Disc Type

When it comes to vampire films, I’m not so much a fan of the romanticized fantasy depiction that we see in Ann Rice novels.  Personally, I like my monsters to be grounded in reality; films like Near Dark and Let Me In seem to have a more vicious bite to them. Why do I prefer these darker and more grim depictions? Well, I believe if vampires have had to kill to survive, whether it be for a month or generations, they should be handled as some scary bad guys, not pretty, sparkly, cuddle-bunnies.  When an indie film comes along like Aaron’s Blood and it decides to go the more ground with reality horror route, it gives me hope, and it’s something I’m actually looking forward to seeing. But does the film deliver the goods?

Aaron’s Blood isn’t really about Aaron’s blood in a literal sense, but instead it is about his son Tate (Trevor Stovall), a young boy who happens to be a hemophiliac. Aaron (James Martinez) is the dutiful single father who is struggling to take care of his son after the pair lose their wife/mother nearly a year before. At school Tate seems to be the target of violence from the school bully. It’s one of their interactions that sends Tate to the hospital, and by the time Aaron arrives to see his son, he’s already been moved to the ICU.  Following a chance meeting with a priest, Tate seems to be making a recovery, but we quickly see he’s making a transition into something else.

One of the reasons that I love reviewing movies is that it allows me the opportunity to see things that I wouldn’t normally watch. In most cases, it is a film that has been newly released, whether it be a theatrical release or a straight-to-DVD release. However, in other cases it is an older film that is being re-released. Such is the case for Cheech and Chong’s Next Movie. Though I have never seen any of the films, the names Cheech and Chong are synonymous with stoner comedy. Ideally, I would have liked to have seen the first film before diving into the middle of the franchise. Fortunately for me, I’ve been informed that there is no specific tie-in linking the films together, making it relatively easy to follow the storyline. It was only when I was introduced to space cocaine that things became a bit confusing.

The adventures continue with Cheech and Chong, although Cheech’s cousin Red books more screen time this time around than Cheech, as he and Chong find trouble at every pass. Whether it be at a brothel or in the far reaches of other space, these two are dangerous when they are together and even worse when they are apart. Such is the case for this story, as Chong is left on his own with Cheech’s relatives while Cheech tries to secure some alone time with his lady.

Weddings: outside of the picture-perfect day that is typically presented in television and movies, most of us understand the untold anxiety placed upon a bride and groom when families and friends amalgamate. Granted, some films depict this phenomenon accurately, but never solely focused on said anxieties properly. The Wedding Party is an independent feature written and directed by Thane Economou, and it showcases these anxieties up front and films them brilliantly, as the entire film is shot in one continuous take.

The story revolves around the complexities and confusion among the members of Paul and Margene’s wedding party. Paul constantly disappears throughout the night, Margene’s sister downs seven Xanax, Paul’s half-brother can’t let go of the bride’s ring, and the ones left over are whirling in a storm of anger and sex. However, two of the party members, Jim and Alex, come to represent the true “main characters” of the film. When Margene’s sister doses out of her duties as the wedding planner, Alex must take over, recruiting Jim to help. As the night progresses, the two reignite the crush they had in high school and navigate through their own anxieties and doubts.

Catholic priests are used to hearing confessions, but for one particular pastor in Chicago, the usual confessions about using the Lord's name in vain or stealing a couple of paperclips from the office just weren't exciting enough. Father Dowling loved reading mystery books, and it appears to have sharpened his own powers of observation and deduction. As luck would have it, crimes and mysteries would simply fall into his lap. With the help of Sister Stephanie, better known as Sister Steve, he would step away from his pastoral duties to track down clues that were elusive to the Chicago Police Department. You might just say he was the answer to their prayers. All the while he would attempt to keep the financially strapped Saint Michael's parish on solid footing.

Tom Bosley was the perfect choice to play the lead character here. America had already adopted him as the television father of an entire generation with his role as Richie Cunningham's father on the hit series Happy Days. He has a quiet and soothing demeanor that is quite suited to a man of the cloth. He had such a gentle way about him that he actually reminded me somewhat of my own childhood pastor and friend. The cast also included the granddaughter of famed 1950's television couple Ozzie and Harriet Nelson and the daughter of their teen-idol singer son Ricky Nelson. Tracy Nelson adds the more manic pep counterpoint to Bosley's more easygoing nature. Sister Steve was once a street-wise juvenile delinquent until Father Dowling turned her life around and she became a nun. She was often found rushing headlong into dangerous situations and appeared to be able to score jobs at crucial businesses without any effort or interview. The Father and Sister persona also allowed them to gain the trust of those holding information they might need. Like Columbo, they made a career out of being underestimated.

When it comes to Dr. Hunter S. Thompson, I view the man as an American legend and the ambassador of the sixties and the seventies. He was the voice for those who were misfits to society, and he was a nightmare for the establishment. Many people watched Fear and Loathing and Las Vegas and formed their opinion of him, thinking he was just a drug-consuming madman who somehow managed to get a gig as a writer for Rolling Stone magazine. Though there are glimpses of truth in this character, it was more a fictional creation named Raul Duke that Thompson created to tell his narrative. Where the Buffalo Roam I had hoped would be a film much closer to the real-life Thompson, but instead it seems to be more about the character of Duke as well.  Shout Factory has dusted off this title from 1980 and delivers a gem with Bill Murray staring as Hunter S. Thompson. How is the film? Where does it take us? Hop into the back seat,and we’ll go on this weird journey together.

As the film opens, we meet Thompson as he is hard at work trying to meet a deadline with his latest article. With his trademark cigarette holder clinched between his teeth, he pours himself a glass of Wild Turkey and begins to scream manically, shooting his pistol around the room. The film wastes no time getting us into the head space of Thompson as we watch him work out some of his issues while talking with his dog as well as an effigy of President Nixon. Clearly he’s a man tormented by personal demons as well as numerous substances that are legal as well as many that are not.