Posted in: Disc Reviews by J C on May 21st, 2015
At this point, it’s pretty difficult to find a play by William Shakespeare that hasn’t been produced for the stage or adapted for the screen many times over. So imagine my surprise when I came across Cymbeline, a Shakespearean play I’d never even heard of. (Though maybe that says more about me than it does about the play’s popularity.) Filmmaker Michael Almereyda transplants the action to the present day, but the tablets, cell phones, and other anachronistic touches aren’t enough to inject life into a languid, lurching film that largely squanders a pretty impressive cast.
“For years, Cymbeline — King of the Briton Motorcycle Club — has maintained an uneasy peace with the Roman Police Force.”
Posted in: Disc Reviews by Gino Sassani on May 18th, 2015
"A man of your age has no excuse for looking or behaving like a fugitive from a home for alcoholic music hall artistes."
Sound like anyone you know? Johnny Depp is one hell of a talented actor. There are few in the industry than can so completely inhabit a character. He has an uncanny ability to make you forget Johnny Depp the actor and lose yourself in his performance. He is a chameleon physically and expressively. Unfortunately, Johnny has had trouble finding box office gold lately. You see, he's having a lot of fun at our expense. But it's not just we who are footing the bill for his tomfoolery. The studios are handing out hundreds of millions of dollars for box office misses like The Lone Ranger, Transcendence, Dark Shadows, The Rum Diaries and the animated Rango. Depp appears interested only in making films where he can have a blast on screen and doesn't appear all that concerned if the film makes any money or if the audience feels like they've been invited into the party. You can now add Mortdecai to that list. There's absolutely no question that Depp is having a blast, but if you paid anything at all to see it, it was at your expense.
Posted in: Disc Reviews by J C on May 11th, 2015
“It’s like being kids again. The streets are our playground.”
The above quote refers to parkour, the art and discipline of moving through urban spaces that was popularized in France. French practitioners of parkour are called “traceurs,” which gives this totally clichéd, consistently ridiculous, but occasionally breathtaking action flick its title. You’ve seen the plot before (many times), but Tracers still vaults itself above the straight-to-DVD pack thanks to its freewheeling free-running sequences.
Posted in: Disc Reviews by Gino Sassani on April 10th, 2015
"There's something I need to tell you. We're building a weapon. It's not like any weapon the world's ever seen. It draws its energy from a fast-neutron chain reaction. It releases the power of an ancient star. If it works, and it's going to work, it will be the more destructive than all the bombs dropped in all the wars in history put together. It'll bring armies to their knees. Cities will disappear in the blink of an eye. The world will be united in peace by the most just and noble country in the history of mankind or it will burn to the ground. Whoever builds it first, there's the endgame. So it has to be us, whatever it costs."
It's one of those dramatic stories where mankind is altered forever. If it weren't absolutely true, someone would have had to make it up. Every child in schools around the world knows about the atomic bombs that ended World War II. We've all seen the terrible destruction that exceeded even the expectations of the scientists and engineers who designed and built these bombs. We all live in the aftermath of these events. Yet little is known about the people who devoted their lives to making it a reality, not only those directly involved, but their families and the support network necessary to bring them all together. Enter WGN America, and the tale is finally told. Now the first season of Manhattan, spelled as Manh(a)ttan, is available on Blu-ray from Lionsgate.
Posted in: Disc Reviews by Brent Lorentson on April 9th, 2015
This is a movie that snuck up on me. I had seen the trailers, and it looked like goofy fun, but I really wasn’t prepared for how this film would linger in my mind and follow me around. First let me just say this film is not for everyone; this is one of the darkest comedies I’ve seen in quite some time, but on top of that this is one of the most tragic films as well. At first glance the trailer for The Voices has you thinking this is going to be American Psycho meets Dr. Dolittle (only one character can hear the animals talking), and for the most part that is this film. But as the final act kicked in, I realized this was really so much more.
The film starts off with a very surreal feeling as we meet Jerry (Ryan Reynolds), who works in the shipping area of a local business. He’s charming and just seems like a swell guy who finds himself in love with Fiona (Gemma Arterton), who is the office hottie from England. When he finally gets the courage to ask her out on a date, well, it unfortunately doesn’t go as planned.
Posted in: Disc Reviews by Brent Lorentson on April 7th, 2015
When it comes to screenwriters in the industry, William Goldman is virtually the king of the written word. From writing such hits as Marathon Man and All The President’s Men to The Princess Bride, Goldman will always be a legend in Hollywood even if it has been a while since his last successful original work. Wild Card is a remake of the Burt Reynolds version of Heat back in 1986. It’s been a few decades since watching the film, so instead of trying to remember anything from it how about I just stick to this stylized version?
Nick Wild (Jason Statham) is a guy who doesn’t mind helping you out so long as you pay him for his time. He’s somewhere between a bodyguard and your best friend depending on what the situation calls for. When we first meet him, we see him taking a beating from a schlub that is looking to impress a woman; we know Nick is taking the fall, and when he takes the punches it’s hard to not think that Nick takes a sick bit of pleasure from these hits, but what it comes down to is getting paid.
Posted in: Disc Reviews by Brent Lorentson on March 20th, 2015
From the moment Son of a Gun opens up taking you behind bars as JR (Brenton Thwaites) is being processed into an Australian prison, it is the start of a journey that throws everything at its audience till the final credits roll. I have a hard time figuring out just how to classify Son of a Gun; it is everything from being a film about self-discovery, a guys-behind-bars film, to being a heist film and so much more. The title refers to JR as he goes about serving his time behind bars and captures the attention of an infamous thief Brendan (Ewan McGregor). Brendan takes in the young man and protects him from would-be attackers, but of course the protection comes at a price. JR makes up for it by helping spring Brendan from prison in a clever prison break that somewhat reminded me of the prison escape in Superman 2 (you know, when Lex Luthor is rescued via helicopter), same thing only slicker.
It’s when Brendan makes his escape that we see the bond continue to develop with JR, and he teaches him the ropes of being a good thief as well as teaching him a few life lessons along the way. It’s a formula we’ve seen before, but it is a formula that works, and in this film writer/director Julius Avery knows how to deliver the action beats stringing the viewer along for this intriguing yet recycled plot. By the time we get to the gold heist I was sucked in, because the performances are just that good, that they manage to make this rehash seem fresh and even exciting at points.
Posted in: Disc Reviews by Brent Lorentson on March 18th, 2015
What if there was a place where you can act out your wildest fantasy, whether it be murder, theft, or sex, and at the end of the day you could go home as though nothing happened? That is the tease Vice offers its audience in a sci-fi action film that blends bits of Blade Runner, Stange Days and Westworld into one tight little package. For fans of the sci-fi genre, the movies I reference are staples in the genre, but let me be clear; at no time does Vice measure up to these films. When we meet Kelly (newcomer Ambyr Childers), she is an android leading a life behind the walls of VICE where she is programmed to live the same day over day after day. For all androids within the walls of VICE, they all are living out a Groundhog Day life, only what changes are the outsiders that pay to do some pretty horrible things. I feel a little horrible saying this, but I wish we got to see more of these horrible activities take place, and in a weird way I think that’s the most obvious plot hole of the film. Why is there not constant mayhem occurring behind these walls? In a world where it is a free for all to kill and maim these androids; instead filling the background are well-to-do folks just minding their own business and sipping martinis. This is still Kelly’s life, and early on we see her in a violent encounter that leaves her and her friend dead.
Being dead means very little to an android who has their memory wiped every day, so after Kelly is patched up she is ready to function for another day and face whatever violent act awaits her. That is till she starts having flashbacks from her previous memory swipes, and we get to see she has been a part of some pretty cruel activities.
Posted in: No Huddle Reviews by J C on March 16th, 2015
“2,000 years ago, the Bible prophesied the return of Christ...but only after God inflicts seven years of torment on the world to test the faith of mankind.”
It's not quite seven years long, but this two-part, three-hour TV movie — History's latest foray into original filmmaking — is likely to test the faith (and patience) of anyone who watches it. Revelation: The End of Days is intentionally less glossy than previous network offerings like Bonnie & Clyde and Houdini because it takes a ground-level look at the apocalypse. But in scaling back to achieve that aesthetic, the result is both frustrating and amateurish.
Posted in: Disc Reviews by Brent Lorentson on March 10th, 2015
I’m starting to wonder if it is time we officially made a sub-genre for kidnapping films. It’s a storyline that has been played out for decades but continues to offer up some engaging and oftentimes heart-wrenching tales that for the most part have happy endings but that seems to be a far stretch from reality, though I doubt audiences are looking for these bleak realistic endings and mostly prefer the Hollywood ending where everyone is rescued in just the nick of time. When Prisoners came out, I had hopes that it would be a film that wouldn’t shy away from the harsh realities, and for the most part it succeeded, but I still felt it held back. Now we have Atom Egoyan throwing his hat into the murky subject matter. Let’s face it; kidnapping is a horror no parent wants to experience and would much rather not think about.
Matthew (Ryan Reynolds) is the unfortunate parent who in the moment of doing something as trivial as running into the shop to grab dinner for the family, his daughter is taken without so much as a trace of evidence. Not only does he have to face the guilt of losing his daughter while being only yards away from her, but we see how he is on the receiving end of blame from his wife Tina (Mireille Enos) and a suspect by the police. Sometimes films like to dangle the shadow of doubt that the parent could be involved with the disappearance. Though in this case where we know Matthew’s innocence, we are able to feel his frustration as all this time wasted while looking at him as a suspect and the real criminals are only slipping farther away.
