherine Gun, a translator who back in 2003 leaked classified information exposing a conspiracy to facilitate the war against Iraq. Keira Knightly portrays our whistleblower with an all-star cast that includes Matthew Smith, Matthew Goode, Rhys Ifans, and Ralph Fiennes.
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“Make a little noise. Ruffle a few feathers.” 

I should confess from the beginning that I am a very dedicated Star Trek fan. I’m not a Trekkie or a Trekker, I’m a fan. I have often allowed my fan status to cause me to embrace the franchise even when it wasn’t necessarily so good. As a young 15-year-old kid I attended the first 10:00 AM showing of Star Trek: The Motion Picture with a handful of friends on the opening day. We stayed through six showings and left sometime after midnight the following day, occupying the front row center and subsisting off the day’s more limited concession offerings. Basically candy, popcorn and soda. Little has changed except for the lack of responsibilities that would allow me to spend 14 hours watching a single film over and over again. I’m still reluctant to dismiss anything Star Trek, but that’s nearly what happened as I watched the first season of Star Trek: Discovery last year.
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Blumhouse Productions has been the go-to company when it comes to horror and suspense films being marketed for the more mainstream audiences. The Purge films, Happy Death Day, and most recently Halloween (2018) have been some of their successful releases, though they’ve had several other films that didn’t fare so well that you can catch on Netflix. Now there is Prey. I knew going in this would be a Blumhouse film; I just wasn’t sure if I’d be watching a potential genre gem, or if it would be a dud.  As it turns out, it’s somewhere in between, and I’m a little surprised that there seems to be little to no marketing campaign for this one. The film starts off innocently enough with Toby (Logan Miller) at home and on his cell phone. While Toby is immersed in his social media, outside his father is being attacked by a couple of robbers and is killed. This sequence is a bit of a bummer; it’s lacking anything that resembles tension, and while it’s attempting to insert this message about today’s youth being disconnected from the real world, it just falls flat. We don’t get to see Toby deal with loss or guilt, instead the film has us follow Toby as he in enrolled in a “Lost and Found” program that has people spending three days and three nights alone on a tropical island. It seems like it would almost be paradise, but all they are left with is a backpack filled with some supplies, and in case of emergency, you get a flare.  OK, I was in scouts for 12 years, and there was never a time where they would just abandon us for three days. On our own and with our troop we had extensive wilderness survival training, so to see this was not only reckless but unbelievable.
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Wonder what happened to Laura Marano from Austin and Aly? Well, she is following in the footsteps of fellow Disney Channel actresses, Hilary Duff and Selena Gomez, by starring in the latest incarnation of A Cinderella Story, and this time it’s Christmas-themed. On the one hand, I am wondering how many different ways this premise can be recycled. I mean, it has already gone from a theatrical release movie (the first film with Hilary Duff) to a home media release (the second one with Selena Gomez). Given that that the story revolves around a girl being mistreated by her stepmother and step-siblings, you would think that there would be nothing new to add to that idea. Apparently that is not the case, as the film does a good job getting the audience prepared for the upcoming holiday season. Also starring Gregg Sulkin (Marvel’s The Runaways) as her love interest, the film is sweet and manages to entertain, despite not really breaking new ground.
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This is a movie that does not hold up with time. Just in time for the release of the reboot comes Charlie’s Angels starring Cameron Diaz, Drew Barrymore, and Lucy Liu. I remember being quite enamored with this movie, or maybe it was Drew Barrymore I was enamored with. It would explain why I watched Santa Clarita Diet. Anyhow, this is the 2003 sequel to the 2000 film adaptation starring the lovely woman mentioned above. This film is joined by Bernie Mac replacing Bill Murray as Bosley, and Demi Moore as the film’s big bad. After rescuing captured US Marshal I’m Mongolia, Natalie (Cameron Diaz), Dylan (Drew Barrymore), and Alex (Lucy Liu) are recruited by Charlie to recover titanium rings that have been stolen from the Justice Department. These rings contain the names of people in the Witness Protection Program. While thwarting the assassin of a witness, the mission gets personal when Natalie and Alex discover that their partner, Dylan, is actually a protected witness.
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Veronica Mars is truly a show with nine lives.  Since ending its initial run in 2007, the series has returned in the form of a movie, thanks to a record-breaking Kickstarter campaign. After the film, I expected that would be the end for everyone’s favorite sleuth. However, lo and behold, the series returns yet again with a eight-episode run courtesy of Hulu. I was very excited to hear of this return; I wasn’t completely satisfied with the way things ended in the movie. Sure, the resurrection of Love (the coupling of Logan and Veronica) was great, and I was glad to see that Logan made something of himself. The story just didn’t feel complete, especially with the way they left things with Weevil. Thankfully, the new season provided me with the answers I needed, though they were bittersweet.
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The folks over at Shout have done it again, finding a forgotten title and polishing it up for a nice Blu-ray under their Scream Factory release.  This time they have pulled out the 1998 western/horror mash-up that is John Carpenter’s Vampires.  It only seems fitting that a John Carpenter film gets covered for the 31 Nights of Terror, though this is definitely a title not many would expect to hear about.  When I say this film wouldn’t even crack my top five Carpenter films, it may at first seem like a jab, but you’ve got to remember John Carpenter has one of the most impressive bodies of work, not just for a horror director, but for a director, period.  Big Trouble in Little China, The Fog, The Thing,  They Live, The Assault on Precinct 13, In The Mouth of Madness, oh, and then there was that little film everyone forgets about, Halloween…and seriously, there are numerous other films I didn’t even mention.  I love the filmography Carpenter has given us, but I’m still hoping he’ll release at least one more classic before he hangs up his directing duties for good.
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If presented with the choice whether to see Ready or Not versus Satanic Panic, see Ready or Not. Their premises are relatively similar: a young woman at risk of being sacrificed by a satanic cult. However, their executions are vastly different, as the former has a better story and better comedic timing. Satanic Panic is a dark comedy that failed to get a chuckle out of me due to its stale execution, which was a pity, as I was expecting far more with familiar faces like Jerry O’Connell and Rebecca Romijn. The film delivers in the gore department, which makes it great candidate for 31 Nights of Terror, but is lackluster in the department of a horror comedy.
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