Posted in: Disc Reviews by Gino Sassani on February 25th, 2015
"There's been some trouble with the women hereabouts...it's bad."
What exactly is a Western? That's the question that the cast and crew of The Homesman struggle with here. They appear to be divided on the subject, and the same sentiment will likely make this one a little harder to pigeonhole. That's not necessarily important except when it comes to marketing a film. An audience wants some kind of an idea what they're getting when they see it on the shelf of their local video store. Tommy Lee Jones wrote, directed and stared in this period piece, and he'd rather you not call it a Western. Others connected with the film are on board with the genre label. I guess I fall somewhere in the middle. Westerns often deal with cowboys and Indians. Well... there are some brief Indians here. They don't figure too prominently in the story, however. Other times the genre deals with gunslingers, bandits, or outlaws of one kind or another. Not so much in The Homesman. There are horses, and the cinematography certainly lends itself to the wide open spaces of the traditional Western. Usually Westerns take place in the period just after the Civil War to about the end of the 19th century. The Homesman takes place earlier, in 1854. One thing is for certain. It's a frontier movie with Western elements that, in the end, might not really matter. Let's call it a redemption story and leave it at that, shall we?
Posted in: Disc Reviews by Brent Lorentson on February 23rd, 2015
Sometimes in film the drama behind the scenes can be more interesting than the actual film we see up on the big screen. For writer/director Paul Schrader, having drama behind the scenes that effects the final project that we get to see is something he is more familiar with than he’d care to admit to. The firestorm that occurred with the release of 2005’s Dominion: The Prequel to the Exorcist became so intense that the studio insisted upon a new director to come in and do extensive reshoots that subsequently led to the release of a separate film directed by Renny Harlin. Once shooting wrapped for Dying of the Light, almost a decade later Schrader found himself in the same position where the producers took the film away from him only to release a cut of the film that Schrader seems to have disowned.
When you have the credits to writing films like Taxi Driver, co-writing Raging Bull, Rolling Thunder, and Affliction, you would imagine some respect would be paid to the man. When you even have the cast standing in support to their director wearing shirts and your cast and crew has virtually disowned the film, as a critic and a fan, feelings do have to be separated as I go in to review this project.
Posted in: Disc Reviews by Brent Lorentson on January 15th, 2015
When I think about the swamps of the Louisiana bayou, with the exception of hungry gators lurking beneath the murky depths, I can’t help but think about the connection it has to the supernatural. I blame seeing Lucio Fulci’s The Beyond for this. It’s a film that haunted me when I was a kid, and the imagery has stuck with me over the years. There have been numerous films over the years that have explored the supernatural of the bayou; most successfully we saw this in the Kate Hudson thriller The Skeleton Key. The bayou just seems to be a location that equates to doom for all those naive enough to relocate to it. Jessabelle follows suit in this southern gothic thriller that may look the part of a horror film but simply doesn’t deliver.
In the span of just a few minutes we meet Jessie (Sarah Snook) and her boyfriend, before we even have the chance to get to know or care about this couple, we watch as they are involved in a tragic car accident that not only kills the boyfriend but also Jessie’s unborn child. The tragedy isn’t missed by the viewer, but what is missed is any opportunity to become attached to this couple.
Posted in: Disc Reviews by Brent Lorentson on January 9th, 2015
Even though in this documentary we may not get to experience T-Rexes chasing after unfortunate paleontologists while running amuck in a theme park, Dinosaur 13 still manages to be an engaging adventure from start to finish. This is a film that reaches out to all the young kids inside all of us who while growing up dreamed about what life was like when dinosaurs once ruled the world. It taps into that adventurous bug that was once inside all of us as kids about exploring and discovering worlds that have not yet been discovered and creatures that now can only survive in our imaginations. Dinosaur 13 follows one man’s journey as he went from making a discovery of a lifetime that would also in turn deliver the most crushing heartbreak of having a dream torn from his grasp.
In 1990 Peter Larson and his team made a discovery of a lifetime when they found a near-perfectly-preserved T- Rex. They would go on to name it Sue (after one of the female members of the Black Hills Institute of Geological Research), and Sue would go on to become one of the greatest discoveries not just in South Dakota but in the United States. But where the documentary goes on to give a closer look is the controversy that surrounds Sue and simply who really does own the rights to this grand archeological discovery.
Posted in: Disc Reviews by Archive Authors on January 1st, 2015
What if two radio guys sat around and made up a movie on the air? In this case it actually wasn't radio guys, because they weren't broadcasters, but podcasters. I guess the fine distinction between broad and pod is that pod goes out to the world through the internet. It's kind of like Indie radio. Kevin Smith is a very indie guy and even calls his podcast a smodcast. Smith and his buddy, producer Scott Mosier, were doing their smodcast and talking about a post on GumTree.uk about roommate advertisements. It evolved into crazy talk about what might happen. The guy in one ad said he would like his roommate to wear a walrus suit from time to time.
Kevin Smith is synonymous with the advent of the modern independent film movement since his film Clerks opened 20 years ago. Smith has always been a clever writer and an interesting geek/nerd hero deeply immersed in all things lowbrow and counterculture. He runs a comic book store among other things and even had a reality series based in the store. He does seem to be going a bit crazy over the last few years, and part of that seems to be his dive into heavy marijuana use. I believe he wasn't always a heavy user. I don't mean to imply that marijuana makes you crazy, but in his case it led him down some strange and paranoid roads. Smith did a movie a few years ago called Red State, which was part of a rant against Hollywood. He was taking that movie on the road and releasing it by himself. With Tusk, Smith is going back to normal, but only in the broadest sense of that word.
Posted in: Disc Reviews by J C on December 16th, 2014
“You know what the sad thing is? We’re a good team.”
Up until they teamed up to star in The Skeleton Twins, there was nothing sad about the team of Kristen Wiig and Bill Hader. Regardless of how you feel about the quality of Saturday Night Live in recent years, Wiig (the only cast member to earn an Oscar nomination — for co-writing Bridesmaids — while still appearing on the show) and Hader (with "Stefon" and a laundry list of impressions that ranged from Alan Alda to Al Pacino) were clear standouts. So you'd expect their first post-SNL big-screen team up to be a laugh riot. That's not exactly the case.
Posted in: Disc Reviews by J C on November 24th, 2014
“Welcome to the 21st century!”
Sylvester Stallone has dedicated the better part of the last decade to giving moviegoers what they wanted 20 years ago. It started with 2006's Rocky Balboa, which closed out Stallone's signature franchise in the satisfying manner fans have been craving since 1990's Rocky V debacle. We’ve also gotten another Rambo sequel, as well as long-awaited team ups with icons both real (Schwarzenegger in Escape Plan) and cinematic (Grudge Match was “Rocky vs. Raging Bull”). But Stallone's biggest recent success is the veritable fantasy team of action stars he's assembled for the Expendables films.
Posted in: Disc Reviews by J C on November 5th, 2014
“Does it always have to end up in a big giant dance battle?”
If you've ever sat through a dance movie, then you know the answer is a resounding, “Yes!” Dance flicks are a somewhat different beast than movie musicals; they are less whimsical and tend to take themselves more seriously, which invariably makes them seem even sillier. Some of the movies in this genre — Dirty Dancing and Footloose — are beloved guilty pleasures. (And many people who love them don't even bother feeling guilty.) In recent years, the “dance flick” itch for moviegoers has been scratched by the Step Up franchise.
Posted in: Disc Reviews by Brent Lorentson on November 5th, 2014
This has been a review that has taken me a while to get to, not because it’s something I was dreading, but instead it had me revisiting some other Elmore Leonard adaptations to the screen. There have been countless adaptions of Leonard’s work on the big screen as well as television. Whether it’s his westerns 3:10 to Yuma, Justified or Hombre or his work on crime Jackie Brown, Out of Sight, and Get Shorty, there is a good chance at some point you’ve seen Elmore’s work, and those were just a handful of titles I mentioned. I was a teenager when I first discovered Elmore Leonard. Out of Sight had just come out in paperback, and I had scooped it up after reading this was from the guy responsible for Get Shorty. His books didn’t read like your typical novel. Instead it felt like you were reading something that came alive; his characters simply spoke as though they came off the streets, not the pages of literature. I loved these books and have been reading them since, and when the news came early this year that Elmore Leonard had passed, it was one of the first times I actually got upset about a “celebrity” passing. It was the realization there simply would be no more stories to keep me turning the pages at night. Thankfully he left behind a collection of stories that will stand the test of time, and it’s with Life of Crime we get to see that.
A pair of small time crooks, Ordell (Mos Def) and Louis (John Hawkes) have a plan to kidnap a crooked real estate developer’s wife and hold her for a million-dollar ransom. The plan is just about perfect, and Mickey (Jennifer Anniston) is just about the perfect victim for her kidnappers; the trouble instead comes with the husband, Frank Dawson (Tim Robbins) who has just gone on vacation to the Bahamas where he has his mistress waiting. To make matters even more complicated for the crooks, Frank has even filed for divorce, so having his wife out of the picture would only make his life easier.
Posted in: Disc Reviews by J C on October 28th, 2014
“That man brings hell with him wherever he goes.”
The “man” is supposed to be Paul Brennan (Jason Patric), a retired mob enforcer-turned-unassuming auto mechanic who reluctantly returns to his violent ways after his daughter goes missing. But the real culprit might be director Brian A. Miller. With The Prince and this year’s The Outsider, the director has made two consecutive sub-Taken crime dramas that lack the cohesion, refinement or energy to work even as satisfyingly junky action movies.
