Posted in: Disc Reviews by Brent Lorentson on April 14th, 2020
The 19th century novel penned by Louisa May Alcott has been adapted in numerous forms since it was first published. Personally the 1994 film is my favorite, but this new film from Greta Gerwig is a welcomed adaption that shows that Gerwig is a talented force to keep an eye on. Little Women is one of those stories that have entertained me over the years, despite it being a story that appeals to a radically different demographic. Even in my teens when I first discovered the story, when I was obsessed with horror films and reading the newest King novel, when I was required to read the story for class, what started as a reluctant task I was doing for a grade, by the time I finished the book and watched the 1994 film in class, well, I found myself smitten with the March family. I was a bit cynical when it came to this new film. Even with it getting all the critical attention I was still hesitant. Really, if it wasn’t for the quarantine, I’m not sure if I ever would have given this film a chance. Despite my reluctance, I’m glad this film found its way into my hands. The most noticeable change that Gerwig has made to the film is by telling the story in a nonlinear fashion. For those who are not familiar with the story, this won’t be much of a problem, but in some ways I feel this kind of cheats the story out of some of its emotional moments, both good and bad. In deciding to tell the story this way, I do appreciate how Gerwig went ahead and gave the film a visual style to help the audience tell what is a flashback as compared to a more current moment. The moments where Jo (Saoirse Ronan) seems to be looking back, there is warmth in the visuals. With Jo taking the front-and-center role as she struggles with being a writer while juggling her relationship with her family, there are moments where we have to question how reliable she is with her dreams and memories. One of these moments that stands out involves her sister Beth (Eliza Scanlen) as she struggles with scarlet fever.
Let me just get out of the way that in my eyes Winona Ryder in the 1994 Little Women is the perfect Jo, but Saoirse Ronan does an admirable job with how she handles the role while injecting a bit of a modern twist on the character. Honestly, all the ladies in the cast gave wonderful performances while making the characters uniquely their own, but the performance I didn’t see coming was from Florence Pugh, who is simply captivating as Amy. 2019 was a pretty good year for Pugh between Midsommer and having Fighting With My Family, but it’s her performance in Little Women that made it clear this woman is a star in the making (we’ll be seeing her again soon in Black Widow). As for Emma Watson, it should come as no surprise that she is enchanting as Meg. Gerwig did a great job with casting the March sisters; the chemistry between them is one of the crucial pieces she got right. If anything, my only major complaint with the casting is Timothee Chalamet as Laurie. This is all a matter of preference, and though I understand how Laurie and Jo are very similar to the point where they even wear the same clothes, he’s almost too feminine, and it makes his transition later in the film feel more forced than something done out of genuine emotion. In previous films we’ve seen the character simply transition from a boy to a man, and in this version we just don’t see that. Really, all the male characters are anecdotal at best, which is fine, because it allows for more attention to be placed on the sisters.
Posted in: Disc Reviews by Gino Sassani on March 31st, 2020
"The First Order wins by making us think we're alone. We are not alone. Good people will fight if we lead them. Leia never gave up, and neither will we. We're gonna show them we're not afraid. What our mothers and fathers fought for, we will not let die. Not today. Today we make our last stand for the galaxy. For Leia. For everyone we lost. They've taken enough of us. Now we take the war to them."
It was 1978 when it all began. That's when George Lucas and a fairly unknown band of filmmakers and actors introduced us to that galaxy far, far away. We met characters like Han Solo and Princess Leia. We fell in love with droids named R2D2 and C3PO. We booed and hissed at the classic villainy of Darth Vader. And the hero of it all was a young farmer boy who pined for adventure on a backwater planet where nothing exciting ever happened. That's where we met Luke Skywalker, and for three films ending in 1983, we were treated to an epic adventure. This unknown band would become cultural icons, but it was all over after five years of space swashbuckling and good old good versus evil. At some point Lucas made it known that the first Star Wars film was actually the fourth film in a trilogy of trilogies. Star Wars would gain the tag A New Hope, followed by The Empire Strikes Back and Return Of The Jedi. Of course, while Lucas teased there was a prequel trilogy and a sequel trilogy, we were told not to get our hopes too high. But in the 1990's Lucas felt ambitious, and he delivered on that prequel trilogy with underwhelming result. Surely the rest of the story would remain untold.
Posted in: Disc Reviews by Gino Sassani on March 28th, 2020
"Nothing wrong with a good diversion."
As I write this review for the latest entry in the DC Animated Universe, the nation is going through a tough time. When terms like social distancing are becoming the norm, it's nice to know that there's stuff out there to help keep us from going stir crazy as we become more and more restricted to our homes. Box office films have been delayed, and some of the current films are being brought out sooner on home entertainment platforms to try to ease the isolation a little. While never slated for a theatrical release, one of the better titles to come out during this time is Warner Brothers' Superman: Red Son. It's a story that was told about 10 years ago in an animated film, but this one takes advantage of new technology and a multi-film story that has driven the last few years of animated feature releases. This isn't merely a retread, but something far closer to the original comics story and provides a rather thoughtful as well as entertaining diversion just when we might need it the most.
Posted in: Disc Reviews by Brent Lorentson on March 26th, 2020
For a while it was looking like 2019 was going to be a lackluster year for films, but once fall rolled around, we seemed to get bombarded with some quality award-worthy films. Aside from Once Upon a Time in Hollywood, nothing jumped out at me as Best Picture. Sure, Joker was great, and I had a great time with Uncut Gems, but when 1917 rolled around, this was the film that left me in awe. Sure, there have been some great war films over the years. Platoon and Apocalypse Now are great Vietnam films, Saving Private Ryan is definitely a contender as the best film about WWII. Really, it would have been difficult to say what’s the “best” war film out there …well, that is, until now. It’s a bold statement, and I know many will disagree with me, but after two screenings of 1917, I’m feeling pretty confident when I say this is the best and my favorite war film. What’s even more impressive is how 1917 manages to standout from the big blockbusters, sequels, and comic book films and stand alone as a film that can remind viewers about that magic that comes with seeing a movie on the big screen and in Dolby sound.
The film’s setup is relatively simple. Lance Corporal Blake (Dean-Charles Chapman) and Lance Corporal Schofield (George MacKay) are tasked with the mission to cross into enemy territory to deliver a message to prevent an attack that will lead 1,600 men into a trap. The pair must complete their mission before daybreak the next day; failure will pretty much mean certain death for Blake’s brother and most of the troops. No time is wasted in getting the story in motion, and once the two men set off on their journey, the film simply doesn’t slow down. The film takes us along their journey from deep into the trenches, to across a blood-soaked, corpse-riddled battlefield, to booby trapped dugouts, and cities in ruin from the war. I couldn’t help but think to myself the second time around how the journey of Blake and Schofield isn’t all that different from the journey the Frodo and Sam took on their adventure to destroy the ring by taking it to Mordor, only the distinct difference is 1917 is set during WWI.
Posted in: Disc Reviews by Jeremy Butler on March 26th, 2020
“This is a vile waste of taxpayer dollars.”
Will Smith and Tom Holland team up for an animated spy movie; talk about a draw for the crowd. This premise alone was enough to get me and my daughter drawn into the movie. Of course there is a bit more to it, as it also involves Will Smith’s character being accidentally turned into a pigeon. An interesting twist of fate, but honestly, I think it would have been great if it just stayed a straight spy film, without the pigeon addition. Not to say that the film wasn’t still a success with this addition, because as it is the film tackles a very critical subject matter: the use of violence. Who said that a feature film can’t impart an important life lesson, especially with a younger audience? Granted, I did have to spell it out a bit for my daughter, but she’s eight; what are you gonna do? In addition to Smith and Holland, who is making a name for himself in the world of voiceover animation, the cast is rounded out with familiar faces, or should I say voices, such as Ben Mendelsohn, Karen Gillan, Rashida Jones, Reba McEntire, and DJ Khaled.
Posted in: Disc Reviews by Brent Lorentson on March 25th, 2020
It’s hard to believe as a cinephile that Terrence Malick isn’t a more celebrated director. Sure, he has his fans, but his films virtually never translate to box office success, which is a bit of a shame. His past few films have managed to sneak into movie houses and disappear with little to no fanfare. Honestly, I was a bit surprised to realize how many films Malick has managed to release since the release of The Tree of Life. I understand how most will look at his films and say they are “pretentious” or even “boring”. To be fair, his films are not for everyone, but the one thing I think anyone can take away from his films is that they are each visually stunning. Malick doesn’t simply make your typical tent pole adventure film. Instead they all have a tendency to be contemplative and have a more spiritual or philosophical message. When it comes to A Hidden Life, he delivers just that, and while I’d consider labeling this one of his better films, its nearly-three-hour running time has this film feeling as though it’s overstayed its welcome.
A Hidden Life follows Franz Jagerstatter (August Diehl), an Austrian farmer who is called upon to fight with the Nazis in World War 2. We get to go along with Franz as he goes into training to be a soldier, but quickly we see how he wants to be no part of it; he’d rather be back at home on his farm with his wife and three kids. It doesn’t take long at all to get that Franz is a good guy who holds firmly to his beliefs, but is he willing to make the sacrifice of remaining true to himself and his nature by continuing to refuse to fight and not pledge loyalty to Hitler? Franz understands the consequences of his actions, and the film follows Franz and his family as it stretches over four years till he is finally faced with the ultimate decision of life or death. The plot is so simple, but Malick isn’t trying to tell a compelling story but rather film the experience of making such a difficult decision. We see the pain and turmoil that Franz and his family endures over the years, from Franz and his physical and emotional confrontations with Nazi officers at the prison, to the struggles Fani (Valerie Pachner) encounters at the farmhouse.
Posted in: No Huddle Reviews by Jeremy Butler on March 25th, 2020
“Welcome back to Jumanji!”
It would seem that welcoming the audience back to the jungle is in order. Now here is a sequel that when I heard it was being made, all I could do was shake my head. I just couldn’t fathom a reason for a sequel to be made. The film was already a continuation of the previous installment. I also couldn’t fathom a worthwhile story being told. And if it wasn’t for the hard work of Jack Black, who basically made the movie, I believe that my opinion would not have been changed otherwise. After barely escaping the game the first time, the group finds themselves drawn back into the world of Jumanji in order to save one of their own. However, the stakes are higher, as not only is the gang venturing into brand new territory; they are hampered due to being saddled with two new players in the form of franchise newcomers Danny DeVito and Danny Glover. The previews did not do the film justice, as it truly turned out to be far better than I was initially anticipating. It does get a bit long-winded, but for the most part it is a good, fun, and funny return to the established universe.
Posted in: Disc Reviews by Gino Sassani on March 19th, 2020
"There's a bomb in Centennial Park. You have thirty minutes."
Clint Eastwood is about to hit 90, and there are no signs that it's slowing him down. Last year he even returned to the front of the camera for The Mule. Now he's back as just the director, and it appears that Eastwood has found two of his favorite subjects in one film. He's always been attracted to the isolated man. If you look back at the men he himself has portrayed over the years, they were misunderstood loners. In recent years he has taken a bit of a shine to telling true stories that usually deal with unlikely heroes who are thrust into a dangerous situation and must act. Heroes like Chris Kyle in American Sniper, airline captain Chesley Sullenberger, the WWII heroes who raised the iconic flag at Iwo Jima in Flags Of Our Fathers, and the brave ordinary tourist who stopped a terrorist attack on a passenger train in The 15:17 To Paris. These heroes always pay a price for their actions, and often they are even persecuted for what they've done, as in the case of Sully. Eastwood has combined that true story and unlikely hero for his latest work, Richard Jewell. It's a cautionary tale that is worth watching, particularly in an age where we are constantly told that if we see something, we must say something. After watching Richard Jewell, you might just experience a potentially catastrophic hesitation. And who could blame you?
Posted in: No Huddle Reviews by Jeremy Butler on March 17th, 2020
Bombshell is a dramatization of the real-life scandal that occurred at broadcast news giant Fox News in 2016, where multiple women came forward to report incidents of sexual harassment, many of which involving the chairman and CEO of the company, Roger Ailes. This is an event that I’m sure everyone had some awareness of back then, and if you didn’t, you know about the events involving Weinstein. In regards to this film, it is told from the prospective of three women who were employed at Fox News: Megyn Kelly, played by Charlize Theron, Gretchen Carlson, played by Nicole Kidman, and Kayla Pospisil, played by Margot Robbie. Unlike Theron’s and Kidman’s characters, Robbie’s character is actually a composite character based on accounts of multiple women. In addition to these talented women, this film has someone recognizable names that it would take me the length of this entire review for me to record them all, but I will give you a few of the most prominent cast members: John Lithgow, who portrayed Ailes, Malcolm McDowell as Rupert Murdoch, and Kate McKinnon, who played a friend and confidant to Robbie’s character. The list literally does go on and on. I can honestly say that I did not expect to see so many recognizable faces, but I suppose that speaks to the cultural relevance of this movie, as it tackles the idea of sexual harassment in the workplace and the pressures that victims find themselves under, as well as the potential ramifications of reporting it, no matter how tragic it may be that they face such consequences in the first place.
One of the things I really liked about this movie is the multiple layers, as it displays three women, all of whom face this issue and struggle to figure out how to handle the situation and how to cope afterwards. Theron’s character finds herself between a rock and a hard place. Despite having to ward off Ailes’ advances early in her career, she has managed to thrive at the network, and when the allegations come to light, she’s put under immense pressure by the network to defend the chairman. All of this coming not long after another public battle with the then presidential candidate Donald Trump. After barely surviving that very public ordeal where she found her private life brought into the public view, she wants nothing more than to stay out of the matter. Theron does a good job of humanizing Kelly, despite her initial inaction, and actually becomes the character who propels the story as she goes on her own search for the truth.
Posted in: Disc Reviews by Gino Sassani on March 13th, 2020
"Who are we if we can't protect them? We have to protect them."
As I write this there's a truly "Zombie Apocalypse" attitude going on around the world. With the launch of A Quiet Place II delayed because of health panic this might just be the time to "quarantine" yourself in your home theatre and watch the film again on UHD Blu-ray in 4K. There's nothing different about this release except for the steelbook format and different cover art. The discs provided are exactly the same discs you already have if you own the previous 4K release. It makes a nice collector's item as you wait for the eventual follow-up, which I hope will be very soon. You might call me jaded, but I am pretty disappointed by the state of horror movies. It's not just the last few years. The truth is I haven't seen 10 really good horror movies in over a decade. Now that I've had a chance to see A Quiet Place, that number isn't going up. A Quiet Place is not a really good horror movie. It ends up making a lot of the same mistakes that filmmakers think define a horror film in the modern age. It relies too heavily on jump scares and characters who do some of the most idiotic things, thus placing them in a somewhat self-created dangerous situation. But I will make the argument that A Quiet Place is still a pretty good horror film because of a rather clever and unique concept and a filming process that allows us care for these characters more than the usual horror film red-shirt fodder that too often leaves me rooting for the monster in a Darwin-like weed-out-the-gene-pool kind of way.
