Disc Reviews

"I'm telling you, it's empty nest syndrome. First Jess leaves for California. Then Torres volunteers to go deep under cover. And now McGee is applying for the Deputy Director position. Poor Parker. The man is alone." 

Mark Harmon as Gibbs was the soul of the NCIS franchise. When he finally called it quits after nearly 20 years, I have to admit I wasn't sure how much longer the show could go on. I mean, there has to be a reason for this kind of longevity. All of the spin-offs have now come and gone. NCIS: Hawaii has now ended.  NCIS: New Orleans shuttered its doors three years ago now after a mere seven years. The longest-running of the spin-offs was L.A., but even they have gone now after only 10 years. I say only 10 years. For most shows a 10-year run is rarefied air. So how about 22 years and counting? Only Dick Wolf's Law & Order franchise has accomplished more. Yes, Harmon might have been the franchise's soul. But Gary Cole came in and has taken up that slack far better than anyone could have imagined. Now CBS is releasing NCIS The Complete 22nd Season on DVD, and that short run of episodes puts the franchise past the 1000-episode mark. It's an unbelievable run, and it doesn't look like it's close to ending now.

"I can guarantee your safety ... more or less." 

Some things cannot be beat, and they sure as heck can't be repeated. An old vintage cola commercial used to tell us, "Ain't nothing like the real thing, baby." And Jurassic World Rebirth is going to do anything it can for 134 minutes to try and tell you that isn't true, but we know better, don't we? Anyone who has seen the original Jurassic Park has their favorite moments, but one scene has always stood out for me and so many other film fans I've spoken to. When the camera pans to that peaceful swamp pasture and you see tons of dinosaurs walking about without a care in the world. If you didn't know how to react there, Sam Neill as Dr. Grant showed you how. His expression matched ours, and it was a wonderful cinematic moment of magic and wonder. You can never repeat that ever again. No matter how many Jurassic franchise movies or any other dinosaur movies might attempt to bring you that single moment, they never will. And that's OK. There are moments in Jurassic World Rebirth were it is quite obvious that director Gareth Edwards attempts to repeat that moment. He telegraphs it particularly in a scene where we get a wide shot of dinosaurs and we hear that old John Williams theme, and Edwards is pulling hard on our heartstrings. Sorry, Gareth. It didn't happen for anyone there. It's not your fault. You did everything right. But, you see, Steven Spielberg already took us there, and we will never have it again, but truly, man, thanks so much for trying. You did deliver the best of the Jurassic World films and the best franchise film since the original. You're just going to have to settle for that.

“I read somewhere, thou shalt not steal. I think it was in the Bible, "Thou shalt not steal." That's not complicated, is it? But, if you do have a problem with that, you can always take it up with God, or Karl Marx, or the Kardashians, or anyone.”

Unfortunately, even Anthony Hopkins wasn’t enough to elevate this film beyond just an OK watching experience. A remake of a remake, Locked stars Hopkins as well as Bill Skarsgard, who I am convinced struggles with picking good movies to become attached to. Not saying that this is a shining example of those difficulties, but I doubt it will do anything to further his reputation in the industry. The film is a remake of the Argentine film 4x4 (2019), which was previously remade in Brazil as A Jaula (2022). Despite not being in the same room for the bulk of the film, I will say that the two played off one another quite well, which I attributed to both actors having significant stage presence. That aside, the film drew too many parallels to another psychological thriller franchise starring an enigmatic actor whose character had penchant for entrapping individuals who needed to learn a lesson.

"My dad used to say, wherever you go, there you are. I guess he was right. No matter how hard you try, or in my case, how far you go, you can't leave it all behind. There is no such thing as a clean slate. They're always there. They're always with you, the stories you've told. Hell, even worse, the ones you never could. This is a story I never tell."

Mark Harmon as Gibbs was the soul of the NCIS franchise. When he finally called it quits after nearly 20 years, I have to admit I wasn't sure how much longer the show could go on. I mean, there has to be a reason for this kind of longevity. All of the spin-offs have now come and gone. NCIS: Hawaii has now ended.  NCIS: New Orleans shuttered its doors years ago after a mere seven years. The longest-running of the spin-offs was L.A., but even they have gone now after only 10 years. I say only 10 years. For most shows a 10-year run is rarefied air. So how about 21 years? Only Dick Wolf's Law & Order franchise has accomplished more. Yes, Harmon might have been the franchise's soul, but the show managed to find its footing without him. Of course, Mark Harmon has remained involved in the franchise as a producer, but it looked like we would be going on without Gibbs. At least that's what everyone thought.

"I can see the future. It's full of pals helping pals, and being a boss. I'm on the edge of life, and the view is gorgeous." 

Andrew DeYoung has actually been around for quite a little while. He's been directing television episodes a short features since around 2008. And so into every working director a feature film must eventually fall. For Andrew DeYoung it turns out to be the self-written feature film for A24, Friendship. He took a pretty safe route, choosing to work with an actor who has shown a pretty similar shade of dark comedy as Tim Robinson, who plays the lead and very tragic figure. If you've seen episodes of The Office, there's a lot of that kind of humor here. Of course it goes off the rails quite beyond anything you might have seen from the show or Tim Robinson. It's a bit of an experimental film, and while it's listed as a comedy, I'm not sure it really fits into that domain. I think the film's uniqueness works both for and against the film. It's not the kind of thing that is going to bring in tons at the box office, streaming platform, or home video market, but on the other hand it's one of the most truly original films I've seen in ages, and I have a little bit of a soft spot when someone can show me something new and experimental without being so "out there" that it leaves you scratching your head. You won't have any trouble understanding what's going on here, and while it might get a laugh or two out of you, it will certainly give you something to think about. It's a dark film at its core, and you have to be willing to take that kind of a ride to enjoy Friendship. If you're coming into this to laugh yourself silly, this one might disappoint.

Ultraman is a huge part of Japanese culture and pretty much has been since the original live-action show in 1966. Perhaps Godzilla started the ball rolling, but Ultraman brought us these monsters on a regular basis. In Japan, Ultraman is like our Superman. He’s an iconic hero and a huge part of the pop culture. Since the 60’s he has appeared in many forms, most of them animated. But it is this 1966 series that made a ton of us kids fall in love with him and an entire genre. Yes, there were many from the era: Space Giants featured a giant fighting robot who fought monsters and sometimes converted into a spaceship (yes, before transformers were ever thought of); Johnny Socko had his giant robot; and the list goes on. But it was Ultraman who started it. Eiji Tsuburaya, who created the original Godzilla, formed a new company outside of Toho Pictures. Ultraman was pretty much the first thing out of the new shop.

It started with a series called Ultra Q. It was a popular series in Japan. There was no Ultraman here, but some of the elements of what would be the Science Patrol started there. When it was finished, the staff was approached to create a new show, and fast. But this one needed more action and also something that could be sold to the American markets. That was Ultraman.  In some form or another, the character has been around for over 60 years and is still plugging.

"We have sold the last of our herd, keeping only four bulls and 100 heifers. The seeds with which you must rebuild the ranch that trickery and laws drafted by loan sharks have stripped from us. The road to Bozeman is snowed over now, passable only on horseback. Our movement is restricted to the lodge and the pastures around the barn until spring. We dare not kill a beef, so the men hunt. Gone are the great feasts of summer. It is stews and stale bread and bland fuel of substance. Like the bear, we hibernate, impatiently awaiting spring." 

It is the second and likely final season for the Yellowstone prequel 1923. I have heard whispers that there will be more, and we might see Harrison Ford and Helen Miren again in a series likely to take place a little later, hence a new name, and focused more on Brandon Sklenar's character Spencer who will, no doubt, be raising the grandfather of Kevin Costner's patriarch character in Yellowstone. In the extras Ford hints pretty strongly by reminding us that Harrison Ford is still alive, as are Helen Mirren and Taylor Sheridan. My sources confirm something is in the works but likely years away, and these two leads are not spring chickens. Paramount has released this second season, avoiding the word "final" in the title on DVD and Blu-ray, and it's another one of those must-haves for your home video collection.

It would seem that ever since Hereditary came out in 2018, it kind of paved the way for the new sub-genre of horror, “grief-horror”, basically horror films that delve into the emotional horror of losing loved ones and the reckless attempts people may make to reach out to them in the afterlife. This isn’t subject matter most horror fans enjoy; for me I find an odd sense of comfort with these films. When Talk to Me came out, that film especially struck a nerve with me, and I absolutely loved that film from the first-time Australian filmmakers and brothers Danny and Michael Philippou.  Talk To Me managed to bring something new to the supernatural genre, and the grief the main character was going through was very relatable for me, so of course I was going to be a little excited about what this duo would do next (at least before they tackled their sequel to Talk To Me). As it would turn out, I wouldn’t have to wait long for their next film, and Bring Her Back tackles the horror of grief in a manner that has stuck with me.

Bring Her Back wastes little time with setting the tone of the film as we see Andy (Billy Barratt) and his sister Piper (Sora Wong) return home to find their father dead in the shower. To further the trauma for the kids, a social worker intends to separate the siblings. Andy wants to have guardianship of his sister, but because he’s not quite 18, it isn’t allowed. After some desperate pleas by Andy, they allow him to stay at the foster parents’ home on the condition that he behaves himself. The relationship between Andy and Piper is very much the heart of this film. They are step-siblings, and because Piper is blind, Andy has played the role as her guardian for some time even before the passing of their father. The film really does a good job of establishing this bond early on, and it’s necessary, because once they get to the foster parents’ home, things definitely take a turn.

"Queen Ginnarra rules the Kingdom of Aberon with an iron fist. To her devout followers, she is the prophet of the abyss, a master of unfathomable power, commanding forces that lie beyond the grasp of mortal understanding. They believe that through evil deeds, they may win her unearthly blessings. She led a rebellion against us and murdered my father. I fled to the deadlands in exile. But there is a truth that chills the blood within my veins. Queen Ginnarra is not only ruler of our kingdom, she is my sister." 

Crown Of Shadows sells itself as Game Of Thrones Meets 300. There is a reason even small budget filmmakers want to do something akin to Game Of Thrones. It's been immensely popular and has made a mint for HBO and the author of the books, George RR Martin. But there is also a reason why budget filmmakers should stay away from such material. To do it correctly costs a fortune, and you can't hide cheap computer graphics with such an epic promise. It's almost assuredly going to disappoint, and that's the main story behind Crown Of Shadows.

“So, what are you waiting for? What are you waiting for!”

Well, if I’m being pretty honest, I certainly wasn’t waiting for this. In fact, having now watched it, I would have been absolutely fine if we never got it. This reboot-slash-sequel, now better know as "requel", was about three years too late, as this film seems destined to forever be in the shadow of its previous competition. I won’t do this film the disservice of naming its competition, but I fairly sure that you can connect the dots. Truth be told, I was never much of a fan of the original film nor its sequel, so I didn’t have high hopes for this “requel.” But even so, I still found myself disappointed as I jokingly predicted who the killer would ultimately turn out to be. And predicting who it would be actually wasn’t that hard, because it seemed to be the logical move to make for the franchise, and despite that it still fell flat, as it just felt out of character. That said, it has been a long time since I saw Jennifer Love Hewitt and Freddie Prinze Jr. up on the silver screen, and I have to admit that was a nice bit of nostalgia.