Posted in: No Huddle Reviews by Brent Lorentson on June 5th, 2012
When half your film takes place in one tight location, you are really taking a gamble with your audience. Chances are you’ll either have a suspense-filled set piece, or you’ll lose your audience as they stare at their watches waiting for the credits to roll. To the director’s credit, with 96 Minutes, she was able to pull off an immersive tension-building ride through the inner city that kept me wondering how it would all come to an end.
Following in the footsteps of other ensemble pieces like Magnolia and Crash (though sadly not nearly as good as these two), this is a story about people being brought together over the course of a day and meeting during one catastrophic moment. This time the moment that brings all these lives together is a carjacking that goes horribly wrong. As the night progresses and difficult decisions are made, the lives of all involved are altered as the consequences of their actions become increasingly severe.
Posted in: No Huddle Reviews by Brent Lorentson on June 5th, 2012
Hannibal Buress brings his unique voice to this hour-long special and delivers. I have to be honest, I had never heard of this guy when I got the DVD to review, and now I find myself hoping to catch a live performance if he ever brings his tour down south. Once a writer for SNL and doing some work with 30 Rock, this young up-and-comer is sure to make a name for himself and hopefully become a name regarded with the best of the comedy elite.
His low energy deadpan approach kind of reminded me of Steven Wright but far more entertaining. With bits that go from being caught jaywalking in Canada, to getting his debit card stolen, and masturbation while wearing a hoodie to “feel creepier” I find it hard to believe there isn’t a topic he couldn’t find the humor in. What I enjoyed most was how it seems he enjoys discussing topics that make the audience feel a bit uncomfortable to laugh about, like when he discusses how he hopes his nephew doesn’t get into college. It seems cold, and it is, but when he said it I couldn’t help but laugh.
Posted in: Disc Reviews by William O'Donnell on June 5th, 2012
YouTube had all but killed off the idea of mailing silly home videos to the likes of America's Funniest Home Videos. These days, people prefer to stream dozens of videos on their computers and save themselves from the watered down jokes of Bob Saget or current host Tom Bergeron. Tosh.O takes a similar format of displaying such silly videos, but focuses on things that have gone “viral” online. Like AFHV, Tosh.O adds their own commentary and sketches to the presentation but in a much more crass, cable-savvy manner.
Daniel Tosh makes for a very suitable host, which makes the difference to those who may consider aimlessly surfing through YouTube's channels to be a more valuable way of taking in the latest in mind-numbing entertainment. Tosh not only is capable at delivering edgy quips but often places himself at the butt of self-deprecating and/or harmful sketches where he may partake in the same idiocy he seems to be lambasting at other points in the episodes (a memorable example being his attempt to eat a teaspoon of cinnamon and karate chop a hundred coconuts after smoking Salvia).
Posted in: No Huddle Reviews by Michael Durr on June 4th, 2012
People tend to place blame on the parents when their children do something wrong. Sometimes this practice is perfectly legit, especially when the behavior is a constant minor disruption or something that is obviously linked to bad parenting. But when the child creates a massive infraction which could include taking a life (or lives), it shouldn’t always fall back on the parents. But yet, the parent will almost always suffer as such the case here with We Need to Talk About Kevin.
Two years ago, Eva (played by Tilda Swinton) had a pretty decent life. She was a successful travel writer, had a loving husband, Franklin (played by John C. Reily) and a peppy daughter, Celia (played by Ashley Gerasimovich). Eva also had a son too named Kevin (played as an adult by Ezra Miller) but Eva’s tranquil life went away the day Kevin created a misdeed too gruesome to ever forget.
Posted in: Disc Reviews by Gino Sassani on June 1st, 2012
For most of the last decade or more CBS has dominated the primetime drama market on network television. One of the reasons, of course, has been the prevalence of top-flight crime dramas like the NCIS and CSI franchises. From 2003 until 2009 the Thursday line-up on the eye network included the blockbuster pairing of the original CSI and Without A Trace. Both were products of filmmaker Jerry Bruckheimer's television stable. While CSI focused on the science behind a criminal investigation, Without A Trace took the more traditional route of the human element to the FBI's Missing Persons Unit.
Jack Malone (LaPaglia) was the tough-as-nails head of the unit. He had a degree in psychology and acted very much like a profiler at times. It was his job to direct the investigation unit. The team consisted of Vivian Johnson (Jean-Baptiste). She was a veteran officer and Jack's right hand. Danny Taylor (Muciano) had changed his last name to escape his family roots which included a habitual criminal brother and an abusive father. The unit was his way of starting a new life. Martin Fitzgerald (Close) was the son of a powerful senator and was always fighting to prove himself on his own merits. Samantha Spade (Montgomery) was the young attractive young woman on the team who had already had an affair with the married Jack but also had romantic ties to Martin. Unfortunately, she didn't do much to break the vulnerable female role.
Posted in: Disc Reviews by Gino Sassani on May 31st, 2012
At first glance it would be very easy to say that Beyond doesn't really offer us anything terribly new in the crime drama genre. For the most part I would tend to agree with that criticism. I would counter with the argument that a very good film doesn't need to be very original to be good. Sometimes the value in a movie lies in the fact that it does what it does do extremely well. That's how I would describe the sleeper direct-to-video release Beyond.
Jon Voight stars as Detective John Koski. He's a detective in Anchorage, Alaska who specializes in missing children. He's not exactly by the book, and more of his perps end up dead than in the courtroom, but the children usually end up found and alive. Sounds like a win/win to me. Still, he's haunted by that first case where he wasn't able to save a little girl. It turns out he's more haunted by that incident than even he suspects. When 7-year-old Amy (Lesslie) disappears from her bedroom one cold wintry night, Koski, just months from retirement, gets the case. The girl's mother Sarah (Polo) is the sister of the Chief off Police (Mulroney).
Posted in: No Huddle Reviews by Brent Lorentson on May 29th, 2012
This movie has everything working for it with the exception of one thing, and that is the execution in which the story is told. The film has a decent cast, a good story, for the most part it looks good on the screen, but what hurts this film was the decision to tell the story in flashback. How can you have a great payoff at the end if in the very beginning we know how the movie is going to end? Why the filmmakers stuck with this edit is a mystery to me, and it’s a shame, because they have all the right pieces to make it work, but instead they shoot themselves in the foot.
An up-and-coming boxer Jack “The Ripper” Stemmons (Casey T. Evans) has an undefeated streak to maintain, while he has a match against an opponent that with a victory could lift Jacks status as a boxer to the next level in the pros. Standing in the way of Jack’s chances for success is a bookie (Tom Arnold) who is out to fix the fight, but Jack has other plans and isn’t ready to take a dive. When the outcome of the match goes bad, Jack confronts the bookie and is forced to leave the country and go into hiding. Jack goes on to try to make a life for himself in Bangkok where he takes fights in the Maui Thai underground fighting tournaments. He meets a prostitute and falls in love with her. He tries to leave the life of fighting, but it seems too many gangsters see how much money can be made from this exiled boxer.
Posted in: Disc Reviews by Michael Durr on May 29th, 2012
Often in columns, writers are basically forced to do enough research on their own to qualify as experts. But that is not always enough. Sometimes, we are a lot better off if we just consult an expert from the get-go and ask them all of the pertinent questions we need answered. My wife happened to be that expert I needed for the latest season of True Blood, Season Four. Without her, Sookie Stackhouse might just be another girl from the Jersey Shore. Wait, which show am I reviewing again?
What do we need to remember from Season 3, well only two things really. One, Sookie Stackhouse is in Fairyland and two, Bill Compton is the King of Louisiana. Outside of that, we should be able to explain the rest. Let us rejoin the cast of True Blood, shall we?
Posted in: No Huddle Reviews by David Annandale on May 29th, 2012
Gilbert (Gilbert John) is a film student with a radical idea: make a documentary about someone who is going to commit suicide. Get to know why, get to know the person, follow the whole process, right up to the very end. Collaborators Valerie (Valerie Hurt) and Michael (Michael Traynor) have deep misgivings about the project, but sign on when the apparently ideal subject is found. This is Matt (Matthew Tilley), who suffers from a brain tumour and simply wants to choose his moment to bow out with dignity before the pain becomes too severe.
Filming the filming (as it were) is Gilbert’s roommate Daniel, played by the film’s actual director, Daniel Stamm. This metafilmic bit of casting is no mere conceit, but is central to the movie’s thematic concerns. We’ve seen a flood of found-footage movies in the last few years (such as Stamm’s own The Last Exorcism), but this 2008 effort is one of the few (along with the likes Incident at Loch Ness and Man Bites Dog, and, in a somewhat more dubious ethical position, Cannibal Holocaust itself) that makes the found-footage aspect crucial, rather than simply just another narrative convention.
Posted in: Disc Reviews by J C on May 29th, 2012
"This Martius is grown from man to dragon. He has wings. He's more than a creeping thing. There is no more mercy in him than there is milk in a male tiger."
There's a certain hierarchy when it comes to the amount of cinematic interpretations of William Shakespeare's plays. At the top tier, we have the endlessly adapted Romeo and Juliet, Hamlet, Othello and Macbeth the Scottish Play. A step below that, you've probably got your King Lear, As You Like It, A Midsummer Night's Dream and a few more. And about a dozen tiers below that, we finally come across Coriolanus.
