Posted in: Disc Reviews by Gino Sassani on August 9th, 2016
"Everything just feels so out of control. I don't remember who I am. Who I was. Whatever life I had is gone. Shattered into a million tiny pieces. Sometimes it's hard to breathe."
I have to credit Blindspot's creator Martin Gero with providing one of the more memorable moments on television with the opening minutes of the series. Unfortunately, by the time we saw the pilot that image was already ruined by the countless spots used to promote the show's premiere. We see a police officer in Times Square approach a bag with a sign on it that asks the FBI be alerted. The cop approaches the bag a bit frightened it might be a bomb and blow up on him at any time. It could have been a nice iconic moment when he opens the bag to reveal a naked woman who is covered with tattoos. She is shivering as the camera pulls back to reveal the emptied Times Square. A wonderful moment that we already saw a thousand times before the pilot aired. NBC just couldn't help themselves, and they denied us that experience in context of the series premiere.
Posted in: Disc Reviews by Brent Lorentson on August 1st, 2016
Don’t let the artwork scare you off. Yes, the cover design for this disc may be the worst I’ve seen this year, but the movie actually isn’t half bad. John Travolta has hit a bump in his career, and it seems the big blockbuster projects just don’t seem to want to reach out to him. Sure, he has a habit of going over the top in roles, but for the most part he’s still one of the few personalities I still enjoy seeing on the screen who’s been around since before I was a kid. Then you’ve got Chuck Russell (Nightmare on Elm Street: The Dream Warriors and The Blob remake) dusting off his director’s chair to helm a film again, and, well, I Am Wrath quickly starts to become a film I can be excited about.
I Am Wrath makes a very conscious decision to open the film with images of violent acts caught on security cameras. Lately you can’t even watch the news without hearing about a shooting or some sort of violent attack that has been caught on film. Though it’s an effective way to start the film, the problem is it doesn’t really tie into the rest of the film except to point out from the beginning that there is a lot of violence occurring in the world. So if you were worried or hoping for some sort of social commentary, well, that isn’t here. Instead what we’ve got here is a by the numbers revenge film. It’s nothing to complain about, but if you were hoping for a story with a little more meat, sorry, but this comes up short in that department.
Posted in: No Huddle Reviews by J C on July 25th, 2016
“You talk dreams to those kids, you better follow through.”
There's a (not-so) grand cinematic tradition of white knights riding into rough neighborhoods and inspiring the disadvantaged kids who are seemingly stuck there. We've seen this plot applied in everything from Hardball and McFarland USA to Sister Act 2. (Hey...no one said the white knight *has* to be white). For the most part, these movies are as formulaic as they are enjoyable. So one of the many wonderful things about New Zealand chess drama The Dark Horse is that its white knight hero is a complex, damaged, well-meaning figure who's actually in worse shape than the kids he's trying to help.
Posted in: No Huddle Reviews by J C on July 19th, 2016
“I remember…”
On the surface, there's nothing particularly remarkable about Paul Dedalus, the French anthropologist at the center of My Golden Days. As he prepares to return to France after an extended work stint in Tajikstan, Paul reflects on a trio of key moments from his childhood and young adulthood. Much of what Paul recalls — the death of a parent, his first love, and the aching of a long-distance relationship — is completely relatable. Yet filmmaker Arnaud Desplechin aims to present Paul's life as the most romantic, tragic story ever told.
Posted in: Disc Reviews by Brent Lorentson on July 15th, 2016
Ever since writer/director Jeremy Saulnier came out with his gripping revenge film Blue Ruin, fans have been patiently waiting to see what he’d do next. If you have not had the chance to see Blue Ruin and you are a fan of the revenge genre, it’s a film that is certainly a must see and is one of the few films that lives up to the hype that surrounds it. The problem with doing such a strong and powerful film so early in your career is that expectations seem to just skyrocket, and it seems there is just no way you can make everyone happy. As a fan first and critic second, I know I’ve been guilty of doing this in the past, and it’s almost impossible to not get excited, and at the screening for this film, I know I was not the only one with high expectations.
On top of the high expectations, the group I viewed the film with was restless after having the film delayed as well, so this only seems to be another strike against the film before it’s even had a chance to play. I mention all this for the simple reason that this film reminded me of the importance of shutting out all expectations and simply letting the film stand on its own merit. This is important because I feel Saulnier knew the expectations he had, and instead of playing it safe, he did something that very few filmmakers are willing to do anymore; he simply made a movie that is not just gripping and intense, but most importantly, it was fun.
Posted in: Disc Reviews by Gino Sassani on July 9th, 2016
When I was a kid in the 1970's there was a weekend sports show on ABC called The Wide World Of Sports. It was a catch-all for those sports that don't have the kind of national branding of football or baseball. It was the kind of show for boxing, gymnastics, or skiing. I don't remember a single episode that I saw. What I do remember along with anyone who has ever watched it is the opening sequence. We were promised the thrill of victory... and the agony of defeat. With that last line we saw the image of a ski jumper taking a horrible wreck as he comes off the jump. In the 40 years since I still often wonder about the guy whose legacy will always be the very definition of unmitigated failure, and painful failure at that. Who in their right mind would want to be a ski jumper, I would think. Who would want to be that guy? Apparently, his name was Eddie "The Eagle" Edwards, and now he has himself a "true story" film, and it's out in 4K. Of all the things I could have been thinking as I approached this film, I'm afraid to say it was: "Is Eddie "that guy"? Will I see it in 4K? Eddie isn't "that guy", and unfortunately, Eddie The Eagle isn't even close to being "that movie".
Kingsman: The Secret Service star Taron Egerton plays Eddie Edwards. Ever since he was a young child, he dreamed of being an Olympic athlete. During the games he would stage "runaway from home's" to get to the games wherever they might be. He was a sickly child with leg issues that kept him in the hospital for a year. Still the dream lived on. It didn't matter what event, he just wanted to get there. So he takes up skiing and amasses a few ribbons and trophies but falls short of his Olympic dream when the British selection committee doesn't find he represents the right "class" of competitor. He finds a loophole in the fact that Britain hasn't had a ski-jump entry in over 40 years. Britain isn't exactly the best place to polish your ski skills. If you're thinking Jamaican bobsled here, you're not far off the mark.
Posted in: Disc Reviews by Gino Sassani on July 7th, 2016
"That's me, Mike Hanover, and I just killed a man in a taco shop bathroom. Hey, he started it. I been hiding near the border looking for The Vigilante..."
You've found him. Anchor Bay's The Vigilante actually started life as a web series. The web episodes followed the exploits of The Vigilante, played by Paul Sloan and his sidekick The Kid, played by Kevin L. Walker. It was pretty much a hyper-superhero kind of series with ramped-up action on a limited budget. Now we have a feature film version that is quite the mixture of genre films. You get a little grindhouse mixed with some Leone Spaghetti Western with extra sauce. Throw in The Expendables with a side of Deadpool. Stir in some graphic novel clichés and season it all with a bit of exploitation film violence and characterizations. The result is a film that doesn't take itself very seriously and might be good for an entertaining ride. That is, if you don't overcook the whole thing. At about 108 minutes, let's just say it was bordering on overcooked.
Posted in: Disc Reviews by J C on June 29th, 2016
After a tidy, 20-year gap between making 1978’s Days of Heaven and 1998’s The Thin Red Line, director Terrence Malick has morphed into a regular workaholic. Since 2005, the enigmatic filmmaker has cranked out a whopping (for him) four movies, including 2015’s Knight of Cups. Malick’s most recent effort strikes many of the same lyrical, dazzling, and confounding notes as Tree of Life, which is the best-received film from the director’s surprisingly prolific recent run. But while Knight of Cups undeniably has glimmers of grand beauty and ambition, it mostly plays as if someone made a spot-on parody of a Terrence Malick film.
“All these years…living the life of someone I didn’t even know.”
Posted in: Disc Reviews by Brent Lorentson on June 22nd, 2016
Disaster films are something that for me screams American cinema of the 90’s. I know there were films before that had come out, but a good portion of my teen years of the 90’s were of the mega-blockbuster variety like Twister, Dante’s Peak, The Perfect Storm, and so forth. Now we have The Wave, the first disaster film to come out of Norway, and from the looks of the trailers they were going for something BIG. This is a film that comes out with so much potential and is a film that could even possibly find an American audience that could look past the fact that subtitles may be involved. With the way technology has come along over the years, smaller countries have been able to produce films as big as anything released in our cinemas here in the states. Now here’s the question: is it any good, though?
Welcome to the small mountain town of Geiranger, Norway. It’s a quaint little town that attracts tourists with its isolation and beautiful landscape. But having this little slice of vacation paradise comes at a price. Geiranger sits in an area that has a lot of activity with the rocks moving beneath the surface, this movement geologists believe will one day cause a collapse of a mountain spilling into the fjord below which will create a massive Tsunami. Basically Geiranger is a town simply waiting to be wiped out by this massive wave. This is where we meet Kristian (Kristoffer Joner), a geologist that has been studying Geiranger for years but is now moving away to the city for a “better job”. It comes as no surprise that as he and his family are packing and ready to move that Kristian is troubled by recent recordings from around the area and has a feeling something bad is going to happen. (One thing I’ve learned from disaster films, always listen to the nut job that believes the end is coming.)
Posted in: Disc Reviews by J C on June 15th, 2016
“It's ok to be upset. We're all upset.”
A War is about a Danish commander and his weary, overwhelmed young soldiers fighting the Taliban in Afghanistan. But besides finding a fresh angle to explore a conflict that has essentially been going on for the entire 21st century — Denmark sent nearly 10,000 military personnel to Afghanistan between 2002 and 2013 — this morally complex movie succeeds because it fully explores the toll war takes on everyone involved. In this case, that also includes the unfortunate civilians caught in between the gunfire and at least one weary, overwhelmed wife/mother back home with three young children.
