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.
Bernadette Fox (Cate Blanchett) is a bit of a mess, to put it lightly. She’s more than a little difficult to get along with, she heavily self-medicates, drinks, and seems to hate most people with the exception of her family. From the start it’s a bit difficult to decide if Bernadette is simply a quirky individual or if she is genuinely just an unlikeable person. The problem is the film doesn’t seem to know either, so with each awkward situation we see Bernadette get into, she just becomes a frustrating and tiresome character. We see she doesn’t get along with her neighbors, and her relationship with her husband, brilliant computer animator Elgie Branch, played by Billy Crudup, is odd in its own way as well. It’s hard to understand why they’d be on board for a last minute trip to Antarctica.
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. Now here’s the fun little tidbit: David is struggling to patch things up with his wife Sarah (Emily Mortimer) after discovering she had cheated on him. So yes, David’s need to repair the ship is indeed a metaphor for his need to repair his marriage. Honestly, having Sarah’s affair brought into the story is simply a distraction from the plot. When you consider the film is only 84 minutes, it becomes too much drama to attempt to flesh out in such a short amount of time, and because of this wasted time, it does take away from us getting attached to these characters.
Another issue I have with the film is that it is told in flashbacks; basically Sarah is in police custody and is telling her story to Detective Clarkson (Jennifer Esposito). Here is a huge problem: if you’ve seen The Usual Suspects, you will see through this movie. Had this film kept it simple and just told a linear story it would have been fine, but in its attempt to be clever this film falls apart so quickly. Everything surrounding the story on the boat works fine, but these scenes between Sarah and the detective ruin all the tension that the film has been building for itself. Most damning is that it reveals the demise of characters and the survival of others. Even when the film delivers a fun back-story to the ship, this fun twist has already been ruined, because we know from the start Sarah is telling the story about what happened on the ship.
Posted in: Disc Reviews by Archive Authors on November 27th, 2019
The most amazing thing about The Handmaid’s Tale — other than a powerhouse lead performance from the best actress working in television right now — is that this harrowing, suddenly timely cautionary tale about what happens when society falls asleep at the wheel is based on a story that was published more than 30 years ago. Of course, the show has a lot more going for it than impeccable timing. The Handmaid’s Tale is based on Canadian writer Margaret Atwood’s 1985 novel of the same name. Sometime in the not-so-distant future, the world is in chaos after environmental pollution and sexually transmitted diseases result in a catastrophic decline in human fertility rates. In the U.S., the result was Second Civil War, which led to the establishment of a totalitarian, Christian fundamentalist government known as Gilead. And while life isn’t exactly a picnic for anyone outside of Gilead’s elite ruling class, life is especially dire for women: they are not allowed to own property, work, handle money, or read. Much of this information is revealed in dribs and drabs over what is now three seasons.
The Handmaid’s Tale is created by Bruce Miller, a writer producer who worked on SyFy’s Eureka and The CW’s The 100. The former series offered a cracked-mirror, off-center version of reality, while the latter is a post-apocalyptic drama: both sensibilities proved extremely beneficial for Handmaid’s. A large share of the credit also goes to Reed Morano, who won a directing Emmy for her work on the pilot and established the show’s spellbinding visual tone by helming the first three episodes.
Posted in: Disc Reviews by Gino Sassani on November 22nd, 2019
"He picked me out of a pile of pups, a tangled mass of paws and tails. He'd stopped at the farm on his way home from the speedway at Yakima. Even back then, I knew I was different than other dogs. My soul just felt more human."
There was a time when this kind of film would have been reviewed by Baby, the German Shepherd/Chow who used to run security here at Upcomingdiscs as well as fill in for the occasional dog film review. Baby's gone, and we haven't yet trained Aurora the Siberian Husky who resides at Upcomingdiscs to pitch in on reviews. The problem is getting her to put her ball down long enough to pay enough attention, let alone write a review. But we're working on it. Until then these duties have fallen back to me, the occasional dog lover, which usually depends on what Aurora is up to at any particular moment. As Baby would have said: "Let's not talk about that right now." The task at hand is another talking dog film which followed quickly on the heels of A Dog's Purpose and its sequel A Dog's Journey along with the most recent A Dog's Way Home. It's a trend that has produced some emotional moments at the cinema for those of us who have spent a large part of their lives with our canine companions. This time out we have The Art Of Racing In The Rain, which is based on the novel by Garth Stein. If you're hoping to have that same kind of emotional ride that these other films brought, I think you'll be in for a little disappointment.
Posted in: Disc Reviews by Brent Lorentson on November 22nd, 2019
I have to be honest; when I got this title and saw that Jim Gaffigan was starring, I didn’t know what to expect, but I went into this film with some low expectations. I’m a fan of Gaffigan, and I own a few of his stand-up albums, but seeing him headlining a thriller, well, it was a tough leap for me. Now that I’ve seen the film, I got to say I’m impressed by what he pulled off with this film. That being said, as I was watching this film, I couldn’t help but see a similarity between Gaffigan and the late Philip Seymour Hoffman. I doubt this was intentional, and perhaps it’s just my subconscious attempting to make these connections, but Gaffigan’s performance in this film is on par with many of the performances we saw from Hoffman in his later years. As for the film, American Dreamer follows Cam (Gaffigan), a down-on-his-luck schlub who at one point was living the American dream: a good job, a nice home, and a wife and child. Then he lost his job, and everything else seemed to disappear around him. Now he’s a driver for a ride share company, where he struggles with paying child support and has had a bit of a mental breakdown. Early in the film we get to see him in a parking lot near an airport, watching as planes are coming and going, and its obvious Cam is dreaming of an escape from his life. He ends up getting a fare that has him driving a small-time drug dealer, Mazz (Robbie Jones) around town. The setup here seems simple, as it establishes who both of these men are, but over the course of one night we’ll see these men make some difficult decisions, and by the time the film ends, you will definitely feel differently about these characters.
After reading the blurb on the back of the Blu-ray and starting this film, I was a little worried that this would be something akin to Collateral meets Falling Down. When we see Cam come to his breaking point and he decides to kidnap Mazz’s son, sure, it’s a drastic leap for someone to make, but the way the writers and director handle this situation, it still remains in the realm of possibility. That pretty much is how the rest of the film plays out; there are a lot of worst-case scenarios that happen to both Cam and Mazz, and it’s what keeps the viewer on the hook. What I was most impressed by is how co-writer and director Derrick Borte wasn’t afraid to go dark with this film, because there are a few decisions made in this film that are pretty risky, and most filmmakers would avoid entering this territory, but personally I think it’s the risk that makes this film work. (It would be a huge spoiler if I were to say what this risk was.) But by taking that risk, the viewer knows anything can happen in this film. and it’s what literally kept me guessing at how this would all end for Cam and Mazz.
Posted in: Disc Reviews by Brent Lorentson on November 15th, 2019
It’s frustrating seeing a film starring Michael Chiklis and Bruce Willis and knowing before you’ve even watched five minutes of the film that it’s not going to be good. I mean, come on; you have the star of The Shield and then an action movie icon, but neither can save this film. 10 Minutes Gone is one of those films where on paper it seems like a surefire hit, but somehow instead of a white-knuckle action thriller, the result is a snooze-fest that will keep you guessing as to why these actors signed on for this film. Frank (Chiklis) has been hired by Rex (Willis) to pull off what seems to be an easy heist. Frank and his team seemed to have thought of everything and have even put together some backup plans, but as expected, the heist ends up going bad, and in the process Frank is knocked out cold and loses 10 minutes. In this time he’s lost possession of the jewels, and he needs to figure out what happened to them before Rex has him killed. It’s not a bad idea for a movie, but it’s the execution of this film that is a mess. Willis and Chiklis do their best to make the dialog work, and at times the can make the scenes flow, but once the film shifts to any other character you start to wonder if this film was written by a 12-yea- old boy who just binged a bunch of older action/ detective films while chugging Red Bull and snorting lines of sugar.
The big mystery of the film is who set up Frank and his crew; the film does a good job at setting up a variety of suspects, though it doesn’t take much to figure things out. One thing, though, that is rather frustrating is when Frank goes to question one of his guys and the guy is “hiding out” at some underground gambling room. I have my issues with this character’s decisions already, but what is more distracting is how the scene is shot. The amount of lens flares in this sequence is nauseating. This might be one of the worst shot scenes I’ve seen in a film. Sure, Spielberg uses lens flares, and the world knows how JJ Abrams gets carried away with them, but this sequence is a technical marvel at how just about everything has a lens flare, and someone actually thought that this looked good and it wasn’t a distraction.
Posted in: Disc Reviews by Michael Durr on November 14th, 2019
Musical mockumentaries can often be hilarious. One has to look no further than Spinal Tap to see how funny it can be to blend music with comedy and shoot it like a documentary. However, it is a delicate balance between fun, smart jokes and perhaps going too far for a simple punchline. Today's film is Popstar: Never Stop Never Stopping, which has received a brand new steel book from the minds at Shout Factory. This 2016 film was considered a bomb at the box office, but it has found a home in disc and digital thanks to the gag-a-minute style of Andy Samberg and his supporting cast of musical celebrities and comedians. Let us take a look inside this limited edition and see if "Conner4Real" can take on a cult-like status with this film.
We open the story with Conner (played by Andy Samberg), who tells us about growing up and being dope. He then meets his two best friends, Owen (played by Jorma Taccone) and Lawrence (played by Akiva Schaffer) who later go on to form the rapping group, Style Boyz. Their first single is the tune Karate Guy. But as they grew up, the group was not as strong as originally thought. So they broke up, with Lawrence quitting the business and becoming a farmer. Owen became a DJ and tagged along with Conner. Conner became "Conner4Real" and went solo to huge acclaim. Despite his antics and habit of ending up in the tabloids, his music gathers a ton of fans and fame.
Posted in: Disc Reviews by Jeremy Butler on November 12th, 2019
"Luke Hobbs and Deckard Shaw. We have got unfinished business."
When Dwayne Johnson joined the Fast and Furious franchise, I thought the series couldn’t get any bigger, especially when he and Vin Diesel faced off in one of the best scenes ever in an action movie. Then Jason Statham appeared in the end credits of Fast and the Furious 6 shattering that glass ceiling, and he didn’t disappoint, proving to be one of the group’s biggest adversaries. Then there was the fact that the Statham-Johnson showdown trumped the Diesel-Johnson battle, thereby showing the former’s electric chemistry. It was only a matter of time until a spin-off film came about. Lo and behold, Fast and the Furious presents Hobbs and Shaw. Now, the film has been a source of controversy for the franchise, with both Diesel and Tyrese Gibson voicing their discontent about the delaying of their next installment in favor of this film. Needless to say, Johnson will not be taking part of the ninth installment of the series, but I doubt he is losing much sleep about that, especially when he has the makings of his own franchise with this film.
Posted in: Disc Reviews by Michael Durr on November 8th, 2019
We are back with another collector's edition from Shout Factory. This time we tackle the much celebrated Spirited Away, directed by Hayao Miyazaki, which was released in 2001, when it did so well that it ended up on our domestic shores in the following year. It was absolutely adored by critics, and here is a fun fact. I have never seen it. Little did I know that the American trailers I was seeing around this time were warping my idea of what the film was really about. Finally, after all of these years I have had the opportunity to watch and digest such a fantastic film.
Chihiro, a ten-year-old girl, is trying to relax in the back of her parents' car. They are on their way to a new city, with a new school, and the young girl is having none of it. As they search for the house where they are going to live, the father decides to use his four-wheel-drive and take off into the forest in hopes of making a shortcut. But rather than finding their new house, they end up at a long building with a dark tunnel that appears to go somewhere exciting according to the parents.
