Posted in: Disc Reviews by Brent Lorentson on July 14th, 2014
"Isn’t it wrong to sing and dance when someone has just died?"
When I first hear a film is going to attempt to be a horror musical, all I can do is simply shake my head at the thought of how bad this may be. But that’s not to say that I couldn’t be very wrong. Repo! The Genetic Opera was a rock opera that I had a blast with, and I’m not ashamed to admit I even purchased the soundtrack after the release. Where my concern usually rests with the idea of horror musicals is that I’m worried it will turn out to be no better and possibly worse than The Rocky Horror Picture Show. I’ve never liked the film, and it’s just something I’ll never be able to understand, how it’s gotten such a ravenous cult following, though I can appreciate that Rocky does have an audience, and week after week fans turn out in costume to sing along and in some locations even perform along with the film. Stage Fright is a film that aims to attract that same audience that embraces Rocky, but goes a step further by delivering a solid slasher film as well.
Posted in: Disc Reviews by Archive Authors on July 14th, 2014
Nymphomaniac I and II are 117 and 124 minutes, respectively. There is a longer cut that may be released next year closer to 5 and ½ hours. The story is simple. It chronicles a conversation between two people. Joe (Charlotte Gainsbourg) is found bloody and beaten in an alley by an older man, Seligman (Stellan Skarsgard). He takes her to his sparse flat to care for her and help her. What takes place is a long conversation full of intellectual digressions about Joe. It slowly reveals what led to her downfall. Seligman is a sheltered bookworm who has a detached curiosity about her story.
The cast is impressive including Shia LeBeouf, Uma Thurman, Christian Slater, Jamie Bell, Willem Dafoe, Connie Nielsen, Udo Kier among others. The director is Lars von Trier, the famed Danish auteur and provocateur. Von Trier has always tried to find hidden and shameful areas of human behaviors in his films. Many of his films are rigorous exercises in the depths of human pain. They attempt to push expectations. They explore behaviors that seem too absurd to be real, but that is because most of us refuse to acknowledge certain parts of ourselves.
Posted in: Disc Reviews by Archive Authors on July 14th, 2014
Nymphomaniac I and II are 117 and 124 minutes, respectively. There is a longer cut that may be released next year closer to 5 and ½ hours. The story is simple. It chronicles a conversation between two people. Joe (Charlotte Gainsbourg) is found bloody and beaten in an alley by an older man, Seligman (Stellan Skarsgard). He takes her to his sparse flat to care for her and help her. What takes place is a long conversation full of intellectual digressions about Joe. It slowly reveals what led to her downfall. Seligman is a sheltered bookworm who has a detached curiosity about her story.
The cast is impressive including Shia LeBeouf, Uma Thurman, Christian Slater, Jamie Bell, Willem Dafoe, Connie Nielsen, Udo Kier among others. The director is Lars von Trier, the famed Danish auteur and provocateur. Von Trier has always tried to find hidden and shameful areas of human behaviors in his films. Many of his films are rigorous exercises in the depths of human pain. They attempt to push expectations. They explore behaviors that seem too absurd to be real, but that is because most of us refuse to acknowledge certain parts of ourselves.
Posted in: Disc Reviews by Gino Sassani on July 9th, 2014
Few musicians have enjoyed the career that Elton John has enjoyed. From the release of Your Song in 1969, he hasn't seen many years without hit records. He's had number one songs in every decade since that day, and the hits continue to roll in. When the music industry changed, Elton managed to change enough to keep up with the times, yet hold on to the poignant songwriting that has made his songs stand out. I've been a fan since the Goodbye Yellow Brick Road days of 1973. When I was a kid and listening to candy pop, that's what Elton was delivering. As I got older, it appeared Elton's music aged with me. It was the time of classic melodies and thoughtful ballads. As I grow older, I find Elton is still keeping up.
Elton always found ways to reinvent himself. He was introduced to a whole new generation of children with his award-winning songs on The Lion King. He's brought his music to the stage on Broadway and dabbled in the film industry. With a catalog that brings in over $6 million a year without lifting a finger, Elton remains one of the hardest working entertainers in the industry. Now in his 60's, Elton's taken the stage in Vegas. Unlike many of the performers before him who semi-retired in Sin City, Elton continues to deliver the same energy and passion he has for decades brought on the road. I've been to somewhere between 30 and 40 performances, and I've never been disappointed in the performance. His last show at USF had an uncharacteristically bad sound mix, but I know the songs well enough to keep up.
Posted in: Disc Reviews by J C on July 8th, 2014
Anyone who ever sat through an elementary school science class knows that about 70 percent of the Earth's surface is covered in water. We've all heard the spiel, but I don't imagine most of us spend much time contemplating how truly staggering that figure really is. Watermark seeks to convey the many different ways humans and the planet's water supply affect one another. The documentary is maddeningly scattered, but it also manages to capture and convey a small part of the world's awe-inspiring bigness.
Watermark is co-directed by documentary filmmaker Jennifer Baichwal and visual artist/photographer Ed Burtynsky. Baichwal previously directed 2006's Manufactured Landscapes, which starred Burtynsky and his large-format photographs. For Watermark, the filmmaker and her former subject have teamed up for a globe-spanning, bird's eye view at H2O.
Posted in: No Huddle Reviews by J C on July 3rd, 2014
“He's old! How he gonna relate to me?!”
For a good portion of his latest stand-up special, Sinbad playfully berates a 15-year-old audience member named Cory. It's mostly standard-issue, old man, “back in my day” ribbing. But the most incisive observation comes when Sinbad points out that Cory would probably much rather be in the audience for a Kevin Hart show. The feeling that Sinbad is no longer the hot comic of the moment — and hasn't been for a while — informs much of this inoffensive, baby boomer-friendly set.
Posted in: Disc Reviews by Gino Sassani on June 30th, 2014
It's a sad state of affairs. The road that Blood Ties has taken to get to this Blu-ray release is far more interesting than the film itself. It all starts with a French film Les liens du sang that was itself a reflection on the American cop drams genre. One of the original French screenwriters collaborated to bring the idea full circle to become an American cop drama. The film made the film festival circuit with mixed reviews and results. For some reason Director Guilaume Canet decided to go back to the editing room and remove nearly a half hour of the original film's running time. I didn't see the movie in its original form, but it seems to me Canet gutted the film for its American home video release. The result is a story that is difficult to follow, contains numerous plot holes and hanging plot threads and displays an uneasy pacing at best. I wish I could see what is missing. I can't help but feel that this could have been and in fact once was a better movie than it is now.
This is essentially the tale of two brothers. Chris (Owen) is coming home after spending years behind bars. He's on a furlough and keeps his freedom only if he can maintain steady employment and a place to live. Frank (Crudup) is an NYPD police officer who has taken some heat for his criminal brother. There's a lot of bad blood between them, but family is family, and Frank is allowing Chris to live with him and their father (Caan). Chris's attempts to go straight literally go up in smoke, which takes us to that oldest of crime drama cliché's, the "one last job".
Posted in: No Huddle Reviews by J C on June 30th, 2014
What happens when you splice together the killer-couple kicks of Bonnie and Clyde and Natural Born Killers with the ritualistic depravity of torture porn offerings like Hostel and Saw? I'm not really sure who — if anyone — was looking for an answer to that particular question, but that didn't stop Scavenger Killers from going to extreme lengths to provide one. Unfortunately, this low-budget slasher flick/wannabe satire is entirely too clumsy and non-committal in its tone to pull it off.
The Killers at the center of this movie are a sanctimonious judge (Robert Bogue) and a buxom defense attorney named Clara Lovering (Rachael Robbins) who doubles as his lover/accomplice. Ordinarily, I wouldn't mention a character's, ahem, physical attributes while relaying the plot of a film, but I mention it here for two reasons. Firstly, Robbins' IMDb page features credits like Bikini Bloodbath Car Wash and Vampire Lesbian Kickboxers (I wish I was making this up); so I have a feeling she knows exactly where her bread is buttered. More importantly, all of Scavenger Killers plays out as if it were written by a particularly immature and debauched 13 year old boy.
Posted in: No Huddle Reviews by J C on June 27th, 2014
“I like the fact that there's no desk. I like the fact that he's not wearing a suit and tie. And I like the fact that there's not some over-hyped studio audience being prompted to laugh at topical jokes that we're all gonna forget about in the next few days.”
For its second season, IFC's Comedy Bang! Bang! got bigger and bolder in the way it manically skewered decades of talk show and pop culture conventions. Not surprisingly, the show also got even weirder.
Posted in: Disc Reviews by J C on June 26th, 2014
“It begins as a whisper. A promise. The lightest of breezes dances above the death cries of 300 men...”
It may have started as a whisper, but 300 quickly became synonymous with roaring, instant-classic declarations after it burst onto the scene in 2007. Zack Snyder's muscular adaptation of Frank Miller's graphic novel was an outta-nowhere blockbuster. When a movie achieves that level of success, there's usually a sequel in the works even as the opening-weekend grosses are still rolling in. Of course, that proved to be a bit trickier given what happens to the heroes at the end of 300.
