Posted in: Disc Reviews by Archive Authors on January 18th, 2016
Everest is an existential film. It could be one of the most beautiful travelogues you've ever seen, but it is far more than that. Its beauty and majesty are perfectly enhanced by 3D, but the true significance has to do with the mysteries of the soul. What drives men to do things that they have no business doing? What makes them climb a mountain whose summit is at the height that 747 jets fly? The old answer that is always used is, “Because it's there”. Obviously, the reasons run much deeper. There is a void in many people that they can only fill by doing the impossible. They look for accomplishments and knowledge that will hopefully give life meaning. Everest is the true story based on the book by Jon Krakauer, Into Thin Air. Krakauer also wrote Into The Wild, which became the 2007 film of the same name about a lone young man who hiked endlessly through the wilderness until he died of starvation. In both cases, these journeys for elusive truths became deadly and tragic.
The film has a expansive cast worthy of such an epic tale, including Jake Gyllenhaal (Southpaw, Nightcrawler), Sam Worthington ( Avatar, Terminator Salvation, Clash of the Titans), Josh Brolin ( Men in Black 3, Sin City 2), Jason Clarke (Terminator Genisys, Dawn of the Planet of the Apes), John Hawkes ( he Sessions, Winter's Bone), Michael Kelly, Martin Henderson, Emily Watson, Keira Knightley, Robin Wright, and Tom Goodman-Hill (Mr. Selfridge, Humans). The director, Baltasar Kormakur, has changed his style considerably to suit the material. His last film with Denzel Washington and Mark Wahlburg, 2 Guns, was a Michael Bay-type, over-the-top action extravaganza. 2 Guns was ridiculous. Everest is a pristine visual masterpiece. He shows the events that occurred on the great mountain in 1996 with a documentary-like rigor as well as totally capturing the grandeur of the location. But the ultimate question remains. Why?
Posted in: No Huddle Reviews by Brent Lorentson on January 18th, 2016
Have you ever had a dream that you wake up from and as your head spins from the snippets of the dream you can remember it takes you a few moments to clear your head and remember where you are? Usually this is a result from a hard night of drinking, but for Major John Cafferty (Tahmoh Penikett) it is a battle he is waking up from, and it is not a dream. With no memory of what happened, Major Cafferty wakes up in a special military hospital with several members from his platoon, only some of his soldiers are dead, and no one has a clue as to how they found themselves in the medical facility.
What the solders do know is that they were on a mission to Afghanistan to retrieve a secret object. To help the soldiers regain their memory, Dr Troutman (Colm Feore) administers a drug that should help stimulate their memories, but instead it causes bouts of hallucinations and even moments of intense rage. It’s all a nice setup for what could be a fun thriller, but the result is a bit of a forgettable mess (and no pills can reverse these effects).
Posted in: Disc Reviews by J C on January 18th, 2016
“In our experience, almost everything ends in death.”
Given its morbid-sounding title, I suppose you can also say that in the case of Rosencrantz & Guildenstern Are Dead, things *start* in death as well. The inevitability of death — a notion that is simultaneously profound and crushingly simple — is one of several big picture ideas explored by the small potatoes title characters. Rosencrantz & Guildenstern Are Dead, now making its Blu-ray debut, is equal parts brilliant and befuddling. But as thought-provoking and exhilarating (and funny!) as the exchanges are, I'm not entirely sure this material was meant to be presented as a movie.
Posted in: Disc Reviews by Brent Lorentson on January 13th, 2016
In 2012 Sinister had its release and horror fans seemed to be divided on the film. For me, I dug the mythology of Bughuul, an evil spirit who appears in 8mm family films that seem to always end in some new gruesome way. He’s a character the horror genre needs, as I see him as a silent hybrid of Jigsaw (from the Saw franchise) and Freddy Krueger (from the Nightmare on Elm Street franchise), where he’s a killer who gives us unique kills in some unsettling locations. Now with the release of Sinister 2, do the filmmakers step up their game and deliver us more from the possible new icon of horror? Sort of; just not how I would have expected it.
Following the events of the 2012 film, we find Deputy So & So (James Ransone) is no longer a deputy, but a private investigator who is obsessed with his pursuit of Bughuul and is doing his best to stop him before anymore families are killed. So & So has managed to figure out the pattern that Bughuul uses and figures if he can destroy the next location before a family moves in, he may be able to save a family in the process. Unfortunately, the home he plans on burning to the ground, a location that was previously the site of a horrific murder, is already inhabited.
Posted in: No Huddle Reviews by Dan Holland on January 13th, 2016
The tale of Little Red Riding Hood, like many other children’s stories, is so well known and influential that it has been reimagined time and time again. In fact, one of my favorite short stories, The Company of Wolves, is a loose adaptation of the aforementioned tale. While I can’t call Little Dead Rotting Hood a favorite, I really appreciate how they were able to create a unique story while implicitly maintaining key elements of the original tale. More often than not the important visuals and motifs are present. Unfortunately, the pacing of the events is a little slow and really makes the film feel empty.
Little Dead Rotting Hood focuses on a small town that recently sees a surge in wolf attacks on its residents. The most recent attack on Samantha (Bianca A. Santos) transforms the young girl into a werewolf-like creature. Concerned for the residents being attacked under his watch, Sheriff Adam (Eric Balfour) enlists the help of Officer Victoria (Heather Tom), the town’s wildlife expert. Soon the two begin to suspect Becky (Amy Argyle), a local animal activist with a record of violent protests, to be linked to the recent attacks. As the story progresses, Sheriff Adam begins to learn of the town’s folklore involving a bigger threat than wolves.
Posted in: No Huddle Reviews by Jeremy Butler on January 13th, 2016
Any time I get a double feature, the first thing that comes to mind is that these two movies don't know it, but they are now in competition with one another in my eyes. It was that way for Grindhouse as well as originals subsequent sequels. This time was no different in my eyes, and after screening both features there is a clear victor. Which one, you ask? Well, I'm not telling at this moment. (Don't worry, I will, but I can't just give it up that easy, because if I do, what assurance do I have that you will watch both films?) However, I'm sure my preference will become quite clear once you start reading.
Those who do not learn from history are doomed to repeat it, seems to be the principal lesson in The House Where Evil Dwells. A century earlier in Japan, a samurai comes home to find his wife in bed with her lover and in a fit of rage kills them both, taking his own life afterwards. Since then, the home remains vacant for decades due to speculation that the ghosts of that massacre remain in the house. The unsuspecting Fletcher family, new to Japan and refusing to let a ghost story keep them from an authentic home, move in.
Posted in: No Huddle Reviews by J C on January 13th, 2016
Yak: The Giant King is a 2012 animated offering from Thailand. It is based on Ramakien, the country’s version of a famous Hindu epic poem. Neither of those facts is readily apparent in the packaging and presentation of The Giant King, an American adaptation that was recently released on DVD. On the one hand, it helps explain why the dialogue here hardly ever matches the characters’ lip movements. But knowing that this crude, chintzy offering is actually based on something rather substantial makes it even more of a letdown.
The movie is set in a world populated by robots and overseen by a spacebound/godlike entity called RAM (Remote Automated Motherbot). The imposing-looking Zork (voice of Russell Peters) is meant to be a violent battle bot, but his real dream is…to be a kindergarten teacher. Pinky (Bella Thorne) appears to be Zork’s polar opposite, a hard-charging pipsqueak obsessed with bringing Zork down for not obeying RAM. An epic clash between Zork and Pinky ends with the odd couple chained to each other and wandering the barren planet.
Posted in: No Huddle Reviews by Gino Sassani on January 12th, 2016
"Millions of people around the world believe we have been visited in the past by extraterrestrial beings. What if it were true? Did ancient aliens really help to shape our history? And if so, what if there were clues left behind, something hiding in plain sight? What if we could find that evidence?"
Ever since Eric von Daniken released his speculative book and its subsequent 1970 film Chariots of the Gods, there has been an entire field of study created around something commonly called Ancient Astronaut Theory, the idea is that extraterrestrials have visited many of our ancient civilizations. The theory continues that these visitors had a hand in shaping our development, whether it be through technology or even manipulation of our very DNA. These believers point to a world of evidence to support their claims. There are tons of images from earlier civilizations that could certainly be interpreted as depicting modern devices, concepts, or even spacemen. There is plenty of speculation that some of the knowledge and accomplishments of these peoples could not have been possible without some outside interference. There are even those who believe that aliens best explain our religious beliefs and that God himself was/is an extraterrestrial being. Whatever your own beliefs on the subject, there are certainly some fascinating points to be made. There is no question that the speculations and observations bring up some interesting queries that deserve our attention. This series attempts to document much of this evidence and the beliefs these findings have inspired.
Posted in: Disc Reviews by Archive Authors on January 10th, 2016
Popular opinion and so-called critical opinion often seem to careen off cliffs like lemmings in increasingly unpredictable ways guided by whims and subtle shifts in the proverbial winds. I find myself shocked by things praised and things condemned. Sometimes I feel like a little boy who sees a naked emperor while everyone else is shrieking how much they love the new elegant ensemble. In this case, I'm seeing a lovely presentation while there are many who are whining. Part of the problem is that Season 2 of True Detective is considerably distinct from Season 1. The nature of the series is that each season is a complete reboot with a new cast and location. American Horror Story also changes locations and characters but tends to recycle actors. True Detective made a determined attempt to change everything. The one thing it retained is the brooding, noir roots.
Vince Vaughn was fantastic, and that's not something I've said in a long time. He was a trim and towering figure (also something that couldn't be said for a long time). Vaughn's complex, sharp, troubled, and intimidating Frank Semyon was the edgy focus of the series. He was not the detective. There were not two this time, but three.
Posted in: No Huddle Reviews by Gino Sassani on January 10th, 2016
"Four weeks ago, an invisible dome crashed down on Chester's Mill, cutting us off from the rest of the world. The dome has tested our limits, forcing each of us to confront our own personal demons... rage... grief... fear. Now, in order to survive, we must battle our most dangerous adversary... the enemy within."
Under The Dome began life as a Stephen King novel. The basic idea was that a mysterious clear dome isolates the town of Chester's Mills from the rest of the world. Of course, the story was populated with King's trademark characters that represent his own special version of Americana. That's the kind of thing that likely makes his work best suited for a television series rather than a film. And when Under The Dome started 3 years ago it had the kind of promise that King's work often offers. Stephen King himself came onboard as a writer and producer along with the likes of Steven Spielberg. The first season lived up to most of that hope. By the third season King had pretty much stepped away and the story took some rather odd turns. It's little surprise that the dome came crashing down for good with the end of season three.