Posted in: Disc Reviews by Gino Sassani on February 22nd, 2010
Remember the blaxploitation films of the 1970's? These films generally played on the ghetto stereotypes that would likely not be as well tolerated today. The films were populated with fur-adorned pimps driving in purple Caddys. The street language was almost indiscernible. The black population sat around drinking from large malt liquor bottles in brown paper bags. In a day where almost every potential racist remark is pounced upon, it's hard to imagine that this kind of thing could have existed at all. But the point was that these films weren't feeding into the stereotypes for the most part. They were making fun of them. They were showing us how ridiculous they looked when taken to such extreme. What's more, the films offered the first real star vehicles for so many talented black actors. Certainly, the genre has always had its detractors, but they never seemed to cause a stir among the members of black leadership. The truth is that these films no more depicted black culture than mafia movies depict Italian culture. It's just a lot of fun to poke fun. You gotta let your hair down, or frizz out, sometimes.
The genre was important during the time and its influence began to be felt in mainstream pictures of the era. Characters like these began to show up everywhere. Starsky And Hutch was a white cop , but their streets were often populated with these characters, most notably the Huggy Bear snitch. Even James Bond suspended his international fight with global domination crooks to tackle a gang of blaxploitation drug dealers in Live And Let Die. In the 1970's you couldn't get away from it. Some of these films became huge. Shaft and Super Fly became huge hits. The recently departed Rudy Ray Moore created Dolemite, a bad Kung Fu/kick butt and take names, F Bomb droppin' bad dude. There's no question that Moore's character was a huge influence on Black Dynamite.
Posted in: Disc Reviews by Michael Durr on February 17th, 2010
Recently, I got married to the most wonderful woman in the world. Well, the most wonderful woman I ever met anyhow. Her name is Sarah. Then I got to thinking, wouldn’t it be awesome if I included her every once in a while in my reviews? She’s very opinionated but she speaks from the heart. When our webmaster sent me New York, I Love You, I knew it was the perfect vehicle to introduce her to a mass audience.
Most of you are quite aware how I start my reviews, but this is going to be something of a departure. Traditionally, I start with a long narrative about the movie. We describe the movie and then I offer some quips and informative points after that. The problem is if I sit here and explain all of the ten stories presented then I might as well compile a book on the subject. I really don’t want to torture my reading audience like that.
Posted in: Disc Reviews by David Annandale on February 17th, 2010
Brian Clough (Michael Sheen) is the manager for the Leeds United soccer team, brought in to replace Don Revie (Colm Meaney), who is off to manage the England team. Clough is young, charismatic, brash, arrogant and opinionated, and has some pretty unflattering (and publicly aired) views about his predecessor and the thuggish style of play he fostered. So begin his 44 catastrophic days in 1974 as the unwelcome manager of United, and the film flashes back to the meteoric rise that brought him to this crucial pass.
This must surely be one of the best sports-related movies I have ever seen. Every conceivable sports movie cliché goes out the window. There are no extended sequences showing the games, just some quick, impressionistic shots that tell you all you need to know. This is not the inevitable story of the Underdog Making Good. It is the reverse: a rising star who takes over the most successful team in the country and becomes a legendary disaster. And yet the film is oddly triumphant. It is very much about Clough's relationships with two men: his obsessive rivalry with Revie, who isn't even aware of him, and his deep friendship with partner Peter Taylor (Timothy Spall), a friendship that might save him from himself, did he but realize it. The performances are superb, with Meaney looking uncannily like Revie (seen in footage at the end of the film), and Sheen astounding yet again, in the wake of his performances as Tony Blair and David Frost, cementing his position as one of the great actors of this generation.
Posted in: Disc Reviews by Gino Sassani on February 15th, 2010
So, this guy goes to see three rabbis....
No, that's not the start of some insensitive anti-Semitic joke. It's the rather offbeat idea behind the latest film by the Coen brothers. Of course, off the wall is business as usual for Ethan and Joel Coen. Fans of the brothers' work already know to expect the unexpected. You're likely not looking for the same kind of logical coherence that you might otherwise demand in your movies. The films often share a modern allegory to some classic fable or tale. There is certainly an element of a parable to this film in particular. It is not at all unlike the biblical tale of Job. Don't look for higher meaning in this tale of a man in search of a higher meaning. Instead, be prepared to become a fly on the wall in a life that is far from ordinary, yet anything but extraordinary.
Posted in: Disc Reviews by David Annandale on February 15th, 2010
When the UK minister for International Development (Tom Hollander) has the nerve (not to mention lack of political acumen) to opine that war in the Middle-East is “unforeseeable,” all hell breaks loose. The pro- and anti-war bureaucrats in Washington see him as useful to their cause, and descend, talons outstretched. Meanwhile, the Prime Minister's Director of Communications (Peter Capaldi), a Scot who makes Don King look even-tempered and restrained, goes into apoplectic overdrive in his attempts to keep everything on-message.
Though this blistering satire leaves the precise nature, or even location, of the war-to-be is unspecified, it's pretty clear that what the film has in its sights is the collection of mangled information, doublespeak and unstoppable political agendas that led to all the fun and games in Iraq. Filled with sharply drawn characters, wonderfully creative profanity, and a bracingly cynical worldview. Not a film for the optimistic (or naïve, depending on your perspective), but the kind of black political farce that the British excel at – think Yes, Minister and House of Cards and you begin to have the idea.
Posted in: Disc Reviews by David Annandale on February 13th, 2010
Years after his wife's unsolved murder, Norman Reedus has retreated within himself, carrying on a morose existence in a low-end apartment, gloomily taking part in unofficial greyhound racing. His neighbour, Emmanuelle Béart, is in love with him. Since Reedus is obsessed with solving the murder to the exclusion of any other human interaction, Béart decides to present him a solution. Based on the tiny bits of information Reedus has on the suspect, Béart picks cabbie Harvey Keitel as matching the profile well enough to make for a good target. She begins a relationship with him in order to put him in the frame and give Reedus, though murder, the catharsis he needs.
So goes the setup of this interesting but flawed neo-noir. As one would expect in a noir, the plan does not go exactly as foreseen, and everything becomes increasingly complex and deadly. This is to the good, and there is some nice suspense that builds up, as one is worried first about one character, and then another. Reedus doesn't have too much to do, and is too cold for audience sympathy to really develop, but Béart and Keitel's walking wounded are compelling. But if twists and contrivances are all well and good in the genre, utterly insane coincidences are harder to take, there's finally such a doozy in here that the story's credibility is torpedoed. Along the way, though, the pic makes for gripping viewing.
Posted in: Disc Reviews by BABY on February 9th, 2010
"This is the story about a football team. From the beginning this football team had heart and ability. But there was this one big problem. They didn't believe that they could win. And then this dog came along, and this dog could do amazing things, and suddenly, the team started winning. But the truth is, even without the dog, they were winners, each and every one of them. So, if you believe that a dog can play football, then you better believe that we're gonna win this game."
Nah, this story isn't about that. It's about me ... Baby.
Posted in: Disc Reviews by Michael Durr on February 1st, 2010
As the resident video game expert for the site, certain movies will always fall into my lap. Any movie that includes something about video games, good or bad I will get the chance to review. Sometimes, I'm not so thrilled and sometimes I'm simply elated to take on the task. But then every once in a while, I get a movie where I'm not sure what to expect. The movie Gamer seems to take that tone. But perhaps the journey will lead to some rather unexpected but pleasant surprises.
Kable (played by Gerard Butler) is the most famous Slayer in history. He has survived twenty-seven matches and has only three matches left to his ultimate goal of freedom. The Slayers show is a third-person multiplayer shooter game where the contestants control the shooters. The shooters are death-row inmates who are given the opportunity to gain their freedom. The only catch is that they have to survive thirty matches. The other issue, is that nobody has ever made it; Kable might become the first.
Posted in: Disc Reviews by William O'Donnell on January 30th, 2010
This is the story of two young twins who are living completely different lives, one in a boarding school who is caught up in a child smuggling ring and the other is living with his struggling artist father, but are able to share their physical pain and emotions as if telepathically. Thomas, who is with his father, knows of Tom, the boarding school “orphan,” but everyone believes Tom is just his imaginary friend. Through a chance encounter the two are reunited and both must find a way to escape the smugglers who wish to take them sell them outside of England.
Posted in: Disc Reviews by David Annandale on January 27th, 2010
The time is the 1930s, the setting Africa, as Mussolini attempts to recreate an Empire through the colonization of Abyssinia. An officer and poet Elio (Al Cliver) returns from the campaign with the spoils of conquest, one of which is Abyssinian princess Zerbal (Laura Gemser, of D'Amato's Black Emanuelle films). The erotic heat in his home is already pretty torrid, what with wife Alessandra (Lilli Carati) carrying on with secretary Virma (Annie Belle). Zerbal's arrival upsets the emotional apple cart, passions flare, and the supposed slave starts to exert more and more influence over the putative masters.
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