Disc Type

“The countless lives we lost in the War Of '96 did not perish in vain. They inspire us to rise from the ashes as one people of one world. For 20 years the world has seen no armed conflict. Nations have put their petty differences aside. United, we rebuilt our families, our cities and our lives. The fusion of human and alien technology not only enabled us to defy gravity and travel at unimaginable speeds. It also made our planet finally safe again."

Not so fast there, cowboy. There would be no need for a sequel to the 1996 hit film Independence Day if the big bad aliens weren't coming back. Unfortunately, the aliens made the same mistake that Dean Devlin and Roland Emerich made with the film's sequel. They both waited too long.

First Impressions: a poor man’s Marley and Me. Final Impressions: a poor man’s Marley and Me. So from beginning to end my impression of the film did not change, but that doesn’t necessarily have to be a bad thing. In fact, that is exactly the case for Who Gets the Dog, a heartwarming tale about a poor dog caught in the middle of a divorce of a couple that see him as their child rather than property. Ryan Kwanten and Alicia Silverstone headline the cast of this story but without question the real star is Wesley, our beloved pooch. A wholesome experience can serve as a date movie or film for the whole clan.

Olive Greene and Clay Lonnergan are polar opposites; she is neat, organized with an established career while Clay is spontaneous, fun loving, and waiting for the opportunity to be called up from his minor league hockey team to the majors. Their marriage was an unlikely one to start with and takes no one by surprise when they decide split. For the most part, they handled everything amicably, dividing their shared property fairly and to both their satisfaction. That is until they realize that they both want custody of Wesley, their beloved Labrador; that’s when the gloves come off.

Yet another indie horror flick has come through the Upcoming Discs hub. Although, I wouldn’t necessarily categorize The Midnight Swim into the horror genre: it’s more of a dramatic mystery. That is not to say that the film did not have any unnerving moments, but the priority of the storytelling was to study the three main characters. In an effort to capture three very different personalities while simultaneously providing a lingering suspense, The Midnight Swim created a tension that resolved to my satisfaction. Ultimately, the film favored its character study more than it did its mystery, which hurt my enjoyment as a result.

Presented as a documentary-style “family archiving” activity, the film follows three sisters as they journey back to their childhood home after their mom has died in a diving accident. Annie (Jennifer Lafleur), the oldest, is portrayed as the most levelheaded sister, with hints of estrangement from her mother. Isa (Aleksa Palladino), the middle child, provides the film with an emotional free spirit and the most positivity through their trip. Finally, June (Lindsay Burdge), the “family archivist,” operates the camera and is the youngest and shyest of the three. As June films this vacation, the daughters begin to discover the mysteries of the lake that took their mother’s life.

Frank Sinatra is a man of many talents, although I had never really paid much attention to his acting, as I had never actually seen him outside a musical. Anchors Aweigh and On the Town are among my favorite musicals. That being said, I have never watched a film where I have been fully attentive to Sinatra’s talents as an actor. While Suddenly has other big names like James Gleason and Sterling Hayden, I was surprised that the entire film had an incredibly rocky start without Sinatra’s presence in the first twenty minutes.

In the small town of Suddenly, the sheriff (Hayden) is contacted by the secret service, alerting him that the President of the United States will be making a brief stop in town, as a way to bypass the crowds of a larger city. The President is arriving by train, so the Sheriff is instructed to clear all the shop owners and home owners within the proximity of the train station. One home owner (Gleason) used to be a high-ranking secret service agent, so he is permitted to stay with his daughter and grandson. Eventually, a group of gangsters posing as FBI agents (led by Sinatra), show up to use the house’s location to assassinate the president.

Everyone is afraid of the dark…and that’s what she feeds on.”

Despite rumors to the contrary, I am a full-grown adult. That means I can’t in good conscience admit to being afraid of the dark. The most I’ll concede is a sense of uneasiness if I’m in a dark space because I might bump into something. And if I hear a strange noise in the middle of the night, my mind might start creating sinister shapes out of shadows. (Hold on…am I afraid of the dark?!) Either way, that primal and unshakable fear of what could be hiding just out of sight is what powers Lights Out, one of the leaner, nimbler, and flat-out most enjoyable low-budget horror flicks in recent years.

The third release of the Vestron Video Collector’s Series that Lionsgate has decided to put out isn’t just one film but two, Waxwork and its sequel Waxwork 2: Lost in Time.  If you think just because it’s a two-for-one release that they may have taken the lazy route on handling the transfers and features, well, I can happily say that you’d be wrong.  If you like campy horror, especially the kind that existed during the late 80’s on into the early 90’s, then this is the kind of double-feature set you’ll have a blast with.  It doesn’t hurt, either, that it’s being released just in time to be enjoyed for those of you looking to put together some horror movie marathons during the Halloween season.

Waxwork

You know, I miss James Gandolfini. I know that HBO misses him as well. When The Sopranos finished, Gandolfini signed a development deal with HBO. He would not only work in front of the camera but help find and produce material for the network. We all know what happened next. Gandolfini passed suddenly, just when it seems he was breaking out of his Tony Soprano typecast, and one gets the feeling that he was going to do great things. One solid indication of that promise comes in the HBO series The Night Of... which was one of those passion projects that the man never got to see through. It's one of the best things to come out of HBO in a few years, and that is saying something when you consider the strong programming that can be found there now. Game Of Thrones is a great show. The Night Of..., well... that's something special all to its own.

It all starts out with our introduction to Nasir "Naz" Kahn, played by Riz Ahmed. He's a straight-A college student from a solid working class Pakistani family. His family is Muslim and very conservative. He tutors basketball players but otherwise keeps to himself. He doesn't date, do drugs, or pretty much anything else fun. That is until he's invited to a team party and he wants to let loose just a little bit. He sneaks out of the house and borrows the taxi that his father owns with two other partners when he's stood up by his friend for a ride. The problem is that he does not know how to turn off the "On Duty" sign, and a young, troubled girl gets into his back seat. Andrea, played by Sofia Black-D'Elia, strikes a chord with Naz, and instead of making her leave the cab he drives her around and finally takes her home. What starts as a bizarre encounter ends up changing his life forever. Naz wakes to find that Andrea has been murdered savagely in her bed. What he does next is begin a chain of events that will ultimately lead to him virtually framing himself for her murder.

Most villains on earth are those who believe that they are the good guys. She Who Must Burn proves that in spades when a local preacher wages war against a woman’s counselor for Planned Parenthood (not called that during the film, but that is the best way to describe it). This is another welcomed addition to the 31 Nights of Terror, again featuring human evil rather than supernatural evil, which in my opinion makes it even more terrifying, because it could easily go from a fiction to reality.

In a mining town plagued by stillborn children and cancer, Angela is a women’s counselor for a local clinic. In wake of the murder of two doctors at the clinic she works at by a religious fanatic, the state decides to stop funding for the facility. Angela decides to remain in the town in spite of the decision, in order to help those in need. She is met with contempt from many of the townsfolk who view her profession as a sin and want to drive her out of town.

"The universe, a vast expanse of space and matter. It includes all that we see and all that we know. Since the beginning of time, we have wondered how it all came to be. A gloriously orchestrated plan? A chance series of events? Or something much, much dumber?"

Space really is the final frontier. It's where they send tired franchises to die. They sent Jason and Pinhead to space. They sent the Three Stooges into orbit. Abbott & Costello ended up in space. They even sent Machete into space. It's the filmatic version of jumping the shark. In Ice Age: Collision Course they send lovable Scrat into space. Maybe it's time to put this beloved animated franchise on ice for a little while. It's clear they've pretty much run out of ideas, and the box office is the proof in the pudding. What the heck does that mean, anyway? And this is from a reviewer who has been rather fond and kind to the Ice Age films up to this point. Need more proof for that pudding? Bang it Here for past Ice Age reviews.

I can’t be the only one who misses seeing Mel Gibson in a tent pole movie for the studio every year.  Sure, he said some rotten things, but does it matter what he does in his personal life?  The man still is a great actor and an even better director.  Hollywood has always been forgiving of its talent; it’s a system that seems to enjoy seeing talent make a comeback and do some amazing work.  What it seems is that sometimes we forget that these icons on the screen are human, and they make mistakes and do stupid things and they have to own these experiences for the rest of their lives in the spotlight.  I bring this up simply because when you look back at Mel Gibson and his downfall, Blood Father seems in many ways a reflection of the past decade for Gibson, minus the body count, of course. Rather than just roll over and phone in some roles like many of his contemporaries have, Gibson has been finding roles that continue to remind me why audiences connected so much to his work.

John Link (Gibson) is an ex-con and also a recovering alcoholic who struggles every day to make up for his past mistakes.  He’s lost his wife and hasn’t seen his kid in years; he manages to get by running a tattoo shop out of the trailer he also lives in.  He’s living on hard times but owns up to his mistakes and is working towards the day he can be forgiven for those mistakes.  His sponsor, Kirby (William H. Macy), is pretty much his only friend and does what he can to keep John on the right path, but things get more than a little complicated when John hears from his daughter, and she is asking for help.