Disc Reviews

The hunted vs. the hunters. Now here is a premise that has seen its fair share of movies. Ever since Jean Claude Van Dame’s rendition in Hard Target, filmmakers have been coming up with new and sometimes cliches version of the idea of a man being hunted for sport. Personally, I’d rather just get my fix of this idea by reading Richard Connell’s The Most Dangerous Game. It’s just hard to imagine that there is any unique way left to come at this idea. Apex tries, but it falls short of the desired effect. In the case of this film, they bring in action veteran Bruce Willis to serve as the prey. Given his pedigree, you’d expect him to deliver one-liners while dispatching folks in creative manners. He delivers on the one-liners, but as far as the creative kills, he actually isn’t the person doing the most of the damage. In fact, Willis barely rates above a bystander in this film. I suppose it was ambitious to expect Willis to be duking it out like he did back in his Die Hard days; I mean, the man is in his mid-sixties now. However, if he wasn’t going to be the agent of chaos, why even bother putting him in the movie at all?

I suppose the answer to that question is obvious. When it comes to action films, Willis is quite possibly one of the world’s the biggest draws. His record speaks for itself. However, if I may be so bold, I must say that underutilization of him only serves to tarnish said record. For the amount of action, we got from him, they could have put anyone in that role without it doing any damage to the film’s quality. In fact, they have done better to use a less known talent in order to avoid the disappoint that I surely felt.

"This wasn't a game of cops and robbers. We were playing for keeps. It boiled down to a duel between me and an unknown fellow waiting up in the rocks or struggling on ahead of me. I never had the slightest doubt that he was there and that I would find him. But I didn't like it. It was all wrong somehow."

John Sturges has directed some of the biggest classics of his era. He became known as a huge action director and knew how to put to together large and powerful ensemble casts. Among his classic films you'd find The Magnificent Seven  (1960) with Yule Brynner, Steve McQueen, Charles Bronson, Eli Wallach, and Robert Vaughn. There's Ice Station Zebra (1968) with Rock Hudson, Ernest Borgnine, and Patrick McGoohan. You've likely seen The Great Escape (1963) with Steve McQueen once again on his famous German motorcycle. The film also stars James Garner, Charles Bronson once again, and Jurassic Park's Sir Richard Attenborough. What many fans don't know is that he was also an expert in the 1950's film noir films, and one of the greatest, if lesser known than his action films, is The Capture. The film has almost been lost to time, but thanks to a pretty solid restoration and release by The Film Detective, you know have a chance to see the more artistic and intimate side of John Sturges.

Superhost is a not-so-flattering social commentary on the youth of today who seem to be driven more by the amount of likes and subscribers they have than the actual human interactions they encounter in the course of a day. Whether it’s Tik Tok, Facebook, Instagram, YouTube, or any number of platforms you can think of, it seems people have just become obsessed with seeking the approval of “followers” instead of taking stock in the friends they have in their “real” social structure. The pandemic, of course, doesn’t help any of this, as it seems every week there is some new dance or challenge people are doing in the name of clicks. Also recently it seems suicides and murder-suicides have been occurring more with these “social media influencers”. Maybe it is just the old man in me coming out, but I look at the social media culture and wonder if man has reached his peak and we are all simply on a steady decline from this point forward.

The rant aside, Superhost is a film that was inevitable, and I’m willing to bet that we’ll be seeing more of these films that seem to want to be a cautionary tale of sorts to those looking for social media popularity, that it comes at a cost to yourself and to others, and in the end you really have nothing to show for it (with the rare exception of those who do monetize their viewership). When we meet Claire (Sara Canning) and Teddy (Osric Chau), they are a somewhat happy couple who have their own travellog, “Superhost”, where they travel around and find new spots for weekend getaways and review them.  Lately it seems their fandom has started to fizzle, and they need something that will get their subscribers excited and bring more views to their channel. Immediately it’s kind of hard to sympathize with this couple; after all, they are simply living the dream, right?  Stay at posh locations and comment about them; literally that is the extent of the work these two seem to put into this. Teddy wants to use the platform as a way to broadcast his proposal to Claire. It seems sweet, of course, but again we see him using the site as a way to simply over-share with the world.

When it comes to Amityville Uprising, it felt like I spent the film’s entire runtime waiting for it to start. I mean, the film literally spent ninety percent of the time building towards the action, which basically took place at the very end of the film. There are sporadic events that occur earlier, but even those don’t start until halfway in. I expect for zombie movies to get the action rolling much sooner than that, but in the case of this film, the plot moves at the pace of a walker in the Walking Dead. That paired with the low production quality, nonexistent character development, and subpar acting makes for a less than enjoyable experience. Granted, I was not expecting box office quality from this production, but I at least hoped that there would be one or two tidbits for me to be able to point to and say that the experience had some good parts. Sadly, that wasn’t the case with this film.

A majority plays out in a police precinct in a small little town in New York. Basically, a nearby chemical explosion at a military facility as caused environmental chaos for the town of Amityville. Specifically, acid rain that kills anyone that comes into contact with it. However, that isn’t where it ends for them, as they are resurrected as horribly disfigured and crazed zombies. In concept, the premise sounds moderately interesting. Granted, zombies are far from a new idea, and it is very difficult to innovate, but in this case, I was at least somewhat interested prior to the film’s viewing. Here is where things fall apart. The film literally spent a majority of its time setting up the acid rain. For the first portion of the film, it was like the idea of the acid rain was an afterthought. Every now and then we’d get a brief scene showing the weather turning, but more time was spent following around the officers of the Amityville station. I’m all for making sure that characters are properly introduced and established so that the audience can become invested in the characters, but it was taken too far here. For nearly twenty minutes, we followed Sgt. Dash around as he delivered everyone’s lunch.

Twenty years ago, he left his hometown of Kiewarra, a farming town in Australia, under a black cloud. His girlfriend was found dead under suspicious circumstances, and all the evidence pointed to him. If it wasn’t for a friend willing to lie for him, he would have ended up in jail. When that same friend’s family is killed in a murder-suicide with all the evidence suggesting that said friend was responsible, he will return to investigate. However, time has not improved the community’s feelings about him, as the people have long memories. Eric Bana stars as  federal police detective Aaron Falk in The Dry, a film based on Jane Harper’s 2017 book of the same name. Having been a fan of Eric Bana for some years, I looked for this this opportunity to watch him play detective. While the story does drag at times, I will say that overall, the quality of the storytelling made the experience worthwhile. Rounding out the cast is Genevieve O'Reilly, a fixture in a Star Wars universe, having been involved in multiple Lucas projects to include Revenge of the Sith and Rogue One as well as her voice role as the character in Star Wars Rebel. While this is a bit off topic, it is worth mentioning that O’Reilly will also return to the Lucas’ universe to reprise her role as Mothma in the upcoming series Andor, set to premiere in 2022.

The story unfolds on two fronts, both featuring Bana’s character prominently. In the storyline set in the present, Falk returns to his hometown for the first time in twenty years following the death of his former best friend Luke, who is implicated in a gruesome murder of his wife and oldest child, sparing his newborn before allegedly taking his own life. Years earlier, Luke provided Falk with an alibi that while was widely disbelieved could not be discredited, following the death of their childhood friend. This decades-old favor is what Luke’s parents use to convince Falk to independently investigate in hopes of clearing Luke of the crime. Speaking of this alibi, the second storyline tells the events leading up to the death of Ellie, Falk’s girlfriend, who was found in the river, a suspected homicide victim. Following the death, Falk and his father received endless harassment from the townspeople, specifically Ellie’s father, who holds Falk responsible.

Every era has their Hollywood good guys and their Hollywood bad guys. Back in the early days, we had Nazis to pit against our heroes. When they didn't quite fit the bill, we had the Japanese. For much of the Cold War, we had great Russian villains to test the mettle of our heroes. Terrorists fit the bill a lot today, but perhaps the only group hated by large segments of American audiences more are the 1%ers. Anyone who makes an obscene amount of money must have cheated to get there. It doesn't hurt that financial power companies have been immersed in the last couple of economic disasters. Michael Douglas taught us that greed is good, and while every single one of us wants to be at the top, it's not quite the politically correct thing to express ... at least out loud. Billions gives us the kind of power broker who is just too much fun to hate. It's the classic struggle of good guys versus bad guys. Of white hats versus black hats. But nothing is that simple in Billions, and if you haven't yet spent some time with the likes of Paul Giamatti and Damian Lewis as Chuck Rhoades and Bobby "Axe" Axelrod, you're missing one of the more compelling dramas on television right now. Get yourself caught up and join us for Billions: The Complete Fifth Season out now on DVD from CBS Home Entertainment.

Meet Chuck Rhoades, played brilliantly by Paul Giamatti. When we first met Chuck, he was the US Attorney for the southern district of New York State. In that position he loved to take down the arrogant, rich power brokers who scoffed at the laws and made their fortunes any way they could. His white whale has been Bobby Axelrod, played by Damien Lewis. He runs one of the most powerful firms in the world and makes deals of hundreds of millions of dollars like he was ordering a Whopper from Burger King. For the first three years of the series we watched this cat-and-mouse game unfold. The obsession of these two men toward hurting each other drove the drama. Stuck in the middle of all of this contempt has been Chuck's wife, Wendy, played by Sons Of Anarchy veteran Maggie Siff. She's a therapist who complicates the whole thing, because she works for Axelrod as his sales team inspirational coach and his own father confessor. She's known Axelrod longer than her husband, and she's being forced into the middle of this brewing confrontation. I have to say, I never liked Siff in Sons Of Anarchy. I always thought she was a weak character. This time I found she provides a crucial voice here that allows the show to move so effortlessly between these two worlds. This is the kind of role I wish I had seen in Sons. It's been rather delightful watching these two powerhouses fight until it nearly destroyed them both. But now things are different.

This appears to be the time of Resident Evil, it would seem. Fresh on the heels of a live-action reboot to the franchise (Resident Evil: Welcome to Racoon City) comes the home media release of this CGI miniseries based on the popular Capcom video game. If you want to be technical, the miniseries preceded the reboot, as it was originally released on Netflix back in July of 2021. Set between the events of Resident Evil 4 and Resident Evil 5, the miniseries follows Leon S. Kennedy as he attempts to uncover a conspiracy that reaches all the way up to the White House. Now, in reference to that time period, I should mention that it is the video game continuity, not the film’s, that is an important distinction, as Milla Jovovich was only loosely based on the source material. While the story does take some time to develop, by the final episode, I was fully vested in its outcome.

True to the game’s format, the story is twofold, as it follows two protagonists: Leon S. Kennedy and Claire Redfield. As previously mentioned, Kennedy finds himself entangled in a conspiracy after he is called to the White House to investigate a mysterious hacking incident, which quickly erupts into a targeted zombie attack on the institution. Recruited to investigate it, he is partnered with the enigmatic Shen May and an elite commando, Jason, who is hailed as a war hero following a mission in Penamstan. With hints pointing towards China being responsible for the attack, the team is dispatched for a covert mission. Before leaving, Leon runs into Claire, who attempts to impart a discovery to him but does not get the chance.