Posted in: Disc Reviews by J C on November 4th, 2014
"Let us tell an old story anew, and we will see how well you know it."
If Christopher Nolan’s take on The Joker isn’t the very best example of modern cinematic villainy, then it’s near the top of the list. Obviously, a tremendous amount of credit goes to Heath Ledger’s Oscar-winning performance in The Dark Knight, but I’d argue the real thrill comes from the character’s arbitrary, inexplicable approach to evil. By having its Joker invent tragic (fake) backstories on the spot, the film made a mockery out of the notion of having to explain a movie monster’s past. Disney’s Maleficent, on the other hand, is the latest misguided attempt to redeem a character who was better off being unredeemable.
Posted in: No Huddle Reviews by J C on October 30th, 2014
“Everyone in this story is guilty of something.”
With the exception of bland do-gooder/ dream girl Nina Pennington (Selena Gomez), all of the characters in Behaving Badly seem desperate to live up to — or rather down to — the movie’s title. The plot revolves around strippers, nuns, dead Latin teachers, and Lithuanian mobsters, so it’s clear the filmmakers were going for mindless raunch. But instead of a gleefully debauched 97 minutes, we get “comedy” that lacks wit and laughs that feel totally uninspired.
Posted in: Disc Reviews by J C on October 29th, 2014
As the spookiest holiday of the year draws closer, we're all probably a little more sensitive to anything that goes bump in the night. Almost every creature associated with Halloween is meant to terrify us, but what if some of those horrific-looking monsters were actually tasked with watching over us? In the Japanese animated drama A Letter to Momo, a young girl encounters a trio of mischievous spirits that only she can see and hear. The monster shenanigans, however, were merely one aspect in what turned out to be one of the more affecting family films I've seen this year.
Momo (voice of Karen Miyama) is a grief-stricken girl who recently lost her father. Her mother Ikuko (Yuka) decides to uproot Momo from their Tokyo home and move to the island of Shio, the sleepy seaside community where Ikuko grew up. In addition to the grief Momo feels over losing her father, she is also overwhelmed by guilt; Momo had been cruel to her father prior to his unexpected death. As a result, Momo clings tightly the last memento her father left behind: an unfinished letter that started with the words, “Dear Momo.”
Posted in: Disc Reviews by Gino Sassani on October 29th, 2014
"It was the gang that ran amok. You have people who were being extorted, who talked of having a shotgun barrel stuck in their mouths or machine guns pointed at their groin. Body bags were shown by Bulger as he shakes them down. It was absolute terror."
It amazes me that I really had very little idea who James J. Bulger was before I watched this film by director Joe Berlinger. How could I have missed this guy? On the run for over 16 years, Bulger was once #2 on the FBI's most wanted list. Who was #1? That was Osama Bin Laden. So who was this man that came in second only to the world's most infamous terrorist? That's what I set out to discover, and Whitey: The United States of America vs. James J. Bulger filled in all of those blanks. When the film is finally over you'll be asking yourself, "How is it possible I didn't know this stuff?" One possible reason and the focus of this documentary lies in the fact that the FBI might not have wanted you to know much about this case. Joe Berlinger corrects that oversight with one of the more compelling documentary films I've seen in years. In the end, it asks as many questions as it answers. But those questions are powerful ones indeed.
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.
Posted in: No Huddle Reviews by J C on October 26th, 2014
“Inspired by the actual accounts of an NYPD sergeant.”
Deliver Us From Evil comes attached with what may be the most flowery variation yet of the “Based on a True Story” tag I'm always wary of. The deliberately-worded phrase is designed to lend an air of verisimilitude to the inherently supernatural demonic possession genre. (Not unlike what The Conjuring did with its real-life paranormal investigators on its way to becoming a smash.) While Deliver Us From Evil has a few decent jolts, it doesn't come close to capitalizing on the promise of its unique source material.
Posted in: Disc Reviews by Brent Lorentson on October 23rd, 2014
Imagine if you had a second chance to tell that loved one you lost how much you loved them, or were able to do the things you wished you had done the first time, but you hesitated because you didn’t take into account the fragility of life. Life After Beth shows us the joys that can come with when getting that second chance while at the same time revealing the dark consequences that may come with this new opportunity. There are numerous zombie films and series out in the market, but Life After Beth may be the most unique take on the genre in some time.
Zach (Dane DeHaan) is a grief-stricken young man who is suffering from the tragic loss of his girlfriend Beth (Aubrey Plaza). All he can think about is how the two had last talked and it had been on bad terms and how losing her only seems to have made it clear how much he truly loved her. Her parents (played by John C. Reilly and Molly Shannon) as you’d expect are taking the tragedy badly. The parents take Zach in; after all, he seems to be the only one who can seem to understand the kind of pain they are going through. Back home Zach’s family couldn’t be more opposite and border on insensitive; besides, to Zach no one can seem to understand the pain, loss and guilt that he is feeling. But all this changes when by some miracle Beth returns from the grave.
Posted in: No Huddle Reviews by J C on October 22nd, 2014
Billy Crystal has built a legendary career as one of the most multi-faceted entertainers in all of showbiz. He's a successful actor, comedian, writer, producer and director. At various points, Crystal has been a major star on television, on stage, and at the movies. He's entertained everyone from musicians to movie stars, thanks to his gigs as a three-time Grammy host and nine-time Academy Awards emcee. But what works best about his return to the stage in 700 Sundays — Crystal's Tony-winning one-man show — is how it illustrates the idea that virtually every entertainer gets his or her first round of applause in the family living room.
Crystal originally brought the autobiographical 700 Sundays to Broadway in the mid-2000s. A year ago, he reprised the role he was born to play for a limited two-month engagement at the Imperial Theatre. One of those performances was filmed and aired as an HBO special earlier this year.
Posted in: Disc Reviews by J C on October 21st, 2014
“Kings are made, not born.”
It’s a provocative thesis for any story, especially since the same debate about kings has played out over centuries’ worth of world history. Unfortunately, filmmaker Lu Chuan largely decided to take a “tell, don’t show” approach with The Last Supper, which depicts the last gasp of China’s Qin dynasty and the rise of the Han dynasty and its commoner-turned-emperor.
Posted in: No Huddle Reviews by J C on October 15th, 2014
If you've ever asked someone, “What kind of music do you listen to?”, chances are you've heard the phrase, “I like everything...except country.” By that logic, a significant portion of TV viewers automatically dismissed ABC's Nashville when it premiered two years ago. The flawed, entertaining musical drama has deservedly made it to a third season, which kicked off a few weeks ago. However, I think it's useful to revisit Nashville's sophomore season. This set of episodes significantly re-calibrated the series — not always for the better — and marked the start of a shift toward the version of the show that is currently on the air.
Nashville was originally presented as the tale of dueling divas Rayna James (Connie Britton) and Juliette Barnes (Hayden Panettiere). Rayna was the established superstar struggling to stay relevant in a shifting musical landscape, while Juliette was the brash, bitchy (but insecure) flavor of the moment who was burning up the charts. But it was a different pair — Clare Bowen's fragile, ethereal Scarlett O'Connor, and Sam Palladio's affable Gunnar Scott — who arguably swiped the spotlight during the series premiere with their stunning “If I Didn't Know Better” duet.
