Posted in: No Huddle Reviews by Gino Sassani on July 14th, 2021
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? It's all inside jokes, and that's what most foreign comedies have felt like for me. There has recently been a very notable exception. Beate is an Italian film that you won't have to struggle to get. Oh, you might pretend you're not getting it. I guess I did. But is that a smile starting to find its way out of that stoic expression? You must have gotten a head start and begun viewing Beate, out from Corinth Films. Good for you.
Armida (Finocchiaro) works as a kind of foreman for a fashion lingerie designer in their small sewing shop. There have been rumors that the owner intends to lay them off and move the company to another country where she can use cheaper labor. Of course, this gets the ladies in a bit of an uproar. They don't want to lose their jobs, but that doesn't stop them from complaining to Armida about all of the shortcomings of their situation. The boss doesn't want them upset yet, because she has a big showing soon and wants them all to remain dedicated and on the job until after the show. But word gets out, and now the ladies don't know how they are going to make a living.
Posted in: Disc Reviews by Brent Lorentson on July 9th, 2021
“Bueller … Bueller …”
When it comes to the 80’s teen comedies, I think we can all agree John Hughes is the king, and I feel just about every kid who grew up during that time has a strong opinion on what the “BEST” John Hughes movie is. The Breakfast Club, Sixteen Candles, Weird Science, Ferris Bueller’s Day Off, and Planes, Trains and Automobiles are pretty much all classics that he wrote and directed, but that doesn’t count the numerous others that he just wrote. When I heard John Hughes died, it was a sad day, even though he hadn’t directed a film since 1991’s Curly Sue. I think we all were kind of holding out hope he’d be able to step back behind the camera one more time. As for my favorite film from Hughes, it’s without a doubt Ferris Bueller’s Day Off. This was a film for which I had a VHS copy I had that watched just about every time I was home sick from school or faking sick (this seemed to happen more often). The film is basically the cinematic equivalent to mac-n-cheese comfort food for me. I know I’m not in the minority when it comes to being able to quote this film at random, and perhaps I can possibly blame it for wanting to jump onto a parade float and serenade the masses with some classic tune. But the film does, oddly enough, hit me a little deeper than all that.
Posted in: Disc Reviews by Brent Lorentson on July 6th, 2021
I remember when The Golden Compass came to theaters. I know I saw it because I was a projectionist and had to screen the print, but for the life of me I couldn’t remember anything about the film. Perhaps that’s why that when I first heard about HBO doing a TV series adaption of the beloved book series His Dark Materials, I wasn’t all that thrilled. I’d never read the young adult series, and considering the amount of awful YA film and TV adaptations that have bombarded us for nearly two decades, it too played a role in squashing any excitement I might have had in different circumstances. I was definitely pessimistic about watching the , but when I finished Season 1, I was excited about where the next season would take us. I loved the characters, the daemons, and the worlds that the show took us to. Not since Stranger Things had I been more excited about a new series. Season 2’s can be a make-or-break for a lot of shows. Expectations have been made by the audience, and sometimes things just fall apart, but sometimes there is the rare occasion where Season 2 manages to only get better. I’m happy to say in the case of His Dark Materials, things definitely improve.
Season 1 left us off with a bit of a cliffhanger as we see Lyra (Dafne Keen) and Will (Amir Wilson) stepping through portals from their worlds, and we’re just not sure where they’ll end up. Well, the pair end up in a city called Cittagazze, a place where there are no adults. Only a few children are living in hiding in the town because of these wraithlike figures called Spectres that basically suck the “dust” or human life-force from adults. The set design for this new world is impressive, which is a good thing because a lot of time is spent at this location over the stretch of Season 2. Lyra’s daemon, Pan (voiced by Kit Conner) is still going through multiple changes and remains one of my favorite aspects of the show, though thankfully daemons are not in constant peril this season. Instead more focus is placed in the importance of Lyra and Will and how the pair fit into a prophecy that of course will impact the world and all its multiverses.
Posted in: Disc Reviews by Gino Sassani on July 1st, 2021
"We're 10 years in now. I was a little kid. I can barely remember the Night The Sky Fell, let alone what the world was like before. We still live behind walls, and the dead still have this world. And I think that with everything that went away, with everything we lost, with everyone we lost, some people think it can happen again. Some people think that what we have can't last. Some people can't believe. But I'm certain of our home city and our alliance with Portland, with the Civic Republic, and I'm certain what's ahead. We are monuments to the past, but everyone here, all of you, you are the future. We are the future. I'm sure of it."
There is life after death. For The Walking Dead that life has a pretty solid run. What started with a graphic novel turned into one of the most unique television shows in years. The series has now become a franchise. The original show has 10 seasons behind it. The first spin-off was Fear The Living Dead, which took us across the country to the West Coast and has now run six seasons of its own. The franchise has just recently branched out again. This time it's The Walking Dead: World Beyond, and it covers a different aspect of this post-zombie-apocalypse world. This time it's not so much a change in location, which it is, but a change in perspective. This time it's, in the words of my old late friend Conrad Brooks, for the kids.
Posted in: No Huddle Reviews by Gino Sassani on June 30th, 2021
"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.
Posted in: Disc Reviews by Brent Lorentson on June 29th, 2021
Long before super-hero films became the rage of American cinema, the Western was the original bread and butter that would draw in its audiences to flock to the silver screen. Hollywood cranked out so many Westerns I seriously doubt anyone knows just how many of these films were shot by the studios, not to mention the others that were re-cut with scenes inserted with new stock footage just to re-title a film and put it back out onto the screen. There are some directors that elevated the genre, John Ford, Howard Hawks, Clint Eastwood, Sam Peckinpah, and then there’s John Sturges who is mostly famous for helming The Magnificent Seven and The Great Escape. Sturges had a strong 30 year career directing and though he had a few misses when his films were good they were really good so when the offer came along to review one of his Westerns I hadn’t seen I was happy to jump aboard to review the Last Train From Gun Hill.
When Last Train From Gun Hill was made, Paramount studios had created a new style of film called Vista Vision, a flashy name and style to attract audiences to the cinemas. Basically it was 35 mm film shot horizontally, this was a method that would later be used in 70mm to create IMAX film. The quality of the picture when using the Vista Vision is incredible and it was pretty much the first thing I noticed while watching this films, the sweeping landscapes look more impressive and just about every shot looks fantastic here, cinematographer Charles Lang who had a successful run of films shooting for Billy Wilder does a incredible job with this smaller scaled western. Sure the Vista Vision may have been nothing more than a gimmick but the look of this film is what immediately jumps out at me and reminds me of what audiences are missing from movies shot on genuine film.
Posted in: No Huddle Reviews by Gino Sassani on June 25th, 2021
"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.
Posted in: Disc Reviews by Gino Sassani on June 18th, 2021
Just in time for the first days of shooting on the next and final Indiana Jones film, Paramount cashes in on the renewed interest with the long-awaited, at least from this reviewer, release of the first four films in the Indiana Jones franchise on UHD Blu-ray in full ultra high definition complete with HDR and Dolby Vision. OK, I lied about the long-awaited four films. Most of us have long-awaited two out of the first four films, but Paramount gets that. That's why the original Blu-ray release and again the 4K release doesn't give you the option yet to just pick the two you want. If you want Raiders Of The Lost Ark and Last Crusade in 4K, you're stuck with the other two. I'll take that deal, and you should, too. Here's why.
Harrison Ford was once the top selling actor in Hollywood. He owes this distinction in no small part to a couple of trilogies he did early in his career. While Star Wars might have been a chance for Ford to break out, Raiders of the Lost Ark and its sequels defined his abilities. Indiana Jones is the perfect hero. He’s strong, intelligent, and above all, moral. Unlike the stereotypical hero, Jones is also vulnerable, and at times flawed. Credit Steven Spielberg for the iconic stature Indy occupies today. Left to his own devices, George Lucas would have given us Tom Selleck as the cigarette-smoking, morally bankrupt Indiana Smith.
Posted in: Disc Reviews by Brent Lorentson on June 18th, 2021
Ever since the release of Godzilla in 2014, just the possibility of this film has been highly anticipated. The last time we got to see these two titans go head to head, it was in the 1963 version of Kong vs, Godzilla. Sure, it has some value as a campy romp, but you’ll have a difficult time convincing anyone that it was actually a good movie. No matter what fans may think of the new Monsterverse that we’ve gotten, I feel what can be agreed upon is that each of the films has given us an impressive look at these monsters, not just in their design, but in their fights. While I’m pretty open about my affection for these titans and how happy I am to see them finally get their due beyond the man-in-suit films (which of course I still enjoy and adore), it’s still no surprise to me that the weakest parts have always been the human aspect of the films. While I believe Peter Jackson’s King Kong may be the best of all the monster films by blending story, FX, and monster mayhem, Godzilla: King of the Monsters (2019) was quite simply a beautiful take of just monster mayhem, and it really amped up everyone’s expectations to finally get to see Kong and Godzilla finally do battle with a budget and FX that are deserving of them both.
Right from the start the film is setting it up that Godzilla is the “bad guy” while he destroys a tech facility in Florida called Apex Cybernetics. Is it a random attack, or is there something more sinister going on at the facility? Of course, something is rotten in Denmark there, but just what is going on we don’t get the full details on till much later. For fans seeing Godzilla as the villain isn’t anything new; he’s a force of nature that just enjoys destroying cities and getting into scraps with any giant monsters that get in his way. When we meet up with Kong, he’s pretty much the polar opposite. It’s been about 50 years later since his last romp on Skull Island, and he’s just trying to live his life and be happy. Apparently Skull Island has been destroyed, and Kong is really housed in a giant facility where he is under 24-hour watch. In this time he’s made himself a friend, Jia ( Kaylee Hottle), a girl with a hearing disability that has developed a sweet bond with the giant ape. For Hottle this is her first role, and as an actress with a real hearing disability, well, she’s impressive and does a great job as being the heart of this film. How she’s able interact with this giant CGI character and have it look so genuine is definitely what saves this film on the human side of things.
Posted in: No Huddle Reviews by Jeremy Butler on June 16th, 2021
“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, a world he knows next to nothing about because of his upbringing, but a world that he is determined to conquer. Rounding out the cast are Method Man, Mary J. Blige, and original cast member Naturi Naughton as Tasha St. Patrick.
