Posted in: Disc Reviews by Michael Durr on April 25th, 2022
Easter 2021. I'm sitting in a hotel room. My wife and son are asleep in the adjoining room. Meanwhile, I'm sitting in a chair flipping through channels on the television. I come upon PBS where music is typically opera or symphony-based. However, on this particular occasion, I am witnessing something far different. A lady dressed in a red vinyl dress is playing guitar at the Austin City Limits. It's clearly rock with a bit of indie and pop thrown in for good measure. But it's unique all its own and familiar at the same time. At first, I'm drawn in by her beauty, but I stay far longer once I hear her music and captivating sound. Within days, I'm buying Masseduction (and have bought several of her other CDs since then). Her name is St. Vincent. As it turns out, even before I was in that hotel room late at night, she was working on a mockumentary called The Nowhere Inn. After the film falling victim in part to COVID for its release, it finally made it's way to Blu-ray. Let's take a look.
A long, desolate highway. A limo passes by with Annie Clark, also known as musician St. Vincent. She is as it turns out doing just that: listening to music. The driver up front rolls down the windowed partition and asks who she is, because he's never heard of her. Annie tries to explain, but the limo driver just goes on and on about how neither he nor his friend have ever heard of her. Eventually he rolls up the partition and Annie goes back to listening to her music.
Posted in: Disc Reviews by Brent Lorentson on August 21st, 2020
t’s a bold move when a film wants to compare itself to an 80’s classic like The Goonies. If anything, it more closely resembles the 2007 film Disturbia, and that film borrowed heavily from Alfred Hitchcock’s Rear Window. Had this film stuck closer to the Hitchcock formula, I feel The Wretched could have easily been a stronger film, but the biggest problem the film has is that it tried to be too clever for its own good, and as a result it comes off a bit sloppy and contrived. That doesn’t mean that this is a bad film; in fact it’s a fun late-night romp, but what’s frustrating is seeing how it could have been so much more. While I know there was some buzz for this film earlier in the year, I’m kind of wondering if this buzz was generated by those who had actually seen the film or those who had only seen trailers? The film opens up with a young girl arriving at a house to babysit. It doesn’t take long for her to see that something is wrong at the home, and of course something is definitely going on in the basement. This is our first introduction to the skin-walking, body-modifying witch. These sequences are standard in horror films nowadays and typically set up the film, but in this case it was a waste and ruins the potential mystery of the story that follows. Does it matter that the opening took place 35 years ago? There isn’t even a callback to this incident later in the film, but instead so much is given away. Perhaps this sequence was added due to pressure from the studio or investors, but it was a big mistake.
When the film’s actual story picks up, we meet Ben (John-Paul Howard) who is following the familiar story trope of having to spend the summer with his dad, Liam (Jamison Jones) after getting into trouble back home and is sporting a cast on his arm. Liam isn’t going to let his son relax in the small seaside town; instead he’s putting him to work at the marina. While the actions by Ben’s divorced parents seem to imply he’s this bad, rebellious teen, really Ben just seems like a typical lonely kid who’s dealing with his family’s separation. The marina works as a place to introduce characters, but really it’s all a distraction from what’s happening at the neighbors’ house. Sure, I understand wanting to give your story depth, but the family drama and Bens run-ins with the local spoiled kids just feels like unnecessary fluff that is a tension killer. It’s like horror lesson 101: isolate your protagonist and keep the horror nearby where his life can constantly be in peril; don’t let him be able to just leave whenever. It’s why the character in Rear Window had a cast on his leg; it’s why in Disturbia he had the ankle monitor. Sure, the marina offers Ben the chance to meet his love interest, Mallory (Piper Curda), but obviously there are other ways this could have been done.
Posted in: Disc Reviews by J C on October 7th, 2015
The last decade hasn’t been too kind to Al Pacino. The man is only one of our greatest living actors, but he’s mostly been stuck appearing in forgettable tripe (88 Minutes) or out-and-out atrocities (Jack and Jill) for the last 10 years. So it’s easy to overlook the fact that Pacino is quietly doing really good work again. I say “quietly” because the actor has recently eschewed the “hoo-ah!” tics that turned him into a caricature. This affecting, engaged, and more subdued version of Pacino can be seen in Danny Collins, and he is also front-and-center in Manglehorn, a whimsical, uneven drama that is grounded by its star’s strong work.
Pacino plays A.J. Manglehorn, a shabby, solitary locksmith whose biggest personal connection is with his beloved cat Fanny. As we watch Manglehorn shuffle through each day — which includes hopping in his rickety van to help clients who have locked themselves out of various places — his life starts to come into focus.
Posted in: No Huddle Reviews by J C on September 23rd, 2015
“Did you consider yourself to be a New York City cop or a drug trafficker?”
For the handful of police officers profiled in The Seven Five — a lively and incendiary documentary about a spectacularly corrupt Brooklyn precinct — the distinction between cop and crook was virtually nonexistent. (At best, it was negligible.) Their stories are told here in a breakneck pace that eventually becomes draining. But it’s only because director Tiller Russell was able to gain amazing access to the colorful characters who were actually there.
Posted in: Disc Reviews by J C on August 27th, 2015
“This film was inspired by a court case, the public stages of which have been filmed, broadcast, reported and commented on throughout the media worldwide. Nonetheless, the characters portrayed in the film and all sequences depicting their private lives remain entirely fictional.”
The disclaimer that appears at the top of Welcome to New York is only the first indication that this flawed, unflinching drama — based on the Dominique Strauss-Kahn affair — seeks to blur the line between fact and fiction.
Posted in: Disc Reviews by J C on September 1st, 2014
Oregon may have been the 33rd state to join our union — and Portland may be its most populous city — but Portlandia is a (beet-eating, Bigot Parade-hosting, 3D printer-buying) state of mind. And four seasons into lovingly mocking upper middle class indulgence along with the denizens of the Pacific Northwest, the show — created by stars Fred Armisen, Carrie Brownstein and director Jonathan Krisel — continues to feel more like a fully-realized destination than ever.
Armisen actually picked up a Best Supporting Actor Emmy nomination for his work this season. It was great for the show because it marked Portlandia's first nod in a major category, but it was also strange to see him slotted into the "Supporting" race given that he and Brownstein appear in almost every scene of every episode. Armisen keeps on finding genuine shades of weirdness in every character he plays, but I continue to be impressed by Brownstein's work as a comedic actress. (The former Sleater-Kinney singer/guitarist isn't an actress by trade.) Her subtler goofiness is a great match for — and no less funny than — what Armisen does.
Posted in: No Huddle Reviews by J C on August 7th, 2014
It seems to me, if your ultimate goal is to get on television, there’s never been a better time to be a sketch comedian. Thanks to sites like YouTube — which thrive on the sort of bite-size videos that line up nicely with the rhythms of sketch comedy — funny folks can hone their craft online while building a big enough fan base to maybe compel a network to offer them a show. Comedy Central is the most obvious basic cable landing spot, but IFC has emerged in recent years as a haven for offbeat humor. That includes The Birthday Boys, which is characteristically uneven, but boasts an impeccable TV sketch comedy pedigree.
“Finally, they got their golden opportunity. A television producer offered them their own show. But at what cost?”
Posted in: No Huddle Reviews by J C on June 27th, 2014
“I like the fact that there's no desk. I like the fact that he's not wearing a suit and tie. And I like the fact that there's not some over-hyped studio audience being prompted to laugh at topical jokes that we're all gonna forget about in the next few days.”
For its second season, IFC's Comedy Bang! Bang! got bigger and bolder in the way it manically skewered decades of talk show and pop culture conventions. Not surprisingly, the show also got even weirder.
Posted in: Disc Reviews by Brent Lorentson on June 17th, 2014
First I just have to say that the cover art design for this film is one of the best looking covers I’ve seen in a long time. The fact that they actually took the effort to get an artist to design their cover is simply the first step in sucking the viewer into this 80’s sci-fi/ horror realm. Looking at this cover simply reminded me of the days working in a mom-and-pop video store when most of the horror titles were not just a collage of pictures thrown together in Photoshop, but instead an artist would be assigned and create these beautiful and amazing covers.
When it comes to Almost Human, writer/ director Joe Begos seems to know exactly what it means to make an 80’s throwback film, and he welcomes the viewer to come along for the ride. It seems to be a trend with the new up and coming guys in horror to look to the 80’s horror genre, Ti West (House of the Devil) and Adam Green (Hatchet) are just a few of these throwback directors who seem to have a love and appreciation of the time period in horror and embrace it. Almost Human is a film that belongs on VHS, back in the era when practical effects still ruled the genre.
Posted in: No Huddle Reviews by J C on January 20th, 2014
- “We at Comedy Bang! Bang! love random humor.”
- “Next to 'offbeat,' it's my favorite.”
