Posted in: Disc Reviews by Gino Sassani on December 20th, 2019
Downton Abbey spent six years on television and has amassed 52 episodes. In that relatively short run the series has also managed to collect over 200 award nominations and several Golden Globes along with other prestigious awards. Let's not forget a rather loyal fan-base that has watched each episode with anticipation of the next sharp barb or character revelation. The fans have been vocal and strong enough that a new film franchise has been anticipated to fill the void left by the series. In one of its years it was the number-one binged series in the world. That's a lot of power, and it's little wonder that all of these ingredients are expected to create a little box office gold. But film franchises from television shows rarely go on to such golden heights. There are some notable exceptions, to be sure. But even here, expectations and changing caretakers often lead to both high points and flops. The Star Trek franchise is a perfect example of those kinds of ups and downs. Mission Impossible is an example of shows that have to be completely retooled to hit the high numbers. Where will Downton Abbey fit in this equation? I rather suspect the jury is still out. One thing I can tell you with complete confidence: the film will absolutely entertain fans of the series. There's no retooling to be found here, and you can expect the same kind of drama that you've been mainlining for 52 episodes.
Posted in: No Huddle Reviews by Gino Sassani on December 17th, 2019
"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.
Posted in: Disc Reviews by Brent Lorentson on December 17th, 2019
When it comes to Quentin Tarantino’s ninth feature film, Once Upon A Time in Hollywood, while it may be the most personal film that QT has put out, for some fans this may be his hardest to embrace. For many fans, when they think of a Tarantino film the go-to titles are Pulp Fiction and Kill Bill, and there is nothing wrong with that, but if you’re going into this film with expectations for it to resemble those films, well, you’re going to be disappointed. Instead what Tarantino delivers this time around is something more ambitious; while it may not be heavy on plot, what it thrives on is character and its ability to take us back in time to Hollywood in 1969 as it was closing in on the end of an era. Other fans may be coming into this film expecting this to be a story that delves into Charles Manson and his followers because of the film having Sharon Tate in it; well, again, this is something where you need to put expectations aside and allow Tarantino to let his story unfold for you, because as expected, he takes this film into an unexpected direction.
Posted in: No Huddle Reviews by Jeremy Butler on December 17th, 2019
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.
Posted in: Disc Reviews by Brent Lorentson on December 12th, 2019
“This meeting of the Losers’ Club has officially begun.”
I don’t think I’d be exaggerating by saying It Chapter 2 might be the most highly anticipated horror film in quite some time. Two years ago when the first It hit the cinemas, sure, I expected it to be a hit, but the film went on to be a pop culture sensation. Pennywise was already well known because of the books by Stephen King, but also because of the loyal fan base of the 90’s mini-series. Debates were heated about which Pennywise was better and more terrifying, while other debates went on about which adaptation was better. I always felt it was unfair to compare this new version to the mini-series simply because we only had half a film, and now finally this weekend we have the conclusion to the story about our favorite Losers’ Club, only instead of teenagers they are all grown up. Now that the wait is over, how does this film stack up alongside the first half and the mini-series? Well, I’ll say it’s better than the mini-series but doesn’t quite have the magic of the 2017 film.
Posted in: Disc Reviews by Gino Sassani on December 10th, 2019
IMAX films are the perfect source material to show off the capabilities of the UHD Blu-ray/4K format. Most of the films we watch in theaters today have been shot around 2.8 K and mastered at just 2K. A 35mm film actually shot on film has a native resolution of 4K. The IMAX film format uses 65mm and 70mm film that increases its native resolution well beyond our 4K televisions and players. They are relatively short and have a ton of bandwidth to deliver the best possible image and audio. Shout Factory discovered this as soon as the format was launched, and Upcomingdiscs was there to check them out. The titles have slowed down in the last year, but they haven't stopped. And just in time for Christmas, you can take a journey down under to visit with beautiful sea turtles in Shout's new IMAX masterpiece, Turtle Odyssey.
Posted in: No Huddle Reviews by Brent Lorentson on December 10th, 2019
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.
Posted in: Disc Reviews by Gino Sassani on December 6th, 2019
"This is a story about control. My control. Control over what I say. Control about what I do."
Hustlers tells the "true" story of a team of strippers who found a way to turn the tables on their Wall Street clients and is based on a New York Magazine article by Jessica Pressler. It promises a pretty good time. I mean, think about it. Wall Street is the stuff of mustache-twirling villains these days. Brokers might have dropped beneath ambulance-chasing lawyers and used car salesmen as the people we love to hate. Throw in some strippers and a clever con that happens to target these modern bad guys, and it sounds like the kind of romp that has something in it for everybody. Well ... maybe not the Wall Street guys who go to the movies, you might say. Did I mention it's got strippers? At first blush the film reminds me a little too much of Paul Verhoeven's infamous Showgirls. The problem is that the schlock value of that film has allowed it to find its place in film history, and so it has survived in all its badness. Will the same be true of Hustlers? Or will it quickly vanish into a sea of obscurity before another couple of years are over? I have to say that I suspect it's the latter. By this time next year, you'll be asking a friend what the name of that stripper film with Jennifer Lopez was last year. Let me know if anyone remembers, won't you?
Posted in: Disc Reviews by Brent Lorentson on December 4th, 2019
When a film comes along directed by Richard Linklater, I’m always going to have a little interest in what he’s up to. He’s one of those directors I’ve followed from the 90’s that every few years he cranks out a film that I can’t help but enjoy. Dazed and Confused, his Before Sunrise series, Boyhood, Everybody Wants Some!!, School of Rock, and several other of his films are proof enough that he has a solid filmography, but he’s never quite been the guy to make a splash at the box office. Because of his track record, I’m a bit surprised to see his new film Where’d You Go, Bernadette managed to squeeze into the tail end of the summer when the trailers would have me thinking this could be an awards-caliber film. Well, as it turns out, the film is a swing and a miss. While I still enjoyed the film, it’s a bit frustrating, because this film seems like it’s so close to being something great, but it just manages to disappoint throughout.
Posted in: Disc Reviews by Brent Lorentson on December 1st, 2019
For some the ‘haunted house’ sub-genre is a bit stale. Sure, there have been some great films and TV shows that have tackled the sub-genre, but many of the films tend to be recycled trash. Personally I’m a fan of haunted house flicks, even the bad ones I tend to find at least somewhat enjoyable. Mary may not fall into the classic definition of the haunted house film, mostly because it takes place on a yacht and in the Atlantic Ocean, but really it plays by the same rules. Seeing a familiar story unfold in a different location, where the characters have no place to run to, is enough to inject new life into a stale story, but is it enough to keep viewers engaged to the very end? Mary is a ship that that David (Gary Oldman) finds at a boat auction and ends up purchasing with hopes of turning it into a vacation sailboat his family can use to run a business with. To say Mary is a “fixer-upper” would be the understatement of the decade, as it seems to be falling apart from the inside out. We’ve seen it before, where the protagonist finds some busted-up car, bike, boat, etc., and what follows is the required montage of the protagonist fixing up the boat. Well, the film of course delivers the montage, but as montages go this one is lame … It’s as though the filmmakers never saw a film in the 80’s ( a time when every film seemed to have a montage cued by some 80’s pop or rock song). It doesn’t take long before his family suspects that there could be something wrong with the boat.
